Writing

C.S. Lewis, Accidental Genius

My collection of books by and about J.R.R. Tolkien and C.S. Lewis has been missing a good bio on Lewis. I have remedied that with expansive new Lewis study by Alister McGrath entitled C.S. Lewis: A Life: Eccentric Genius, Reluctant Prophet.

Released last year in time for the 50th anniversary of Lewis’ death, it is a very readable and insightful look at this influential writer-scholar who never set out to be famous. McGrath has scoured all of Lewis’ writings and letters and pieced together the Narnian’s life story from beginning to end. We see Lewis as the intelligent child trying to fit in, the soldier in WWI, the ardent atheist, the scholar who reasons to belief in God, the everyman champion of Christianity and the writer of subtle, yet complex novels. Many love his simple intellectual approach to belief (as in Mere Christianity), others can’t stand that the theology of this non-theologian wasn’t perfect (as if theirs is) or that he loved to smoke and drink. Ultimately, as this detailed biography shows, Lewis was, like us all, a very complex individual who didn’t claim perfection (or that Christianity made one so).

McGrath’s book is a study of Lewis, not his books, but through those writings McGrath looks into the mind of one of the few writers remembered decades after they have passed. His influences were many and together they left quite the legacies. For some, it was his creation of Narnia that has inspired many others (even those who didn’t like his mythos). There was his lesser known Space Trilogy (or the Ransom Trilogy, as McGrath suggests it should be known as) that showed us the dangers of scientisim and other irrational thought. His books that explored issues we all face, regardless of our beliefs, such as A Grief Observed or The Problem of Pain. Through Lewis’ many books and letters, and those who knew him, his life can be reconstructed in a way that can be accomplished for very few writers.

Indeed, it was his life that made him a writer that will be long remembered.

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Of Checking Sources & Not Jumping the Gun

Awhile back, an author wrote a book on guns in the United States. He argued that history showed that the “gun culture” was a relative new phenomenon and not present in early America. The book went on to great acclaim. Many endorsements. Awards were won.

Problem was, when people actually began to check the references, little of it was true. The book was withdrawn, so were the awards. Positions lost.

This particular incident was chronicled in Armed America. Regardless on your thoughts on the relevant issue (guns), that is besides the point for our purposes. What should be clear is as a writer doing research, or just as a citizen, don’t assume everything you read or hear is true, no matter how well it’s footnoted or couched in sophisticated words.

Too often we gravitate to only what confirms what we think is true. Rarely do we actually confirm or seek out other views. We let emotion drive our thinking and, in all reality, end up doing no thinking at all.

“There are two ways to be fooled. One is to believe what isn’t true; the other is to refuse to believe what is true,” said Søren Kierkegaard. We can avoid this trap if we just train ourselves to stop, take a deep breath and dig a little deeper.

Ultimately, it’s about deciding to think like an adult.

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Should you Flashback?

Writers are often told to do this, don’t do that. Then someone comes along and tells them the opposite. One thing they are often told not to use are flashbacks. Author and publisher Jeff Gerke writes in The First 50 Pages:

But if your whole purpose for doing a flashback is to reveal backstory, it’s de facto telling. You’re still stopping the story (the main, present-day story) to explain something, and it’s probably something the reader doesn’t care about…Avoid flashbacks if you can.

I would normally agree. Flashbacks are often poorly used. In recent years, however, film and television have showed us how to seamlessly use flashbacks in storytelling. We owe much of that to Lost.

Flashbacks revealing the pasts of characters were integral to Lost‘s writing. The premise behind the technique was that we rarely ever start with a character at birth and see their whole life. We nearly always start in situ somewhere in their timeline.

Ever read a scene that is obviously trying to show something about a character that comes across forced? There’s often enough going on in the current story that the backstory will get the shaft or feel out of place. Flashbacks can solve this if — and pay attention to this if — they are fluid and seamless. The reader clearly knows, or soon will know, the time has changed. It must feel like the story hasn’t stopped or slowed. Your reader shouldn’t be jarred. Visually, on television, this is all a bit easier. Do you need to preface a flashback with a notation such as “6 years ago…” If you have to do that, the scene is probably not seamless enough or you’re not showing enough in your story. If you do that well, then trust your readers. Don’t be like films that subtitle “Washington, D.C.” over a shot of the Mall and its monuments.

So like many techniques, flashbacks can be done right or wrong. See how television has done it right so you won’t do it wrong.

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Outlining Your Stories to Life

One tool writers like to debate the value of is outlining. The argument against outlining states it’s too restrictive and doesn’t allow the story to breathe. The pro-outliners write that the anti-outliners are still stuck in that rigid outlining method learned in the 5th grade. I think the latter is correct.

