I have been using the Tuesday post for this blog for a very novel thing. Yes, that’s an ironic pun made with 55% pure iron. This once-a-week exercise in fictional weirdness is basically a forge for failing novel ideas.
I began with the Stardusters manuscript for a stalled sequel to Catch a Falling Star. I worked it out with a rewritten Canto per Tuesday. And I turned the weird little climate-crisis science-fiction comedy into a passable piece of novel noodling. I was also able to use it as a test novel for the Amazon Kindle Publishing method of turning it into a book that I could hold a copy of in my two hands.
Aeroquest as a novel is now out of print.
Then I tried to rehabilitate my first and worst published novel, Aeroquest. I found I had a lot of very good individual Cantos (which I was using as a faux-poetical and somewhat snooty substitute for the word chapter). But the overall story was fractured and incoherent. What I eventually decided to do with this book is to break it up into at least three separate stories. I don’t know if I will ever republish this book, it is there to be worked on for as long as I’m still kicking.
So, what will I do with Tuesdays now?
This is now the longest stalled manuscript I have going. It has some definite problems and plot holes. I might choose to revise and edit it in this space on my blog. If I do, it will be even more of a real rewrite in front of your eyes than the first two. I initially thought these Novel Tuesdays might yield input and criticism that might prove useful. But of the few people who are actually interested enough to read this word-wrenching and rearranging, I don’t seem to get any thoughts beyond likes and hope-you-succeeds.
Anyway, I am pretty well addicted to this odd writing behavior by now, and next Tuesday yields the start of a new novel, whether you are ready or not.
I have published my eighth novel in the last six years. Sure, it is through mostly self-publishing of novels that no one but me has ever read. Catch a Falling Star and Snow Babies both had a professional editor, one who had worked for Harcourt and one who worked for PDMI. Magical Miss Morgan has had a proofreader who made numerous stupid-mistake errors that I had to change back to the original meticulously by hand. But all three of those novels won an award or were finalists in a young adult novel contest. I do have reason to believe I am a competent writer and better even then some who have achieved commercial success.
But what is the real reason that I am so intent on producing the maximum amount of creative work possible in this decade? Well, to be coldly objective, I am a diabetic who cannot currently afford insulin. I have been betrayed by the for-profit healthcare system that treats me as a source of unending profit. I am like a laying hen in the chicken house, giving my eggs of effort away to a farmer who means to eat my very children if time and circumstance allows. I am the victim of six incurable diseases and conditions that I got most likely as a result of exposure to toxic farm chemicals in the early 70’s. I am also a cancer survivor from a malignant melanoma in 1983, and for three years now I have not been able to get the preventative cancer tests I am supposed to be receiving every year for the rest of my life. My prostate could very well be cancerous as I write this. If that is so, it will kill me unawares, because I don’t even want to know about having a disease I can’t possibly afford to fight all over again.’
So, the basic reason I am going through the most productive and creative period of my entire life is because I have a great rage to create before I die and I could be dying as soon as tonight. All of the countless stories in my head clamoring to be written down before it is too late cry out to me desperately for my immediate attention.
I will, then, continue to write stories and draw cartoons and other Paffoonies for as long as I am still able, and possibly even afterward. I have, after all, threatened repeatedly to become a ghostwriter after I die. And, yes, I understand when you scream at my essay that that is not what a ghostwriter is. But if a woman can channel the ghost of Franz Schubert and finish his unfinished symphony…(https://en.wikipedia.org/wiki/Rosemary_Brown_(spiritualist))
—then I should also be able to tell my stories from beyond the grave. I have been percolating them in my head and writing and drawing them in whole or in part since 1974. I have too much time and too many daydreams wrapped up in them to let it all just evaporate into the ether. In summation, I am claiming stupidly that my novels, crack-brained and wacky as they are, are somehow destined to exist, either because of me or in spite of me. So just be happy that I write what I write, for there is an art to being Mickey, and I am the one artist and writer who is the best Mickey possible if truly there ever was a real Mickey.
