NeuroTribes by Steve Silberman: a review

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NeuroTribes by Steve Silberman

I can’t praise this book highly enough. Anyone interested in autism, in the history of psychology or psychiatry, and even in the history of medicine should read it.

I have written a long review because I am anxious to ‘sell’ the book.

The author is a science journalist who became aware of what appeared to him to be a rise in the number of autism diagnoses. He was fascinated and decided to research the subject. The result was this book, which charts the history of the recognition and diagnosis of the condition, the problems along the way, and the outlook for the future. He gives in-depth information about the research but matches that with plenty of interesting reading about both the researchers and the children and adults who formed the basis for their work.

I felt at the end – well, actually by about half way through – that I had a much clearer picture of what had happened over the years to produce the current situation in autism research and in the way autistic people and their families are treated by various authorities and for that matter by the general public. As the grandparent of an autistic child I have been very aware that information is patchy, that many people who should know what they are doing and saying don’t, often through no fault of their own, and that the stellar research at the highest levels is not always trickling down to local authorities, schools, doctors, and so on.

Silberman starts with Asperger, whose work with ‘different’ children in Vienna just before and then during the second world war was to some extent informed by his passionate desire to save these children from Nazi attempts to discriminate against anyone who did not conform. He certainly saved a number of children from euthanasia although in the end many of those he saved died in a bombing raid on the institution where they were living. The syndrome he recognised became known as Aspergers and was for many years thought to be different from autism. It was characterised by high intelligence and Asperger’s own assertion that these people were essential to human development went some way towards differentiating them in the minds of the public from individuals with more average skills. Asperger himself managed to escape from Nazi Austria where he would almost certainly have been executed. His work, however, did not escape with him. He was ignored for a long time even though some of his researchers also reached America.

The next part of the book is focussed on Kanner, another refugee from Europe who was an excellent salesman, marketing his own expertise in a climate that had people puzzling over a condition that was thought to be rare and that had attracted very little research, possibly because of the wide variety of ways in which it presented. Kanner managed to sell the idea that the problems faced by those he studied were due to bad or cold parenting, and he initially diagnosed the condition as early-onset schizophrenia. He thus suggested to a public that was beginning to be aware of the condition that families were in some way to blame, and that ‘sufferers’ were in need of mental health treatment, usually institutionalisation. This had a profound effect on the attitudes of teachers, doctors, psychiatrists etc. across the western world, and because of the lack of prior research there was no-one qualified to contradict Kanner. Even Asperger, who was ignored by Kanner, was unable to make any headway because most of his subjects had been ‘high functioning’.

Kanner’s followers, even though some of them deviated from Kanner’s path, continued to regard the condition as something in need of treatment – a disability, or illness, or lack. Some of the treatments Silberman describes are horrific, others well-meaning but inevitably ineffective. All are fascinating as a progress chart through autism research. The author goes into a lot of detail about the lives of some of the people involved and in some instances their autistic children or ‘patients’.

Once it was realised that autism had nothing to do with schizophrenia, things should have improved. To some extent, they did, but by now there was the abyss, in the public mind, between the high functioning Asperger’s individual who might be strange but was an asset to society, and the autistic person who might have communication problems and was in need of special education etc.

Today, the consensus is that there is an autistic spectrum, and individuals can be diagnosed as ASD (autistic spectrum disorder) and be almost anywhere on the spectrum, from the erratic genius to the near-vegetable. Just like ‘neurotypicals’ (the rest of us), autistic people are as different from each other as is possible to imagine. In other words, like all of us, they are each unique.

The work of pioneers like Lorna Wing in UK has done much to alter perceptions at the upper levels of research. Simon Baron-Cohen at Cambridge is currently doing excellent work. Lorna and her work are described in detail by Silberman but Cohen only gets a mention – I think the book went for editing and proofreading well before Cohen’s more recent work became widely known.

Wing was unwilling to accept American ‘knowledge’ about autism for her daughter, and was determined to conduct her own researches.

Another strand of research relied on autistic people themselves. Now that diagnosed individuals were growing older and recognised that they were part of a group, and not just individually ‘strange’ they came together in conferences, study groups and networks of people who were able to add enormously to our understanding of autism. People like Temple Grandin, whose mother resembled Lorna Wing in her determination not to accept any kind of institutionalisation for her child, have been able to articulate for us the way some autistic adults perceive the world.