Yes, there are a (very) few people who can just start writing and end up somewhere great and not worry about dead ends, corners or poor endings. What outlining is not is a rigid, blow-by-blow plan of every detail of a book. In a shorter work like a short story or article, okay, an outline can be more detailed. For a novel, think of it as a roadmap with the best places to visit.

I take the storyboard approach, which, I suspect, is not original to me (Morgan Busse talks about storyboarding in a recent post). I even taped a long roll of paper on the wall initially, though this proved a bit problematic referring back to. I soon transferred it all to a notebook. In this storyboard, I put the main events I see occurring (or “set pieces”) in their approximate locations (and this must always include the beginning and end). Then this is followed with a sprinkling of other events, people and details throughout. Then the writing begins, sort of like connecting the dots.

In front of you there is a path, but you are uncertain of what is going to occur along the way. You do know where you want to end up. Just like using a roadmap, you don’t always know what will happen between point A and B and that’s where the fun begins.

Most writers are quickly surprised that their story will take on a life all its own when carving out these paths. New characters show up that weren’t planned. Locations that weren’t on the original map. C.S. Lewis wrote how Narnia “all began with a picture of a Faun carrying an umbrella and parcels in a snowy wood.” Then “Aslan came bounding into it” pulling the rest of the story behind him. I think that is what he was talking about, the moment a story writes itself. The instant in time the author knows they are onto something big.

It all starts with a handful of ideas and characters in the mind’s eye of an author waiting to given life. Outlining may help you do just that, but in either case, nothing will happen if you don’t start writing.

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Origins

In recent years, Hollywood has tapped into the audience’s desire to see how their favorite characters came to be. In Star Trek we witnessed the coming together of the legendary starship crew. X-Men First Class unveiled the emergence of professor X, Magneto and their teams of mutants. And in Casino Royale we finally saw how Bond became 007. Film isn’t the only place that has been exploring origins. Brian Godawa has been exploring the beginnings of iconic figures from biblical accounts in his Chronicles of the Nephilim series.

First it was Noah, then Enoch. The great patriarch of religion Abraham. Now Joshua comes alive in Joshua Valiant. As in the previous books, Godawa reads between the lines and makes three-dimensional these people that we all know, whether or not one is a reader of the biblical accounts. Those accounts are known for giving us the main points, the purpose of our place in the Great Story. We can argue that this all that is needed and we’d be right, but many of us our curious and inquisitive people. What has been relayed to us are sometimes short on the details on the lives of these people. How they became who they were. Their paths that led them to where we meet up with them in the Bible.

So in this novel on the entrance of Joshua, Godawa continues to draw on what subtle details that the Bible provides, history from the era and other contemporary writings, and extrapolates into the fantasy genre with a cast of warring giants, demons and angels. But one is left wondering where does the fiction end and the history begin?

As I have said in previous reviews, it’s always best to start at the beginning with volume one of the series. You can jump in with this latest entry without much trouble, however. If you’re worried about this being “biblical fiction” that is going to sound like a sermon, put your concerns aside. This written more in the style of high fantasy and definitely not the calm, pastoral stories of children’s books (which have so colored our minds of the source material).

Before the walls of Jericho fell, there was a story to tell. Many stories, in fact. And when you compare the events of those times to the present day, you will begin to see some important parallels and one thing may come to your mind.

Has the War of the Seed begun again?

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Darkness Rises

The following post is a rerun. Why would I repost it? Because I made subtle changes that makes this a perfect example on how a little revision can make all the difference in the world. When you write, really write, you shape and reshape every word like clay.

There has been a war raging since before man first appeared on the Earth.

A war with Evil.

But it’s not what you see on the nightly news. This is far worse.

These shadows conspire in hidden places, whispering in the dark. They wait for times to emerge and spread terror over the land. While the world’s attention is elsewhere, they plan for chaos that few could imagine. They work to unleash horrors long banished to myth.

The Dark One is very pleased most believe such things fantasy. Others know better. Those who have stood among the shadows and crushed their campaigns. Pushing back incursions of the Followers of Darkness as the world was unaware, they asked for no reward. When humanity was propelled to the abyss time and time again, a few brought them back.

Now the Darkness has grown once more. Are there still those who are as the heroes of old? Will they rise?

The time is upon us.

It will be the beginning. Or the end.

Among the Shadows, Watchers of the Light Book 1, the first in a new fantasy series, coming soon.

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Bypass the Publisher or is Self-Publishing a “Cop-Out?”

Here’s two perspectives from authors whose books I have enjoyed:

So, You Think You Need a Publisher…” by Robert Bidinotto and “Self-publishing as ‘Principled’ Cop-out” by Mike Duran. I plan on commenting on this topic myself here shortly, but I thought I get the ball rolling. Have fun.

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Nightmare of Editing

For you writers out there, editing can be the worst part of the process. When is your work really done? Good enough to begin showing to friends, agents or publishers? These are tough questions, with few easy answers. I’ll try two.