The last couple of years we have started a new Christmas tradition, making a gingerbread house together. Of course, any Christmas tradition for my kids is a new one. We were Jehovah’s Witnesses up until recent years when the Brotherhood left us behind. You probably know already that it is against their religion to celebrate traditional holidays like Christmas. And I bear them no ill will for anything, but their ways are really not my ways anymore. So, since we are having our fourth Christmas mini-tradition, I prepared by finding gingerbread kits on sale at Walmart. I am not Scrooge anymore, but I still need to cut costs for poverty reasons.
Nothing says “Christmas Time is Here” like Charlie Brown and gingerbread.
I scored this one for only $5 because the Christmas rush is ending and they are trying to sell out the goodies that are growing old on the shelf. My daughter the Princess saw this and immediately declared she was looking forward to biting the head off Charlie Brown.
I responded to her somewhat-unexpectedly hostile comment against a cartoon character I love and identify with by showing her the back of the box.
The Charlie Brown figure will be the cardboard cut-out from the back of the box. The only candy figure is Snoopy. Of course, she then promised to decapitate and then cannibalize Snoopy. The girl ordinarily likes cartoons, so I don’t fully understand the double meaning behind her ravenousness.
As an added challenge to our artistical gustatory creativeness I also scored this gingerbread train, seen here pulling across the tracks at the Toonerville train station. All aboard! That won’t last long if we get it made this year. Of course it will fossilize if we try to save it for next year.
That, then, is the evil plan for Christmas that we are probably not supposed to be celebrating. But we will not roast in Hell for executing this evil plan. Jehovah’s people don’t believe in Hell.
As I continue to draw nearer to publishing my comic horror novel, The Baby Werewolf, busily polishing paragraphs and tweaking the format, I had to find time to do some drawing, some colored pencil cartooning, actually, in order to draw even closer to a comprehensive understanding of the title character, Torrie Brownfield.
I decided that what I wanted to draw was a full-bodied portrait of Torrie, displaying in short pants the full impact of his “werewolf hair” caused by his full-body hypertrichosis syndrome, a genetic hair-growth disorder.
So, I began by printing out a reduced version of the scan of Torrie’s face and shoulders that I created from the drawing I made of him back when the story itself was merely in outline form. I pasted that colored print onto a larger piece of drawing paper and first penciled and then inked the rest of his body. I then used my colored pencils to go all Crayola on the bulk of it, ending up with the complete Torrie Brownfield, holding the one and only copy of Dr. Horation Hespar-White’s recipe book for Magical Airborne Elixir.
Now it doesn’t make sense to create an image like this for no particular reason. Was it just something I was doing to keep my hands busy while watching Netflix? Well, yes, but I did get something out of it after all. I was able to think seriously about my monster theme as heavy-handedly I continue to beat the reader over the head with it. I am obsessed with this particular portrait because, minus the facial fur, it actually looks like and reminds me of the charming little former student the character in the book is actually based on. He was a thirteen-year-old Hispanic boy, naive, innocent, and thoroughly sweet-natured. And he shared with me a history of abuse during childhood. He was not sexually abused, but psychologically and physically abused. And that, of course, led me to the revelation while drawing that the monster of my horror story is not a real werewolf. Not even the murderer who is the villain of the book. The real monster of the story is a systematic abuse of children. It can have two possible results. It can make you into a sweet-natured determined survivor like Danny was, and like Torrie is. Or it can turn you into a vengeful psychotic potential serial killer lashing out because of mental scars and lingering pain. Believe me, I knew a couple of that kind of kid too. Drawing can, in fact, lead you to revelations about yourself and the universe around you. And so, this little obsession has done that very thing for me.
So, I end with this scan of the completed artwork so you can get a better look at it than you can from my crappy photography skills. Drawing something obsessively does have its uses.
After three days of Ged’s attempts at teaching, Shu Kwai was still kneeling stark naked in the practice grounds. He refused to accept any clothing he felt he had not earned. Ged quietly shook his head in despair. Junior Aero and Sarah Smith each had a linen robe with the White Spider symbol stitched into it. They also had tabai boots for their feet, cloth footwear with the big toe tied off for climbing and sure footholds. The two of them worked together with their telepathy to absorb the thoughts of their sensei. Shu Kwai would only stubbornly continue to struggle.