Then there was the film industry. Silberman explores in depth the making of films like Rain Man and its effect on public consciousness. It was the precursor of works like The Curious Incident of the Dog in the Night-Time (now turned into a stage play) and the brilliant portrayal of a high functioning autistic ‘heroine’ in the Swedish/Danish series The Bridge. Rain Man did perpetuate the idea of the autistic savant – a fairly rare presentation of the condition – but did much to alter attitudes to autism among the general population.

Silberman ends on a positive note (with plenty of recommended further reading) because he shows just how far we have come, how Kanner’s theories held back research and how they have been shown to be a dead end. He praises modern researchers and leaves the reader with hope for the future.

However, he also points to the desperately slow speed at which any modern findings trickle down to the ‘coal face’ where teachers, general practice doctors and nurses, and for that matter parents and their neighbours work. There is a long way to go.

It is quite clear from the book that autism is a condition which makes individuals function quite differently from their neurotypical peers, but has no need of treatment in any psychiatric or medical sense. Of course a child who cannot communicate will benefit from careful work regarding communication, and a child who fears noise or light can be gradually desensitised. But these are on a par with the needs of neurotypical children and are not specific to autism. What is specific is a different way of perceiving the world and the people in it. Until teachers, in particular, understand that and allow for it, autistic children and their families will continue to face problems.

The more books like Silberman’s are read and then recommended to any students going into any work involving children, the more likely we are to have a future in which those problems become rarer.

Please try to get this book from your local library. I would suggest buying it but really, I’d like to see it on library shelves in the hope that the word will spread!!

More musings about writing.

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More questions and answers.

Genre: do you prefer certain genres of fic when you’re writing? What kind do you tend to write most?

I write mostly fantasy. (This works for fanfic, too. I have written a few ‘real world’ fics in one or two fandoms but even in cop buddy fandoms I’ve managed to drag in werewolves or dragons or switch everybody back into the middle ages.)

My original work is all, at the moment, in the fantasy genre. I have some plot bunnies that aren’t – for example a novel based around my mother’s wartime experiences – but whether they’ll ever get written is another matter. Oh, except that I also write poetry, and non fiction in the form of travelogues, but I don’t think I’ll widen the scope of this meme to include those.

Have you ever attempted an “adaptation” fic of a favorite book or movie but set in a different fandom or setting?

I suppose this would apply to an original fic that followed the plotline of source material that was well known in much the same way that West Side Story follows Romeo and Juliet or the current BBC Sherlock reboots Conan Doyle’s hero.

I might use a general style or ‘world’ such as accepting the usual ‘facts’ about Arthurian legend, but not the plot. Even when I wrote The Lord of Shalott I veered very sharply from Tennyson’s poem. However, I tweaked the story of Snow White for Silkskin and the Forest People and deliberately tried to keep to the traditional plot points and ending, at least partly to highlight the differences in my story. I did once write a semi-spoof cop buddy fanfic based on The Hobbit and The Lord of the Rings – a group of us were deliberately writing in the style of a book and the others had to guess which.

These are novellas. For novels, I don’t lack for plots of my own (although I accept the theory that there are only nine or ten in the world altogether) – I only lack time – so I don’t go looking for other ideas. However, I know lots of writers do and I enjoy reading the results.

Do you prefer canon or fanon when you write? Has writing fanfic for a fandom changed the way you see some or even all of the original source material?

The question is almost meaningless for original writing because there is no canon and no fanon. Although I suppose there is the issue of whether to stick to the main traditions when writing in, for example, Arthurian legend, or about dragons.

When I write fanfic I use canon where appropriate. Certainly for things like the essential character traits of the main characters, their looks, and their ‘relationship’ in terms of things like boss/employee or partners, etc. I enjoy exploring the characters and seeing how I think they might react in another story, or with different characters I bring in.