One, I read somewhere that you should take your best sentence or paragraph and use that as your standard. You know, that part that just pops. Every word is perfect. The flow. The content. Nothing is out of place. Compare everything else to those words and reshape until the standard is matched. This can be tough to do. During the writing, a lot gets thrown onto the paper. Now you have to really craft it like you are carving or sculpting. It is the editing process where people usually realize that writing is a skill. Good writing that is. The editing may take awhile, but you will know when each part is just right.

Two, delete. Yes, sometimes there is no saving a sentence or even a whole paragraph. Maybe a whole page. Remember that section you wrote that sounded so cool? You were trying to say something profound. There was some bit of great knowledge you had and needed to impart it on the reader. Chances are, it never sounded good. It never fit. Now, no reshaping is working. Erase it. Trust me, when you do it, you’ll feel better. Your story will be stronger and you’ll wonder why you wrote those horrible words to begin with.

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Removing the Wool From Our Eyes

Bradbury. Huxley. Orwell. They all wrote, each in their own way, about the corruption of those given power. It is the belief of those few that they know what is best for the many. Their desire to shape and control your life. Their increasing ability to pull the wool over your eyes.

And that is where Hugh Howey’s Wool steps in and joins the classics of these other writers.

A dead Earth in the future where everyone lives underground. The residents of Silo 18 are all that are left. Their underground city must all work together to survive. No one can leave the Silo. Death comes quick in the old world. But there are rumors of the past. What came before? What happened on the surface? Is it the destiny of man to live under the Earth forever? And why must people be sent out to preform the Cleanings, never to return?

Some of the residents dare brave ask those questions and risk their lives. The answers are disturbing, but will they also change the future? Or will they condemn it?

Howey’s book is a cautionary tale that will become a classic of Sci-Fi’s subgenre of post-apocalyptic fiction. In an era of ever-growing power in the hands of the few, it is a tale that needs to be told.

It is also a story of how the human spirit can never be suppressed forever.

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More Than “Just a Fantasy”

It’s not often that popular fiction stays in print for decades. Even less often does it have the depth that allows it to transcend the imaginary barrier from pop to literature or even to the status of classics. Even most of what is today referred to as literary fiction, well, won’t stand the test of time. Every so often there are books that do the impossible. J.R.R. Tolkien’s Middle-Earth, as embodied in The Hobbit, The Lord of the Rings and The Silmarillion, have done just that and have endured for over a half a century.

Many have only been exposed to Tolkien’s world through the recent movie versions. Or perhaps you think fantasy is just that, fantasy. Elves, trolls and big battles. Doesn’t sound very relevant to the real world, does it? There must be a reason why Middle-Earth is still the inspiration for an entire genre and still attacts millions of readers decades after its publication.

Because it is relevant.

Like any great book, the author has the primary responsibility for its success. Tolkien was a scholar, not a fiction writer. His mastery of history, language and culture allowed him to create an alternate history of Earth. This wasn’t his most important strength, however. Like any writer, his beliefs and convictions inform and influence his words on paper. As a great writer, he didn’t strive to lecture or teach as much as meant to entertain.

And so there have been endless books critically analyzing every aspect of Tolkien’s world. Most of today’s “literature” never warrants such study. One of the best such scholarly, yet accessible, endeavors is Matthew Dickerson’s A Hobbit Journey: Discovering the Enchantment of J.R.R. Tolkien’s Middle-Earth.

Dickerson explores Tolkien’s many themes such as the free will of men, moral responsibility and war. This last may be apparent from the film versions and people may think it the overwhelming part. Indeed it is in many ways, but Tolkien wove many subtleties in his stories.

War is at time necessary, but takes a terrible toll on all, even the victors. That is clear in the books, as is that the forces of good should never use evil to conquer evil. The means don’t always justify the end. The Ring could be used to destroy Sauron, but at what cost? What did it do to all that did use or want it, often with the best of intentions? Even the way the “good guys” treated captured enemies was diametrically opposed to how the Enemy treated their prisoners. Moral and military victories aren’t always the same thing. Discussions like these in Dickerson’s book reveal some very deep issues embedded in Tolkien’s books.

Thoughtful people will begin to realize that all the screaming “experts” on television who pretend to be intellectuals, never approach the mind of someone like Tolkien. Unlike them, he doesn’t preach, browbeat or lecture his readers. His beliefs are so well-thought out, they naturally flow within the story. They make his book an endless treasure chest to be searched.

The films captured Tolkien’s world better than any other book-to-screen adaptation, but there is much more. If you are someone who likes books that can reveal new depth at every reading, or you have never delved into a book for a literary study, Dickerson’s book will surprise and challenge you to do just that with Tolkien.

And no doubt you will pick up Tolkien’s books again and read them like it was the first time.

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