Happy Halloween…Err…NaNo!

For mortals and the Dearly Departed tomorrow is October 31st.   A day of pumpkins, costumes, and bags full of mini-chocolate bars, m&ms, and candy corn.  For others it is the Celtic New Year, for others a Sabbat in which to honor ancestors.

For writers- it is, “Oh, my Gawd!  NaNo begins at the stroke of midnight!”

Believe me- that is much more frightening than any ghouls or hands reaching out of graves. Those at least can be exorcised.

But NaNo?   NaNo is the ultimate monster that CANNOT BE KILLED!  It mercilessly, incessantly attacks for an entire month straight turning writers into the very zombies that normal folk watched on their TV on Halloween.

For those who may not know what NaNo is:

National Novel Writing Month.   The goal is to write 50,000 words in 30 days.  Crazy, huh?  Yup!  That’s the point.  The joy of turning off the inner-editor and letting all the words pour out of your head onto the paper.  No worrying at all.  No editing.  Pure insanity.

I participated last year for the first time and had a blast.   How could I not enjoy something that crazy?  Oh, the endless nights!  The never-ending cups of green tea!  The agony and escasty poured out onto writing forums across the Internet.

So what am I doing this year?

Finishing this draft!  That’s what!  Or, in other words- cheating.  Ya see- NaNo has this rule that states the work should be a totally fresh piece of work.   Personally, I see no difference in going from zero to 50,000 words or from continuing let’s say from 20,000 words and adding 50,000 new words to finish a novel you’ve begun.  Not to mention, NaNo is a competition against yourself. Not others.

To put it simply, I have no qualms about breaking silly, little rules.

Anyhow, I’ve taken this week off from working on my WIP to rest my poor, little head.  (and fingers!) Then,  come Nov. 1st at the stroke of midnight- I’m off!

What are you all doing for NaNo?

Good luck to all!

Published in: on October 31, 2008 at 12:33 am  Comments (20)  
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Mary: The Mysterious 19th Century Medium

The Spiritualist movement sprung from humble origins.  In 1848,  twelve and thirteen year-old Katherine and Margaret Fox heard unexplainable knockings and rappings in their reportedly haunted family home in upstate New York.    The girls, rather than being afraid, were thrilled, and established a simple code to communicate with the spirits.

One early message read:  “Dear friends, you must proclaim the truth to the world. This is the dawning of a new era; you must not conceal it any longer.  When you do your duty God will protect you and good spirits will watch over you.”

Spiritualism spread across America.  Four years later, the accomplished American Mrs. Hayden traveled to England and introduced it to the fashionable world.

During the height of the movement, while public spiritualists displayed thrilling shows- private home circles were venerated for instilling proper spiritual values and harmony within families.

Spiritualism was a blessed relief to the countless Victorian families who’d lost children.  Now, they were not only  certain  the soul survived, but they could also communicate with loved ones on the other side.  Death was simply a transition to another realm which could be reached any time.  It also appealed to those who were tired of dogmatism and wished to experience God in a personal way.

The middle-class Theobald family of London became involved in Spiritualism in the 1860s.  Morell Theobald lived with his wife and four children.  His spinster sister, Florence, often stayed with them.  Florence always stated she’d been born “sensitive” and immediately was drawn to this new religion.

Florence began practicing automatic writing in 1863.   After she received many loving messages from deceased relatives, the rest of the Theobald family became involved.   Soon they were having regular family sittings in which Morell Theobald’s other children who’d died in early youth communicated with them.  They spoke of their daily activities in heaven and answered some questions related to theology.

As time passed,  the spirits became more active.  Throughout the house, raps broke out at will.  The spirit children spelled out their love to “mama” through the furniture on her birthday.  The spirits encouraged them to live life fully as well as care for their spiritual needs.

The Theobalds became one of the most respected families in the spiritualist community.

In the early 1880s, a new cook named Mary, entered their household.  She claimed to have had psychic experiences  as a child which resulted in being “whipped as a witch” by her parents.

Mary related to the Theobalds that while working in Brighton she’d been “told” one day she would live with a kind, sympathetic family at Granville Park.  (The Theobalds had moved there in 1873 after spirits warned Morell about the ill health effects of the clay soil in Highgate)

The family sittings were their spiritual sphere and always began with prayer.  The servants attended but stood to the side.

