I firmly believe that I would never have succeeded as a teacher and never gotten my resolve wrapped around the whole nonsense package of being a published author if I hadn’t picked up a copy of Mort, the first Discworld novel by Terry Pratchett that I ever encountered. I started reading the book as a veteran dungeon-master at D&D role-playing games and also as a novice teacher, having a world of difficulty trying to swim up the waterfalls of Texas education fast enough to avoid the jagged rocks of failure at the bottom. I was drinking ice tea when I started reading it. More of that iced tea shot out my nose while reading and laughing than went down my gullet. I almost put myself in the hospital with goofy guffaws over Death’s apprentice and his comic adventures on a flat world riding through space and time on the backs of four gigantic elephants standing on the back of a gigantic-er turtle swimming through the stars. Now, I know you have no earthly idea what this paragraph even means, unless you read Terry Pratchett. And believe me, if you don’t, you have to start. If you don’t die laughing, you will have discovered what may well be the best humorist to ever put quill pen to scroll and write. And if you do die laughing, well, there are worse ways to go, believe me.
Discworld novels are fantasy-satire that make fun of Tolkien and Conan the Barbarian (written by Robert E. Howard, not the barbarian himself) and the whole world of elves and dwarves and heroes and dragons and such. You don’t even have to love fantasy to like this stuff. It skewers fantasy with spears of ridiculousness (a fourth-level spell from the Dungeons of Comedic Magic for those fellow dungeon masters out there who obsessively keep track of such things). The humor bleeds over into the realms of high finance, education, theater, English and American politics, and the world as we know it (but failed to see from this angle before… a stand-on-your-head-and-balance-over-a-pit-of-man-eating-goldfish sort of angle).
Terry Pratchett’s many wonderful books helped me to love what is ugly, because ugly is funny, and if you love something funny for long enough, you understand that there is a place in the world even for goblins and trolls and ogres. Believe me, that was a critical lesson for a teacher of seventh graders to learn. I became quite fond of a number of twelve and thirteen year old goblins and trolls because I was able see through the funny parts of their inherent ugliness to the hidden beauty that lies within (yes, I know that sounds like I am still talking about yesterday’s post, but that’s because I am… I never stop blithering about that sort of blather when it comes to the value hidden inside kids).
I have made it a personal goal to read every book ever written by Terry Pratchett. And that goal is now within reach because even though he is an incredibly prolific writer, he has passed on within the last year. He now only has one novel left that hasn’t reached bookstores. Soon I will only need to read a dozen more of his books to finish his entire catalog of published works. And I am confident I will learn more lessons about life and love, and laughter by reading what is left, and re-reading some of the books in my treasured Terry Pratchett paperback collection. Talk about your dog-eared tomes of magical mirth-making lore! I know I will never be the writer he was. But I can imitate and praise him and maybe extend the wonderful work that he did in life. This word-wizard is definitely worth any amount of work to acquire and internalize. Don’t take my convoluted word for it. Try it yourself.
Lynn Johnston’s For Better or Worse is also an old friend. I used to read it in the newspaper practically every day. I watched those kids grow up and have adventures almost as if they were members of my own family. So the mashed potatoes part of the meal is easy to digest too.
Catch a Falling Star 
Finding My Voice
As Big MacIntosh welcomes more little ponies into my insanely large doll collection, I have been reading my published novel Snow Babies. The novel is written in third person viewpoint with a single focus character for each scene. But because the story is about a whole community surviving a blizzard with multiple story lines criss-crossing and converging only to diverge and dance away from each other again, the focus character varies from scene to scene.
Big MacIntosh finds himself to be the leader of a new group of My Little Ponies.
In Canto Two, Valerie Clarke, the central main character of the story, is the focus character. Any and all thoughts suggested by the narrative occur only in Valerie’s pretty little head. Canto Three is focused through the mind of Trailways bus driver Ed Grosland. Canto Four focuses on Sheriff’s Deputy Cliff Baily. And so, on it goes through a multitude of different heads, some heroic, some wise, some idiotic, and some mildly insane. Because it is a comedy about orphans freezing to death, some of the focus characters are even thinking at the reader through frozen brains.
The ponies decide to visit Minnie Mouse’s recycled Barbie Dreamhouse where Olaf the Snowman is the acting butler.
That kind of fractured character focus threatens to turn me schizophrenic. I enjoy thinking like varied characters and changing it up, but the more I write, the more the characters become like me, and the more I become them. How exactly do you manage a humorous narrative voice when you are constantly becoming someone else and morphing the way you talk to fit different people? Especially when some of your characters are stupid people with limited vocabularies and limited understanding?
The ponies are invited to live upstairs with the evil rabbit, Pokemon, and Minions.
I did an entire novel, Superchicken, in third person viewpoint with one focus character, Edward-Andrew Campbell, the Superchicken himself. That is considerably less schizophrenic than the other book. But it is still telling a story in my voice with my penchant for big words, metaphors, and exaggerations.
The novel I am working on in rough draft manuscript form right now, The Baby Werewolf, is done entirely in first person point of view. That is even more of an exercise of losing yourself inside the head of a character who is not you. One of the first person narrators is a girl, and one is a werewolf. So, I have really had to stretch my writing ability to make myself into someone else multiple times.
I assure you, I am working hard to find a proper voice with which to share my personal wit and wisdom with the world. But if the men in white coats come to lock me away in a loony bin somewhere, it won’t be because I am playing a lot with My Little Ponies.
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