Of course, when writing an alternative universe it is only possible to take canon so far. I really enjoy putting canon characters in a totally different situation and seeing how they would behave. I’ve done this since I was a small child and played with the characters from my books and stories in my head. I remember a sort of strip cartoon but in book form, about a mouse called Mary Mouse. You have no idea where Mary Mouse got to or what she did in my mind!

And no, I don’t think writing fanfic has ever changed my perception of the source material. Nor has writing within the broad category of legends. Why should it? Canon is canon – open to interpretation and commentary but not open to being changed. I will have various interpretations from the start – all of them inspiring different kinds of story but none of them changing my basic view of the original.

The only caveat I have here is that when I wrote The Lord of Shalott I inevitably spent a great deal of time with Tennyson’s poem. I realised that I had always taken a general atmosphere from it, some kind of dreamy but sad romance with lush details. As I studied it more closely it began to irritate me in many ways. Not the story or the characters, just the construction of the poem and some of the language the poet used. So, litcrit of the source material but I still enjoyed the original story! I meanderd through various mediaeval versions too.
Ratings: how high are you comfortable with going? Have you ever written higher? If you’re comfortable with NC-17, have you ever been shocked by finding that the story you’re writing is gen rated instead? How explicit are your original works? If some of them are explicit, are you ever shocked to find yourself writing something general, with no sex or violence?

I don’t set out to write violence or erotica. These arise within the story, depending on where the characters take me and how much they want me to disclose in the course of the plot. I am personally perfectly happy to read explicit descriptions provided they are well written, and am happy to write them myself if I think the story demands them.

I currently have four books self published. Three of them are in the adult only section on both Smashwords and Amazon. They are fairly ‘tame’ by a lot of standards but are still explicit enough to be restricted on the shelves. I think that’s correct – parents and teachers can judge what their children are ready to read when they are quite young. Once they are old enough to realise that they don’t have to tell the truth when asked their age online and have the means to make their own purchases, then I have no problem with them accessing restricted material. I would only add that being Brit I tend to think of 16 as the cut-off age for independence whereas American sites go for 18 which I see as odd. In UK (and in some states) people can marry at 16 – and yet they can’t read about explicit sex?? And if they can marry at 16 there must be some kind of exploration of the issues, at least in theory, in the playground or in lessons, well before that. (I would not like pre-pubertal readers to access ‘adult’ material because they might well misunderstand and be upset by it.)

My novel, on the other hand, is mainstream or general.

The same applies to my fanfiction. Some of it contains explicit sex and some has no sex or violence at all.

I do think that the blurbs or summaries for books and stories should let the reader know roughly what they’re about to read (or reject) but beyond that I think it’s a case of ‘reader beware’.

So yes, I write sex. I tend not to write kinks much, but that’s partly for fear of getting them wrong. And so far as the sex is concerned I tend to focus on the emotions rather than the mechanics but I won’t usually fade to black or leave anyone at the bedroom door.

As a rule, the overall story is my main interest and I don’t try to insert sex scenes artificially. On the other hand, in some work I find them the natural order of things. One beta/first reader wanted me to remove some sex from a book that is not yet finished to make it more YA in nature, which she assumed it was intended to be. It wasn’t and I didn’t and won’t.

Anyway, to recap, I have two adult novellas and an adult book of short stories out there. I’m proud of them. I also have a mainstream novel which whilst it doesn’t ignore sexual relationships has no explicit sex scenes. This wasn’t a conscious decision on my part, it was just the way the story developed. And since it has, I’m quite pleased that the book – and in the end the series – will be accessible easily to older teenagers.

I have also written books for children and although they aren’t yet published they’re in the pipeline; obviously sex and violence don’t feature. There’s a sense in which the very existence of children assumes their parents had sex, but this is not mentioned.

So I will move from totally general/suitable for young children to totally explicit/restricted to an adult audience and then back again without even thinking about it.

Warnings: What do you feel it most important to warn for, and what’s the strangest thing you’ve warned for?

Mostly, I just let my fanfiction readers know that they might encounter almost anything so if they’re easily triggered they should stay away. I do try to let people know what kind of work they’re approaching. I think it’s more important to say whether something is a drabble or an epic, and whether it’s finished, whether it’s part of a series, than any actual content.