In 1882, Mary announced she saw spirits.  The Theobalds were impressed with her powers, yet she was a servant.  Her place was downstairs.  However, as time passed, and her powers became more and more evident, they welcomed her as a family member.  After the rest of the servants gave notice, it was decided Mary would share the household duties with daughter, Nellie Theobald.  They did not want any negative outside forces to interfere with their harmonious circle.

In the class-obsessed Victorian era, associates were horrified.  While  the Theobalds were obviously legitimate  and astute spiritualists, Mary must be a fake, an unscrupulous villain.  Many friends severed ties with them.

Morell Theobald refused to bow down to this prejudice.  He defended their decision by publicly announcing in a journal: “Spiritualism comes somewhat as a leveler of social distinctions……”

Mary became best friends with Nellie.  They ran the house together and Nellie also began developing mediumistic abilities through writing.

Soon, many bizarre ghostly happening occurred.   The girls reported finding fires already lit in the morning.  The dining table already set for breakfast.  Mysterious letters were discovered in locked boxes. Spontaneous writings appeared on the ceiling.  Mr. Theobald rose early and waited in the kitchen in order to see the spirits start the fires or set the table.  They never came.  During family sittings, the spirits informed him  they could not perform fragile operations while being watched.

In 1884, the family acquired a cabinet and were thrilled when Mary produced materializations of spirit hands and feet.   After Mr. Theobald detailed some of their experiences in the spiritualist journal, Light, he was met with more scorn.

The Society of Psychic Research insisted on drilling Mary through a set of tests.  The Theobalds refused to force her through these brutal experiments.  During this tension-filled time, Mary grew quite ill and took to bed.  Morell claimed  the Society was trying to disprove spiritualist ideas rather than observe and record its merits and distanced himself from them.

Through the years, the Theobald family and Mary remained closely knit.

Was Mary a fraud?

On one hand, it was convenient that no one else saw the fires being lit or tables being set.  Some claim Nellie was in cahoots, seeking special attention.

On the other hand, the class prejudice can not be ignored.  It had been perfectly fine when Mary participated in the sittings as a servant. It was only when the Theobalds regarded her as part of their family, that accusations of fraud circulated.

Writing: Physical Character Description

An oft asked question by writers is, “How much character description do you like?”

Here’s a bit of advice:  Don’t bother asking it.  Save yourself a migraine.  For every person who replies, “I love a very detailed description.  I want to see the character as painted by the author.”  You’ll get another person who says,  “Ugh.  Give me little-to-none.  I like to envision the character the way I want.”

Some readers prefer none, others medium, others love a full Rembrandt.

You can’t please everybody.

Decide how much character description you like.   Then, study how to handle it with a deft touch.

First, let’s look at things to avoid:

1. The “laundry list” :  Mary Sue was really beautiful.  She was five feet eight inches tall and weighed one hundred and twenty five pounds.  She had long blond hair and cornflower blue eyes.  Her lashes were long and thick.  Her brows were thin and arched.  She had peaches and cream complexion, a small perky nose, and pouty lips.    Zzzz………….

2. Purple prose: “long raven hair that fell down her back in silken ripples”, “azure eyes that sparkled like glittering stars- blue as the shiniest sea.”

3. mirror technique- This refers to protagonist sitting down in front of their mirror and studying their reflection as though they’ve never seen themselves before.  In fact, the paragraph usually begins that very way:  “I sat down in front of the mirror and studied my reflection.  My eyes were large and soft brown.  My curly brown hair was horribly frizzy….”

4. waiting too long to describe a character.  If Sarah Collins first appears on page 5- don’t wait until page 40 to describe her.  By then, readers will have imagined her appearance by themselves.  If one has envisioned her as small, petite with red hair it will jar them to discover she is a tall brunette.

So how does one use a deft hand?

Here are some examples from different novels that utilize different techniques:

1. James Cain’s, The Postman Always Rings Twice. Cain was master of spare prose.  This is Frank’s first sighting of Cora:  “Except for the shape, she really wasn’t any raving beauty, but she had a sulky look to her, and her lips stuck out in a way that made me want to mash them in for her.” -This not only gives the reader a pencil drawing of Cora, it adds insight to Frank’s character.  The mashing them in part indicates roughness and brutality.

2. From Wilkie Collin’s, The Woman in White. Here is a very detailed description:  “The lady’s complexion was almost swarthy, and the dark down on her upper lip was almost a moustache.  She had a large firm, masculine mouth and jaw; prominent, piercing resolute brown eyes, and thick, coal-black hair, growing unusually low down on her forehead.  Her expression- bright, frank, and intelligent, appeared- while she was silent, to be altogether wanting in those feminine attractions of gentleness and pliability, without which the beauty of the handsomest woman alive is beauty incomplete.”  If Cain’s sketch was a line drawing, here we have an oil painting.

