Thursday, October 28, 2010
Invasion!
The dead of night is a perfect time to sneak aboard a pirate ship. And when one is as experienced as I am, it is second nature. I’ve heard a great deal about this ship of women writers. As the writer who has penned my tale lurks and eavesdrops on my life, I do the same to her.
So, I know the first thing I must do is make certain the ninja pirate in the crowsnest raises no alarm, or plants one of those pointy stars in me!
*pulls the pin on a gas grenade and tosses it easily into the crowsnest
There, that ought to do it. Nothing terribly drastic, but it will keep her and her companion stay abed long enough for me to handle the rest. Now, the captain’s cabin… How nice, she’s already tide up the chatty Captain Sparrow!
“Shhhh! I mean no harm here, Captain Hellion…”
*handily sees Captain Hellion lightly bound and carries her out to the deck. One by one the other pirates are rounded up and carefully bundled, brought out to the deck and set before Chance’s makeshift bar. The sun is rising before the task is done.
Blury-eyed, they focus on me as I pull out a small crate and perch upon it. Leaning forward, I speak softly. “I’d like to keep this chat quiet now, see if we can leave my author’s alter ego, 2nd Chance, out of this for a few hours. I promise, no violence.” I reache out and gently loosen the gags, so that they fall away.
“Where is Sin, what have you done with her?” Hellion demands.
I smile crookedly. “Now, I’ve done nothing but sin, according to many! But you mean your quartermaster. She’s simply napping under a light cloud of sleeping gas. She won’t be harmed by it, I assure you. I am a gentleman.”
Dead Reckoning eyes me closely. “I know you!”
“Yes, I imagine you all know me. Or know of me. I am Captain Alan Silvestri, the star of The Kraken’s Mirror and though your 2nd Chance may take credit for creating me, all she’s truly done is bring me out of the twilight of ‘might-have-been.’ I’m very thankful and in truth, am here in an attempt to do her a favor.”
“That’s why she’s snoring behind the bar instead of sitting on the cold deck, hands tied?” Bo’sun Terrio glares quite fetchingly.
“Yes, and I’m well aware of her internal clock being set to west coast time. I assume we’ll have a few hours to discuss her problem before she wakes and set you all free.” I take a deep breath. “Let me explain. For several weeks now, she has been moving forward with the second book of her series at a glacial pace. She’s worked out some of the greater issues and is ready to dive in, and fly to the finish. It’s a darker tale than mine, but worthy of being told.”
I look away, smiling. “In fact right now she has me and my Emily snug in her small cabin, energetically driving away the dark and enjoying each other… I have no objection to being left there for many, many, many pages.”
“Then what’s the problem?” Haleigh squirms. “I need to pee.”
“Ah, a woman in your condition has certain privileges. Let me untie you and help you to your feet….” All of them are sweet woman and I assume due to their mate’s condition none on them attempt to overpower me while I am in their midst. I know simply binding their hands before them won’t keep them still for long.
Hal thanks me sweetly and moves to the privy.
“Let me continue. Her difficulty involves the argument taking place in Captain Jezebel’s cabin, between her and Mick. It’s been going on for hours now and she’s written of the effect on the rest of the crew, how it distresses Emily. But has only stuck a single foot into the cabin to deal with the actual recording of it. I understand it’s a vitally important argument and she wants to get it just right…”
I smile as Haleigh returns and pulls up a barrel to perch upon. By now the rest are intrigued, untying each others wrists, they stretch and yawn, keeping a sharp eye on me. I am, after all, the only one armed. As if I’d draw weapons on any of them! I just hope the tripwire I set near the crowsnest offers enough warning to keep Sin from acting with some quick bit of violence at me.
“Arguments aren’t easy to write,” Marnee comments. She tilts her head at me. “Is this the final argument before the big reveal and reconciliation or the one that sets up the bigger mistakes to come?”
I consider a moment. “I believe it is the biggest real argument they will have, but it won’t clarify anything. She means it to set in motion the realization that these two understand more than they know, they just don’t know how to get past what they don’t know or are simply mistaken about.” I shake my head. “Sometimes her prose confuses me…”
“It’s going ta answer most questions but open the floor fer another round, more important questions. Like whether they can survive Jezebel’s past… Silvestri, what the hell are ya doin’?”
Chance shuffles from behind the bar, her bright yellow footwear distracts me a moment and all I can do is stare.
“What? Never seen Grimm from the comic pages!?” She snorts. Running a hand through her messy hair she glares at me again. “I told ya I’ll work it out!”
I nearly laugh, her hair is now standing up like a rooster’s comb. But I do want to remain in that cabin with Emily, so I stifle myself. Instead, I turn to the crew, on their feet now and watching the play between Chance and I.