Original fic is a bit different. Books don’t usually come with warnings, other than the ones with explicit sex being relegated to the ‘adult’ section and ones with a lot of cartoon kittens being shelved in the children’s area. But I do think it’s only fair to warn readers that this is e.g. fantasy, sci fi, crime, comedy, tragedy, etc. Beyond that, they can read the blurb, see if they know anything else you’ve written, skim the first few pages (or even the end) and take responsibility for reading.

And as with fanfic, they can always turn away if they’re not happy with the contents.

Summaries: Do you like them or hate them? How do you come up with them, if you use them?

I think that for both fanfic and original fic summaries are a way of telling the reader roughly what to expect. As a reader, I really dislike starting to read something and finding it is a different genre or style of work from what I had been looking for. This doesn’t mean I don’t want to read it, just that perhaps I don’t want to read it on that particular day or at that particular moment. I would not read a hilarious spoof on the way to a funeral. I won’t read horror stories just before going to bed. I prefer not to read something that requires intense concentration when I’m likely to have to put the story down any minute (e.g. in the dentist’s waiting room). So I think authors should be fair to readers and I try to be. I know some people don’t like warnings or summaries at all and they are welcome to disregard them but I think they need to remember that probably 90% of readers prefer them.

I hate writing them. Distilling the essence of a story into a paragraph is hard even though Amazon tells us it’s the best way to market. I can summarise the outline of the plot but that won’t give you the atmosphere. I can suggest the atmosphere and leave the plot hazy. I mustn’t give away spoilers if I want the reader to suffer or be curious with the characters.

I agonise over summaries and usually end up asking my beta/editor to come up with something. The very worst are drabbles though I only write those for fun on my personal journal. How can you summarise a drabble in fewer words than the drabble itself?

 

What kind of genres do you like? What do you think about explicit works? What do you expect from a summary? I’d really like to hear your views.

And if anyone knows how to force WordPress to accept edits on line or paragraph breaks, please please please let me know.

Manipulation (a ficlet)

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This is a mini-fic I wrote for entry into a competition. It didn’t get anywhere. When I read the winning entry and the runners up I realised I had perhaps gone off at a tangent. Still, I quite liked my ficlet and it’s a pity to waste it on some judges who didn’t really want it in the first place. So here you are! A kind of alternative future.

Alice checked the power levels. Despite Michael’s film download things were fine. She was glad they’d moved south when things started deteriorating but even central Portugal couldn’t guarantee sufficient solar power and mountains bristling with wind turbines could also block the sun.

The flicker must be the ISP’s. After the US lost the wars and the oil ran out there were few options. Some solar-powered servers were in the newly independent American Bible Belt, the rest mostly in Saudi or Iraq. Aborigines, working with anti-internet fanatics, closed the Northern Territories to development. Africa was out of the question. Religious leaders controlled what most people could see. Michael chose an Iraqi ISP, reasoning that Saddam, not the most religious man, would be less likely to interfere with content.

But there were still power struggles, terrorists, bombs; half a world away but they could prevent Alice seeing what she so needed to see.

The screen cleared and steadied; she gasped as the young man seemed to walk towards her.

“Michael! He’s here,” she called.

“Hi Gran! Hi Gramps!” His infectious grin made her wish she could hug him.

They worried when Jake chose to spend his gap year travelling; when he settled in New Zealand they worried more.

“It’s a smaller world nowadays,” he said.

They hadn’t even been able to meet Jennifer in person. But now Aiden could visit them once a month, Hussein and Bin Laden willing.

Alice spared a glance at the blue skies beyond her grandson and tried to remember how con trails had once traced lace paths across the world.

They frittered away the precious hour comparing fruit crops and the price of sheep. Too soon, Aiden waved and blew a kiss.

Michael switched to their homepage.

“They’re accusing people of tampering with 3D chat services,” he said, “using a kind of photoshopping technique.” Alice dredged her memory for the term.

“You mean…”

He shrugged. “They’re comparing it with postcards from concentration camps,” he said, “but surely we would know if things were that bad?”

In my ivory writing tower…

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Continuing my exploration of my writing courtesy of the blog writing meme I followed.

The next question was: Have you ever had a story change your opinion of a character?