3. Anne Bronte’s, The Tenant of Wildfell Hall. “Mrs. Graham darted upon me- her neck uncovered, her black locks streaming in the wind.

“Give me the child!” she said, in a voice scarce louder than a whisper, but with a tone of startling vhemence, and seizing the boy, she snatched him from me, as if in some dire contamination were in my touch, and then stood with one hand firmly clasping his, the other on his shoulder, fixing upon me her large, luminous, dark eyes- pale, breathless, quivering with agitation.”

Here, Anne Bronte breaks up the physical description of Mrs. Graham througout the action.   Anne actually reveals very little regarding Mrs. Graham’s appearance.  We don’t know her height, body type, etc..  Anne instead pinpoints on specific elements.  Mrs.  Graham has dark hair and eyes, and pale skin.    From her behavior, one clearly pictures Mrs. Graham with a strong, intense look about her.

What are some of your favorite physical character descriptions from books?  Whether they be raw, medium, or well-done.  Serious or humorous.  What authors brought their characters’ appearance alive to you? Please give examples!

Writing: Achilles’ Heel

In my last couple posts, I tackled exclamation points and adverbs.

This morning, I had an epiphany that the reason I don’t worry about the above, is they’ve never been a problem for me.   Or, at least since can be remembered.  Perhaps my early childhood work was filled with gems like:    “The house is haunted!” she ear-piercingly screamed!

But luckily there is no evidence.

What is an Achilles’ Heel is the overuse of the same words and actions. Luckily, I’m aware of this and can duly edit.   But, man- do I have a thing for frigging eyes. Scorpios (Rising Scorp here) are noted for their intense stare.   Well, my characters are eye-hopping mad.  They not only stare- they look, they glance, they stare some more,  they look up, they look down, they glance around,  they darken, glint, and glisten….

The only thing they don’t do is roll their eyes.  That’s likely due to the fact the WIP takes place in the 19th c.  Victorians surely rolled their eyes, too.  But I associate the gesture with modern day teenagers.  So it’s just not allowed.  Ever.

Moving on-

When my characters are not obsessing with their organ of sight- they are sitting. Or in the process of sitting down.  Or standing up.   Or leaning back in their chair.   Or…

And then, of course, while sitting, they are staring at something….Or glancing… or….

So, I suffer the sin of repetition.

What is your weakness?

Published in: on October 25, 2008 at 7:22 am  Comments (15)  
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Laura Bridgman: The First Blind and Deaf Person to Learn Language

Laura Bridgman c. 1845

Laura Bridgman was born on December 21, 1829 to a family of farmers in Hanover, New Hampshire.    At two years- old she was struck with scarlet fever and lost her sense of sight, hearing, smell, and even most of taste.   Only the sense of touch remained.   Pushing meant, “Go”.  Pulling meant, “Come”.   Soft patting was approval while heavier smacks indicated disapproval.   Frustrated by her lack of being able to communicate her desires, or understand others, it is little wonder she threw fierce tantrums which only her father could somewhat control.

Laura’s plight caught the attention of Dr. Samuel Howe, the first director of the Perkins School for the Blind in Boston.   Founded in 1829, it was the first of its kind in the United States. Howe was a social reformer who challenged John Locke’s theory that people only gather information through their senses.  Instead, he followed the Scottish Common Sense Philosophy which stated God instilled  people  with innate skills.

In the early 1800s, blind-deaf persons were considered virtually impossible to reach.  Howe was anxious to become Laura’s teacher.  If he could educate a child who’d lived in her own world almost since birth, he’d once and for all disprove John Locke.  Through Laura, he could prove humans were not born with blank minds.

No one had ever before been able to teach language to a blind-deaf person.

Howe traveled to Hanover and convinced Laura’s harried parents to allow him to try educating her.  In 1837, Laura entered the school.

At eight years-old, she did not know her own name.

Howe first taught her words before individual letters.  He pasted papers printed in raised letters upon common items such as keys and silverware.    Once she comprehended that these “bumps” signified the object, he taught her the alphabet and how to combine letters to form words.   From there, Howe taught her how to communicate with others through the manual alphabet.  Two years after entering the school,  Laura was able to write her own name.    Once adept in language, she followed the general curriculum of other students:  reading, writing,  math, history, geography, geometry, and philosophy.

drawing of Howe teaching Laura c. 1838

Laura’s success attracted people from all over the world.  Charles Dickens visited her in 1842, and with his usual over-sentimentality described her as, “pure and spotless as the petals of a rose”.  In reality, Laura, though amiable, was quick-tempered and moody.