“What is it about the inner eye that you can’t get, Shu-sama?” Ged asked.
“I apologize,
Aero-sensei, I do not see the pictures in my mind that you suggest. What do they look like to you?”
“I suppose the
problem is that all Psions do not use the same inner eye to focus their power.”
“How do you mean, honored one?”
“I mean, I see molecules. I can read DNA strings with my inner eye. If I have eaten the meat, I can call up the proper shapes and spirals to make the creature. I can focus my power and shift my own DNA molecules in every cell of my body. I don’t know how I know this, or can do this, but the power wells up in me like a cup that fills itself.”
Shu Kwai’s face showed stern concentration. As the boy knelt there, quivering in the cool breeze, he continued trying with all his youthful might.
“Please, Master Ged, let me help,” said Sara, large eyes pooling with liquid sympathy for Shu’s dilemma.
“All right,please, Sara-san.”
“Shu-bozu, it is true that we all see the inner eye in different ways. Mine is like Ged-sensei’s vision. I can see molecules and DNA. I can rearrange the flow of power in the minds of others to effect healing. I have seen into Junior’s mind as well. His is different. He sees circuits and electrical links. He can trace the patterns in a human mind as I can, or in a computer mind, as I cannot.”
“So, what does my mind, my eye, look like?” asked Shu Kwai, looking with puzzled eyes into Sara’s face.
“Can I take a look?”
Sara reached over to Shu with a tender hand and touched his temple. Shu cracked a smile as her beautiful essence flooded into his head.
“Your inner eye sees motion. Flickering motions. Energy paths of movement.”
Shu nodded with his eyes closed. “I see it. It is just like chi.”
“Spirit force, yes,” said Ged, finally realizing where he had gone wrong. “Girl! Come here!” He motioned to a girl attendant who waited beside the practice field for just such an order. “Girl, we need a loose-jointed doll or a puppet. Can you fetch one for me?”
“Yes, Ged Aero-dono!” she said in breathless awe.
In minutes the girl had returned with a small wooden marionette from the Akito House, smiling and well-pleased that she had been honored to do this service for the White Spider’s special school. Ged took the doll and gratefully patted her powdered cheek.
“Picture this doll in your mind’s eye, Shu Kwai.” Ged sat the doll on the grass. “Picture it rising to its feet. Make it do something.”
As Shu Kwai concentrated, the doll stood up and bowed to Master Ged. Then it slowly began an undulating dance. The dance got wilder and happier as Shu Kwai began to feel his success. Finally, it ended with a flourish and a bow.
“Clever boy!” said
Ged, feeling warm inside for the first time all day. “Let me give you a robe!”
“No, Sensei. I made only a first step. Give me a loin cover only. I must work harder still.”
“As your teacher, I say you accomplished at least two steps today. You learned to focus the inner eye, and you learned not only from me but from your classmate Sara. That is worth a robe, surely.”
“You are anxious to cover me in cloth, Sensei. If I may choose, I would rather have the tabai boots like Sara and Junior.”
“Very well,” said Ged with a smile. “You are determined to remain a naked barbarian. But I respect you very much as a student, Shu Kwai. Your victories make me proud.”
The gentleman writer pictured above is a successful creator of innovative and engaging fiction. As a 1979 vintage, he was still a toddler when I began my teaching career in 1981. Like John Green, another author I admire who was only a small child when I began teaching, he cut his writer’s teeth by writing for Mental Floss the humor-centric publisher of puzzles, facts, and trivia. While I do, in fact, envy his success, I do not in any way take it lightly. He is a capable, highly-intelligent story-teller whose books I have grown to dearly love.
The first book in the peculiar series, also the first book I snagged at Half-Price Books and then devoured in a week (I bought a second copy to read after foolishly eating the first), is the peculiar tome pictured above. In these stories, the peculiar author presents numerous old black-and-white photographs from the days when stereopticons stood in for televisions because the so-called boob-tubes hadn’t had the decency to be invented yet. Most of these photos are bizarre in some way like the one used on his first cover. And the pictures become the story. The girl on the cover of Miss Peregrine’s Home for Peculiar Children becomes Olive, a young girl whose peculiar power is to float in the air. In fact, she has to wear lead shoes to keep from floating off into the sky.