Unlike some of my friends I took this to mean in my own writing since this was a writing meme, not a reading one.

I have been fascinated by the way characters behave in my stories. I suppose changes must come from somewhere in my subconscious but there’s often no advance warning. Minor characters turn into major ones, the main characters insist on interesting and unexpected reactions and relationships and on one memorable occasion I discovered part way through a story that someone I had felt a little sorry for was a cold blooded murderer. The other characters were startled, too. I think the difference is that I meet the minor characters alongside the main ones and see them through their eyes. So if they change their opinions, so do I. The minor characters might be formed already somewhere deep in my brain, but I know very little about them until my main characters tell me. I know the main characters too well, before I start writing, for my opinion of them to change. Simply knowing the ending of the story doesn’t necessarily let me know everything that will happen or what everyone will do. Throughout the story, and this is particularly true for a series, the main characters are as close to me as my family, whereas the people they meet are more like my neighbours, or even the people at the pub or in town. They might become friends but my opinion of them is exactly like that of people I meet in ‘real life’ – subject to change according to the way they behave. And that’s something I can’t consciously control.

So far as fanfic is concerned the characters all speak to me from the start, even the minor ones. They’re based on canon, of course, though most canon leaves plenty of room for exploration, explanation, and so on. So in a sense the characters are already formed and so are my opinions. There might be OC characters like victims of crime in a case fic but they wouldn’t need my opinion, just my sympathy. I might discover or realise details about canon characters, but nothing major. If I did, I suspect I’d have to start a different fic or do an extensive rewrite.

The following question was, I think, a familiar one for fanfic writers but is just as valid addressed to all authors.

When you write original characters, how do you make certain they’re not Mary Sues (or Marty Stus)?

For those unfamiliar with the term it applies to characters inserted into stories who are quite clearly the author indulging in some wishful thinking about being the best detective, greatest lover, most benevolent ruler, or whatever and taking over the story in an irritating way.

Terry Pratchett, in his semi-autobiographical A Slip Of The Keyboard, mentioned a friend of his who said: There is a little bit of autobiography in all books, isn’t there? Only friends will tell you that.

And of course he’s right. You have to have experienced emotions such as love, anger or shock in order to write about them convincingly (which is why children’s writing so often seems ‘flat’) and you have to have seen or heard scenes or music to describe those with any hope of being believed.

We are told to write what we know. This means, to me, that we have to draw on our knowledge of the world, acquired in person or through in-depth research, to develop locations, credible story lines and minor or background characters. When it comes to the main players we need to dig into our own emotions and experiences to find out what makes them ‘tick’. It’s possible to write criminals convincingly because we have all had ‘bad’ thoughts from time to time and a writer need to expand those and build on them in much the same way as an actor developing a role. The danger lies in putting too much of yourself in to any one character and investing too much in them in the story. The danger is perhaps greater with the heroes and heroines. It’s comparatively easy to distance yourself from a thief or a murderer, harder to back away from someone who is trying to do good. But to make them convincing they have to live in their own right, and that means that you have to bring them to life, talk to them, get to know them, and do that as if they were a real person with a life quite outside your own.

In some ways I’m pretty sure I don’t appear in my stories. That’s because my work in largely in the fantasy genre and I’m a fairly down to earth person with a family and two houses to run. I don’t even yearn to go off into the woods or on quests – I’m pretty sure I’d find it uncomfortable and irritating even though I used to like camping when I was younger and fitter. I’d want to be back for various appointments, to wash my hair, to sleep in my own bed… And my protagonists are mostly very much younger than me. They are not yet married with children or pets or a bank account. When I was their age I wanted the children, pets, etc. more than I ever wanted adventure, and I wanted academic success more than magic so I don’t think I put anything of my younger self into them, either.

So I don’t have to ‘make sure’ because appearing in my own stories is not something that appeals in the slightest. I have my own story to live and it isn’t one I have any wish to fictionalise.

But in the sense that writers write what they know, all original fiction could be said to be Mary Sues. Discuss!