Fame had its price.  Victorians were fascinated by “freaks”, and unfortunately, Laura became a sideshow.  Hundreds of tourists came weekly to watch the girl “perform” by finding places on a relief map or signing her name.   Little girls poked the eyes out of their dolls and named them, “Laura”.

Howe, himself, played a part in some of the pageantry.   He brought his most talented pupils on tour, including Laura.  On stage, they performed plays and recited poetry.   While Howe wished to change the public’s general perception of those with disabilities, it is also evident that he was soliciting donations.

In 1843, Samuel Howe married Julia Ward and left for a honeymoon in Europe.   During his absence, Laura  began to read religious tracts that differed from Howe’s own Unitarian beliefs.  She found his God to be too abstract and wished to feel a more personal Savior.   After several months of intense reflection, she became a devout Baptist like her parents.    Howe returned,  incensed that his greatest pupil who he considered a daughter, had rebelled against him.  In truth, Laura had entered puberty and was becoming a woman with her own mind.

While Laura remained her entire life at Perkins, her relationship with Howe was never the same.   She never got over the hurt of his rebuff of her.  After his death, she wrote to a friend, “I think much of Dr. H. day & night, with sorrow, & gratitude, & love, & sincerity.”

Laura taught needlework at the school and sold some of her own handmade crafts.  Two of her greatest loves were reading and writing letters to friends and family.  At the age of 59, she became ill and died on May 24, 1889.

Laura Bridgman’s sufferings and triumphs were not in vain.  In 1886,  Arthur and Kate Keller had read Dicken’s account of her.  Their own daughter, Helen, had also been struck with scarlet fever at the age of two and had become blind and deaf due to its horrible effects.    They hired Annie Sullivan, a graduate of Perkins, to teach their six year-old feral daughter.

Using the methods Samuel Howe had used on Laura Bridgman,  Annie Sullivan would become known as, “The Miracle Worker”.   Her pupil, Helen Keller,  learned to speak, read Braille in English, French, German, Greek, and Latin.   After graduating from Radcliffe College with honors,  Helen became a world-famous speaker and author.   A human rights advocate, she spoke out for the suffrage movement and the abolition of slavery.

It must be remembered, that born a half-century earlier, Laura did not have the same access to braille books as Helen.  Helen once stated that if Annie Sullivan had been Laura’s teacher, “she would have outshone me”.

Thanks to Samuel Howe’s innovative teaching and a little farm girl who refused to live in darkness, a new world was opened for Helen Keller and all those who followed.

Laura Bridgman reading in South Boston. c 1888

Writing: Sinful Adverbs

In recent years, adverbs (words used to modify verbs) have fallen into great disfavor.  Adverb opponents insist they indicate weak writing.  Go to any writing forum critique board and you’ll see any and all adverbs swatted away like mosquitoes.

I’m going to be heretical and declare,  “There’s not a darn thing wrong with adverbs.”

If adverbs in themselves indicate weak writing than many of our most critically acclaimed and beloved authors including Dickens, the Bronte Sisters, Wilkie Collins, Thomas Hardy, Nathaniel Hawthorne, Melville, Steinbeck, and Austen sure fooled a lot of people.

It is the overuse of them that indicates weak writing.

It often takes a writer a long time to learn less is more.  Precision is key.

A sure-sign of an amateur writer are pages cluttered with adverbs.   Uncertain of their writing ability,  they fear they must spell out everything.   None of their characters simply speak, stand, walk, cry, or laugh.

“He ran quickly”

“She screamed loudly”

“She whispered softly”

“John noticeably cringed as the woman on stage sang horribly.”

Avoid adverbs that are redundant and clutter the sentence at all costs.

Imagine a little girl receiving a toy doll.   She smiles.  That is it. You would not write, “She smiled, happily.”  The fact she smiled already showed she was happy.

So when is it okay to use adverbs?

Here is a quote from John Gardner: “Wilson rocks slowly and conscientiously—a startling word that makes the scene spring to life (adverbs are either the dullest tools or the sharpest in the novelist’s toolbox).”

And here is an example from Wilkie Collins, The Woman in White : “I wound my way down slowly over the Heath, enjoying the divine stillness of the scene, and admiring the soft alternations of light and shade as they followed each other over the broken ground on every side of me.”