I need all my charm now…
“Tell us, ladies, how does one write a bitter argument, full of constant misunderstandings, moments of deep clarity and end it on a note of sorrowful resignation? Yet a seed of hope remain? Is there a secret you’d like to share?”
Well? How do you write arguments?
So, I know the first thing I must do is make certain the ninja pirate in the crowsnest raises no alarm, or plants one of those pointy stars in me!
*pulls the pin on a gas grenade and tosses it easily into the crowsnest
There, that ought to do it. Nothing terribly drastic, but it will keep her and her companion stay abed long enough for me to handle the rest. Now, the captain’s cabin… How nice, she’s already tide up the chatty Captain Sparrow!
“Shhhh! I mean no harm here, Captain Hellion…”
*handily sees Captain Hellion lightly bound and carries her out to the deck. One by one the other pirates are rounded up and carefully bundled, brought out to the deck and set before Chance’s makeshift bar. The sun is rising before the task is done.
Blury-eyed, they focus on me as I pull out a small crate and perch upon it. Leaning forward, I speak softly. “I’d like to keep this chat quiet now, see if we can leave my author’s alter ego, 2nd Chance, out of this for a few hours. I promise, no violence.” I reache out and gently loosen the gags, so that they fall away.
“Where is Sin, what have you done with her?” Hellion demands.
I smile crookedly. “Now, I’ve done nothing but sin, according to many! But you mean your quartermaster. She’s simply napping under a light cloud of sleeping gas. She won’t be harmed by it, I assure you. I am a gentleman.”
Dead Reckoning eyes me closely. “I know you!”
“Yes, I imagine you all know me. Or know of me. I am Captain Alan Silvestri, the star of The Kraken’s Mirror and though your 2nd Chance may take credit for creating me, all she’s truly done is bring me out of the twilight of ‘might-have-been.’ I’m very thankful and in truth, am here in an attempt to do her a favor.”
“That’s why she’s snoring behind the bar instead of sitting on the cold deck, hands tied?” Bo’sun Terrio glares quite fetchingly.
“Yes, and I’m well aware of her internal clock being set to west coast time. I assume we’ll have a few hours to discuss her problem before she wakes and set you all free.” I take a deep breath. “Let me explain. For several weeks now, she has been moving forward with the second book of her series at a glacial pace. She’s worked out some of the greater issues and is ready to dive in, and fly to the finish. It’s a darker tale than mine, but worthy of being told.”
I look away, smiling. “In fact right now she has me and my Emily snug in her small cabin, energetically driving away the dark and enjoying each other… I have no objection to being left there for many, many, many pages.”
“Then what’s the problem?” Haleigh squirms. “I need to pee.”
“Ah, a woman in your condition has certain privileges. Let me untie you and help you to your feet….” All of them are sweet woman and I assume due to their mate’s condition none on them attempt to overpower me while I am in their midst. I know simply binding their hands before them won’t keep them still for long.
Hal thanks me sweetly and moves to the privy.
“Let me continue. Her difficulty involves the argument taking place in Captain Jezebel’s cabin, between her and Mick. It’s been going on for hours now and she’s written of the effect on the rest of the crew, how it distresses Emily. But has only stuck a single foot into the cabin to deal with the actual recording of it. I understand it’s a vitally important argument and she wants to get it just right…”
I smile as Haleigh returns and pulls up a barrel to perch upon. By now the rest are intrigued, untying each others wrists, they stretch and yawn, keeping a sharp eye on me. I am, after all, the only one armed. As if I’d draw weapons on any of them! I just hope the tripwire I set near the crowsnest offers enough warning to keep Sin from acting with some quick bit of violence at me.
“Arguments aren’t easy to write,” Marnee comments. She tilts her head at me. “Is this the final argument before the big reveal and reconciliation or the one that sets up the bigger mistakes to come?”
I consider a moment. “I believe it is the biggest real argument they will have, but it won’t clarify anything. She means it to set in motion the realization that these two understand more than they know, they just don’t know how to get past what they don’t know or are simply mistaken about.” I shake my head. “Sometimes her prose confuses me…”
“It’s going ta answer most questions but open the floor fer another round, more important questions. Like whether they can survive Jezebel’s past… Silvestri, what the hell are ya doin’?”
Chance shuffles from behind the bar, her bright yellow footwear distracts me a moment and all I can do is stare.
“What? Never seen Grimm from the comic pages!?” She snorts. Running a hand through her messy hair she glares at me again. “I told ya I’ll work it out!”
I nearly laugh, her hair is now standing up like a rooster’s comb. But I do want to remain in that cabin with Emily, so I stifle myself. Instead, I turn to the crew, on their feet now and watching the play between Chance and I.
I need all my charm now…
“Tell us, ladies, how does one write a bitter argument, full of constant misunderstandings, moments of deep clarity and end it on a note of sorrowful resignation? Yet a seed of hope remain? Is there a secret you’d like to share?”