Ransom Riggs as a wight, the vampire-like villains of the series of peculiar books.
Peculiars are menaced by, and have to be protected from wights, former peculiars who eat the souls of their own kind to become white-eyed powerful villains who wish to rule and eat all peculiar people.
The peculiar children have to be protected by creatures called Ymbrynes, women who were originally peculiar birds that found they could turn into human women, and not only that, could loop time in ways that provided pockets of protection from those who would persecute them where time never passed.
Emma, a peculiar girl who can generate fire from her bare hands.
The protagonist-narrator of the entire trilogy is Jacob Portman, a Florida boy who learns that he has inherited a one-of-a-kind peculiar power from his grandfather (turning it into a two-of–kind thing). And when his grandfather is killed by wights, he learns of a place he must go to take his grandfather’s former place guarding Miss Peregrine’s troop of peculiat children, including Emma, pictured here, (a hot chick in more than one way).
I will not tell you any more of the story of the trilogy. I hate to spoil anything from another author’s work. I found that the discovery of every delicious detail and oddity along the way was the tastiest feature of the fiction. (I do have to break that bad habit of eating books. Gustatory learning, my peculiar ability and my curse.) I will, rather, merely recommend that you discover the peculiar charms of these peculiar books for yourself. (And try not to discover them by eating them. Books have too much fiber and too little protein to be used like that.)
The Art of Being Mickey
I have published my eighth novel in the last six years. Sure, it is through mostly self-publishing of novels that no one but me has ever read. Catch a Falling Star and Snow Babies both had a professional editor, one who had worked for Harcourt and one who worked for PDMI. Magical Miss Morgan has had a proofreader who made numerous stupid-mistake errors that I had to change back to the original meticulously by hand. But all three of those novels won an award or were finalists in a young adult novel contest. I do have reason to believe I am a competent writer and better even then some who have achieved commercial success.
But what is the real reason that I am so intent on producing the maximum amount of creative work possible in this decade? Well, to be coldly objective, I am a diabetic who cannot currently afford insulin. I have been betrayed by the for-profit healthcare system that treats me as a source of unending profit. I am like a laying hen in the chicken house, giving my eggs of effort away to a farmer who means to eat my very children if time and circumstance allows. I am the victim of six incurable diseases and conditions that I got most likely as a result of exposure to toxic farm chemicals in the early 70’s. I am also a cancer survivor from a malignant melanoma in 1983, and for three years now I have not been able to get the preventative cancer tests I am supposed to be receiving every year for the rest of my life. My prostate could very well be cancerous as I write this. If that is so, it will kill me unawares, because I don’t even want to know about having a disease I can’t possibly afford to fight all over again.’
So, the basic reason I am going through the most productive and creative period of my entire life is because I have a great rage to create before I die and I could be dying as soon as tonight. All of the countless stories in my head clamoring to be written down before it is too late cry out to me desperately for my immediate attention.
I will, then, continue to write stories and draw cartoons and other Paffoonies for as long as I am still able, and possibly even afterward. I have, after all, threatened repeatedly to become a ghostwriter after I die. And, yes, I understand when you scream at my essay that that is not what a ghostwriter is. But if a woman can channel the ghost of Franz Schubert and finish his unfinished symphony…(https://en.wikipedia.org/wiki/Rosemary_Brown_(spiritualist))
—then I should also be able to tell my stories from beyond the grave. I have been percolating them in my head and writing and drawing them in whole or in part since 1974. I have too much time and too many daydreams wrapped up in them to let it all just evaporate into the ether. In summation, I am claiming stupidly that my novels, crack-brained and wacky as they are, are somehow destined to exist, either because of me or in spite of me. So just be happy that I write what I write, for there is an art to being Mickey, and I am the one artist and writer who is the best Mickey possible if truly there ever was a real Mickey.
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