One may argue the word, “slowly” is not necessary.   Yes, the sentence is clear without it.  However, it also does not clutter the sentence.   Rather than being redundant, it adds a certain nuance.   So in this example, the choice of whether or not to use, “slowly” is a stylistic one.

Think of adverbs as spice.   Carefully placed they add a certain tone and color.   Too much and they overtake the main flavor of the dish.

Writing: Those Horrid Exclamation Points

For my next few posts, I’ve decided to focus on certain “writing rules” which are circulating around writing forums causing waves of panic.

These include:

No exclamation points!

No adverbs

No saidisms

Naturally, my take on these is just that.  My own.   There are many writers who may happily disagree with me.

Okay,  today let’s look at those horrid exclamation points.

There was a time that novels overflowed with them.   You’ll find an abundance in classic literature of the 19th. c.   But they later reached their zenith in pulp novels.

Here are a few made-up examples:

1.  He entered the room.  It was empty!  The killer had escaped out the window!

2.  She opened her mouth in utter horror!  She tried to scream but no sound would come out!  She was paralyzed with fear.  The man had a gun!

3.  “Oh, Maria!  You are so beautiful!”

Is it any wonder that a new movement came in declaring the exclamation point over-the-top and childish?  Writers were urged not to use them.

Now, many writers are afraid to ever use an exclamation point.   Let’s diminish their fears.

True, exclamation points are hardly ever necessary in prose.  Avoid them there unless you want to remind readers of the ’60s Batman show.

However, let’s look at dialogue.  If a character is stuck in a burning building,  “Help!”  looks a lot more fitting than, “Help.”

Used very sparingly and in the right places- exclamation points are not the horrid punctuation marks they’ve been made out to be.  (perhaps not even in the rare prose)

Published in: on October 21, 2008 at 12:13 pm  Comments (11)  
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Why Writers Go Crazy and My Plan Back to Sanity

Yesterday I mused about the pure joy I felt writing when I was a kid, and how I long to return to that innocence.

See, ten year-old me was a writer.  I wrote stories all the time, and it certainly never dawned on me that I might not get a novel published one day.

Through the years I wrote several novels.  They ended up getting deservedly trashed.  But they were great practice.

Then, I managed to get some short stories professionally published.  Happy Snoopy Dance time.  But, in my heart of hearts, I always knew I wouldn’t be satisfied until there was a novel sitting on a shelf of a bookstore with my name on it.  So, again I sat down to pen a novel.  This time, as an adult.

Through the years I gained much needed technical knowledge.  Just as a ballerina has to practice years and years at the barre for those  leaps and pirouettes on stage- it takes years for the writer to gain expertise on the craft of writing: grammar, style, voice, sentence and paragraph structure, balancing prose and dialogue, description, handling dialogue tags, plotting a smooth narrative.  It’s a never ending learning process.

The downside is one becomes too focused on the technical aspect.  (for instance, I’m cringing now because I used “I” 4x in the first sentence of this post.  Argh!!!! And it’s my own frigging blog.  I really, really want to fix it, but for the sake of this post, it’s going to remain no matter how much it hurts)

And, like many wannabe authors, I’ve become too paranoid.  The book industry is brutal.   There is no denying, no sugarcoating it.  Agents often state they only ask to see roughly 5% of partial submissions from the hundreds of query letters they receive each month.  So, let’s say you wrote a clear, intriguing query and you are one of the 5% asked to send in the first 3 chapters of your novel.  Great!  But, agents then admit they often put down a manuscript if they are not grabbed by the first page.   Often times, the first paragraph.

Is it any wonder we go into a tizzy?  Worrying about whether our word count is too short or long, should we use “said” because it’s invisible or does it get boring?  Will the agent toss my work because I still doublespace after periods?  Can I use adverbs? How can adverbs indicate weak writing when some of the greatest writers in history used them?  A lot.  Am I showing enough?  Telling too much?  I’ve heard agents hate exclamation points.  I have one on page 121.  If they’ve liked my novel til that point- will they toss it?  I write better in first person but I hear many agents prefer third.  What should I do????  I write in third.  I heard a rumor first is becoming more popular.  On and on it goes…

Writing boards are filled with frantic writers posting such questions.

Many of these questions are valid and necessary while editing.  However, they wreck havoc on creating  the story. And they certainly kill the joy of it all.

So, I have a plan to kill the evil inner-editor while I finish my second draft.