Well? How do you write arguments?
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27 comments:
I write arguments with lots of introspection. But I write everything with lots of introspection.
And dialogue--and arguments--is much more than what you say. It's what you don't say. Most of the bitterness and sorrowful resignation comes from what people refuse to say at the right moment.
Bitter arguments huh?
I don't know all the details involved in the argument, but I think the best way to end on sorrowful resignation is to make both of their positions valid. I think the best arguments (in prose) are when the characters don't seem like they'll be able to compromise and yet they both make sense.
Beyond that, I just try to think about how my husband and I argue. We don't argue much but both enjoy the quick comeback.
Like this...
Me: You need to start putting the lid down on the toilet. I almost fell in last night.
Him: There's more of us (meaning men) than you. I think you should just pay attention.
*An aside. He's mostly joking here. But in every joke is a kernel of truth.
Me: I don't turn on the light at night, it wakes our oldest up.
Him: So, it's my fault you can't see in the dark?
Me: Put it down or when I fall in and get a wet ass in the middle of the night, I'm coming in and rubbing it on your face. If I have to be awakened by water on my ass, so should you.
*fade to black.
Chance, that was fun! It might be the first time I've been tied up by a pirate. LOL Definitely the first GROUP tie-up by a pirate!
I can see where this would cause some trouble to write. I had to write an important argument scene between two characters that hadn't argued before, because they always dealt with things in a humorous way previously. It was tough.
I agree with Hellie that bitterness and sorrowful resignation comes from what is unsaid. Even worse, the arguers are hurt that the other party can't SEE their point of view. Kinda like when women want men to read their minds and we get upset that they can't. :)
It's that old "if they love me they would KNOW what I mean" thing. So the lack of understanding about the argument hurts more.
I would suggest you open a separate document and just dive in and let the parties go at it. You may not use much of it, but maybe it'll get you to the part you need. Just think of it as something you're noodling around with -- don't think of it as final right now. That might help you get going. :)
Hellion - Yeah...what they don't say. Which is stuff they think the other person already knows... I can work that into it...
I swear, I've been staring at this argument for two weeks, as Silvestri said, stuck one toe into that cabin and just lightly stirred the pot. It's been going on for hours...
Marn - Both sides valid, eh? I think I can bounce a bit on that. He's right about somethings, but she's right about other. He's more right than she is but just doesn't articulate it very clearly... She's more rather be dead than wrong...
But I can find validity, at least from the two perspectives...
My head hurts...
jeez that was long - sorry :)
This is hilarious! And thank you so much for letting me pee :) What a kind pirate!
I love the "big confrontation" in books. Often for me, that's one of the first scenes I'll see in my head when starting a new project. They are also, of course, one of the hardest to write (in my opinion).
One thing I've noticed is that arguments like those take several drafts, with time in between. Personally, I need to just get it all down, with all the introspection that comes with it (WAAAAAY too much in the early tries). Then after letting it sit a few weeks, I have an easier time of spotting which introspection is increasing the tension, and which is just slowing it down.
When we're fighting, there's always way more going on in our heads than we get out. And it often comes out different verbally than it ever was in our heads. And we keep thinking about it later. So it makes sense that (for me, at least), all that crazy stuff in your head during a fight comes out on paper.
One thing I adore, like Hellie brought up, is the stuff that remains unsaid.
I had one fight between my hero/heroine that every time I worked on, was getting longer and longer. All these hurtful things she wanted to throw at him, rationalizations that needed to be explained. And then I realized that this was one of those "unsaid" things. So I pared it down to only this:
“Naomi.”
She stopped, but didn’t turn.
“It’s not forgivable, is it?” he asked.
She met his gaze over her shoulder. “Would you have ever forgiven me?”
She didn’t wait for an answer. They both knew what it would be.
..............
It may not make sense out of context, but it leaves everything unsaid in Naomi's head, and makes it much more hurtful to him, I think, in the long run.
I love Marn's point: that the best arguments are the ones where they both are right. (Not that I believe anyone is right besides me, but in fiction, I believe it.)
And I love Hal's excerpt. Even out of context. It's got that suspense thrill of: duh, duh, DUH. How will this resolve itself?
Forgiveness and Trust are BIG THEMES. They're hard to capture and put on the page properly. :)
No, not too long... I get it. Especially what wasn't really understood in that snippet of dialogue.
It always comes down to the ...what I meant, what I really said, what he heard, what I thought he heard, what he reacted to...what he meant, what he reallysaid, what I heard, what he thought I heard, what I reacted to...what I meant...and on and on and on.
I actually had a class in college that went over the whole barriers to communication stuff. And so much of it has to do with perception.
My heroine sees herself one way, sees him another way...neither views are totally true or totally false...
Hellion - Yup, and the hardest things to forgive with my heroine is herself. It's all mixed up with responsibility and the conviction that the lack of accepting responsibility denotes powerlessness, which is scarier to her than accepting responsibility for something she COULD NOT have been responsible for...
Okay, now I'm dizzy!
I actually had a class in college that went over the whole barriers to communication stuff. And so much of it has to do with perception.
Because I teach conflict (and, in theory, resolving conflict) this is one of those things that I drill into my students' heads. We each have a filter we look through, and it never matches the other person's in the fight/relationship. Doesn't mean one's wrong and one's right. Neither will be completely accurate. But they're important, and how you see yourself and them will affect how you act/react.
So true, Hal! And communication is more about what we think the other person said than what they really said! Somewhere, in the chasm between people so much is changed, falls to the depths or floats away.
But I think you're write when it comes to writing this one down, I'm going to put too much in and likely need to back out. But it has been going of for hours...
I have to step back into the cabin!
Chance, can we assume your heroine DOES change her mind in the end? At least about how she views herself in light of her past?
If so, maybe you could work backwards from there, to see where she has that "aha!" moment, so you can see which arguments from the hero might be the ones that could pierce her defensiveness and make her see things in a different light.
Because, that IS the point of the argument, isn't it? Not just to show each party's arguments, but to try to change each other's minds, even if it's not acknowledged? Otherwise, it's just fighting. :)
It's an idea... I could leave her with some chinks in her armor. Just a tad doubtful where she had no doubts before. Which will make her feel vulnerable, something she is terrified of...
Might make a nice set up to the big bad heading their way...
Just fill the page with 'so close!'
I'll give it some thought...
I could leave her with some chinks in her armor. Just a tad doubtful where she had no doubts before. Which will make her feel vulnerable, something she is terrified of…
I LOVE this idea. Brilliant!
Why the hell did I write her this way? I'm usually writing the heroine who has a bazillion flaws, knows it and has made peace with it...and who has self-esteem issue.
But "NOOOOO!" This time I have to write someone so sure of themselves it's all but impossible to break through control issues.
I'm gonna go take a shower.
Hurumph!
Okay, all clean now. And heading to Starbucks, see if I can devise a sneaky way into that cabin... Remember that scene from Poltergeist? When Craig T. Nelson opens the door and the head from hell screams at him, driving him back down the hallway?
That's how I feel.
Well, I'm alert, all caffeinated and...no one is here.
Silvestri, it was worth a shot, I got a lot of ideas ta work with. Here, I have a deck of cards behind the bar, teach me some pirate card games...
Everybody jumped ship? How are you doing with those pirate card games? :)
I just got back. :) I took the little pirates to get their pictures taken. I'm not sure why, but my oldest always looks like he's got painful hemorrhoids when he's asked to smile for pictures.
I love Hal's excerpt. That's a great argument in the story, I think.
A suggestion. I think sometimes when two parties are at an impasse, there has to be something external that changes their mind.
In my story, my hero wants to marry my heroine, she doesn't want to (for a myriad of reasons). But she's going to get kidnapped and she's going to realize that what she thinks is important isn't really as important as she thought. She'll change her mind, of course.
But if their relationship remained static, without this external thing, I'm not sure any amount of talking/convincing is going to change her mind. It had to be something big, some life changing event, that made her question her position.
Heck, what a week.
It started with Balancing tension, with Helli demonstrating the principle on her sewing machine. The debate soared to towering intellectual heights.
Then we had some light relief with a publicity hand out from Bosun, in between packing her suit cases.
Then Donna descended to the lush materialist pasture of birthday presents for writers.
Not content with valleys, Marnee then bounced back, dragged us up to the top of the shining spires of romantic spirituality and philosophy.
Today we are oscillating between pirate humor and serious discussion of techniques for arguing!
In my bookmarks list, this site now features as 'God, The Universe and Women Writers. (I deleted sex cus I knew the crew would object *grin*).
Many years of Married life have taught me to always let the lady win on serious issues, even when she's wrong! :lol:
Nuf said me thinks! :wink:
Q, that was awesome! I'm gonna hire you to write my synopsis from now on! LOL
Well, Marn, she thinks the man she thought she loved is dead. (A pedophile who totally brainwashed her 7 year old self) She thinks someone killed him, ends up won't really be the case (because I want the hero to kill him) ...
Now, is that complicated enough?
But I get what you're saying. And she needs a reason to actually believe that when things change, it isn't necessarily a change to shit.
Hmmmm
Don't let Silvestri teach you knicker knackers... pardon me while I see if I can find my...ahem...behind the bar.
Q - Well, in this case. A woman is right, just not the heroine!
It has been an interesting week, hasn't it?
And next week is guests galore!
*Dang, these things are wrong side front... Back in a moment...
Did you lose the pirate game again, Chance? LOL
He's a sneaky card player. And I think that good luck curse is still hovering about him!
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