Now, I was going to make myself some rules.  Like, “no editing until draft done”, “no stopping to pick up dictionary or thesaurus”.   But then I remembered kids don’t give themselves rules.  Perish the thought!

An author once said, “Write the novel you want to read”.

So, I’m going to write like I did when I was a kid- in other words, write whatever the frell I want. Not second guess myself.  Not analyze anything.   Not picture future beta-readers critiquing.

Just curl myself up and have fun.

No rules!

Anything goes!

Yup.  I’m going to make it that simple.

Published in: on October 19, 2008 at 5:21 pm  Comments (10)  
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Childhood Toys and Writing

Years ago, my parents woke every weekend morning to a thundering crash.  They remained calmly tucked in bed for they knew it was only their short, scrawny, pig-tailed little kid.  Me.

The sun rising was my cue to hop out of bed, open my closet, drag out my large bin of Lincoln Logs and Little People figurines and dump them all over the floor.   I had a long-going saga which involved two families who lived in a small prairie town.   One family was rich and resided in a Fisher-Price house.  The other family was poor and lived in a log cabin.  The poor family included the father who was currently away at war, a kindly mother, and four sisters.  (No, this part wasn’t at all inspired by Little Women.  gee-why would you think so?)  The shy, yet strong-willed, tomboyish, bookworm youngest daughter (not me-  geesh!) was madly in love with one of the sons of the rich family.  He reciprocated.  Alas, his snobby parents forbade the romance.  Oh, the drama!  The heartbreak!  The passion of desperate lovers secretly meeting and engaging in activities which at that point I’d only seen on TV.

Yes, it was all very torrid.  (sniffles)

After a couple hours, I’d abandon my gang to watch the Smurfs while eating Cookie Crisp cereal.

Well, as Stevie Nicks sang, “even children get older”- so one day the Lincoln Logs and Little People were passed on to younger relatives.  My stories went from being played out with toys to pen and paper, then to a child typewriter, an adult typewriter, and now, of course, a computer.

As I continue working on my novel, I’m trying to regain the pure joy I had with creating stories when I was a kid.   I’m tired of stressing over every word, every comma, every paragraph.  I want to have fun again!

Every writer knows they must shut off the inner-editor while writing the story.   But knowing, and being able to do so, are two very different things.

Here’s my own plan: for the rest of this draft, I’m going to pretend I am not trying to be published.  I’m just writing for fun.  No one else will ever see this except family and friends.  Surely, with my vibrant imagination- I can pretend this.

So, yeah.  There it is.  This story is just for me.  Just like when I was a kid playing with Lincoln Logs or a teen sprawled on her bed.

It’s time to have fun again.

Come Monday, maybe I’ll pick up some Cookie Crisp.  🙂

Published in: on October 18, 2008 at 6:22 pm  Comments (4)  
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Three Mean Ghosts

Okay.  I haven’t had the flu in several years.  So, last week the Flu Fairy decided to pay me a visit.   With a vengeance.   One minute I was at work.  The next I was lying on my sofa- coughing, sniffling, and basically thinking,  “Gee this sucks.  Being sick was a lot more fun when I was a kid and got to stay home from school.  Back then I got big bowls of yummy ice cream and there was actually good stuff on afternoon TV.”

So, for two days I went in and out of consciousness as Three  Mean Ghosts visited me.  The conversation was pretty much one sided.

Ghost of Writers Past: “Look at how much time you’ve wasted!  Time! Time! Time!”

Me:  Sneeze

Ghost of Writers Present:  “Look!  She still procrastinates.  Nothing can be said.  It is a lost cause.”

Me:  Cough  Cough

Ghost of Writers Yet to Come:   “You will never finish your novel!  It will languish forever…tormenting you until you go mad!!!”

Me:  Sniffles

Well, I certainly wasn’t going to allow three skeletal dudes with bad manners make me feel guilty.   Not in my own frigging home!  Not when they weren’t even gracious enough to bring me some mint chocolate chip ice cream.

But..okay… yeah.  They got to me.  Having taken this week off from work- I’ve thus far held my pledge of writing at least 10 p. a day.  Now I’m at p. 82 of my second draft.

Basically, I don’t know the real meaning behind this post.  One: I have a guilt complex which causes me to hallucinate.  Two: turning a bad situation into a good one.  Or three:  I just felt like posting.

Ah…the winner is probably the third one.

Nah- all three.

Published in: on October 15, 2008 at 5:23 pm  Comments (4)  
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