For fanfic writing the answer is perhaps harder to reach. Yes, I write original characters. I wrote an entire novel based on a group of original characters interacting in the world created by Stargate SG1 – unpublishable because it is so intertwined with the existence of the Stargate itself, but available here: http://archiveofourown.org/works/108729/chapters/150465 for anyone who’s interested. And if I’m writing a case fic for a cop buddy fandom there have to be original characters to provide the criminals, victims and witnesses at the very least.

A Mary Sue would presumably mean a female character who did all the things I would like either to do or be thought to have done. I haven’t written many female OC characters other than, as I’ve just said, criminals and victims, and as I have no desire to be either I don’t think there’s much danger of of Mary Sues there. The exception is the SG1 novel. There are female OCs in that but they’re there to create a mixed team or to provide plot points; I sincerely hope I haven’t put anything of myself into them. None of them have anything in common with me and while I love reading about sci fi adventures I have no desire to participate. They aren’t the major characters, who are men, and not in the least like me or any of my family. Nor do I have hidden longings to be male. The only point of overlap is that the ‘hero’ (and the woman who is his girlfriend at the start of the story) come from the same part of UK as me – that’s just me using locations I know to be sure of getting them right.

So I don’t ‘make certain’ they aren’t Mary Sues – I don’t have to because I never insert major female characters into a fic who aren’t from canon. My OCs (male and female) have plenty of flaws – but not my flaws. I seriously wouldn’t want to be any of them, and none of them are better than the people around them. They might (Adam in the SG novel) be the ‘hero’ but only in the sense of being the main focus of the story, not in the sense of being any kind of super-hero.

I don’t want to meet or live with or interact with canon characters – or the actors for that matter. I want them to remain stories – on paper, on screen, on my computer or on a virtual screen in my mind. I meet and interview the muses, yes, in order to hear their stories, but they don’t involve me in their adventures. The nearest I get to a Mary Sue is as the narrator who controls, to some extent, the overall plot.

 

 

I find these questions interesting – they force me to articulate my sometimes rather incoherent thoughts about my writing and that, I think, has to be a good thing! I’d love to hear other people’s ideas on the subject in general or on particular questions.

Handwriting

Capture

My hands hurt.

Anxiety presses pins, needles, nails

Into my knuckles

The pads of my fingers

And my thumb.

“Don’t press so hard.

It’s bound to hurt,” they say, “gripping like that,”

but then they add

“You have half an hour to finish,” and wonder

Why I stress so.

The words are easy.

If I could type them on a keyboard,

Neat and bright

In a well presented paper, I could have ended this

An hour ago.

“You don’t complain

When it’s maths,” they say sadly, but

Maths is beautiful

And I can ignore the pain to get

Those numbers formed.

Meanwhile, they want

Three sentences that explain some words

I have understood

For ever and a day, and you must understand

My hand is numb.

(I was writing to a prompt: “If I waited till I felt like writing, I’d never write at all!” and was inspired by my autistic grandson who finds handwriting a trial.)

Happy New Year!

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I remembered I’d written a pair of ‘mirror’ ficlets about New Year, some time ago so thought you might be interested to see them here. The first is dark and angsty, but the second, which starts with the same premise, holds out hope for the future and is the one you should regard as the ‘correct’ version.

New Year’s Resolution 1 (500 words)

He stroked the soft worn leather; fingered the prong on the well-known buckle – a snake swallowing its tail.

He watched her bring a bag of cast-offs, her own, her husband’s, her son’s. All for charity. The sick. The deserving. But when she looked at him there was no charity in her eyes.

He remembered skin, supple and brown as the belt encircling it. His eyes must have shouted their loss because he heard the girl on the stall say gently to him,

‘We haven’t priced this lot yet but if you really want it that badly …I’ll just ask.’ Then after muttering with another woman,

‘Is 50p OK?’

And he exchanged the 7-sided coin for a memory.

At Christmas he wore the belt close, like its owner had been. Had appeared to be. True closeness could not, surely, have been severed by the parental knife so surgically, easily, in one direction. The filaments of his own life were still entwined..

On New Year’s Eve he stayed in. Others had asked him to join them at parties, in bars, at meals in private houses and convivial restaurants. He had refused all invitations. Each thought he was with another, never imagining him alone. Their brilliant friend, star of every gathering.

He leafed through the photographs, glad he’d had them printed. The two of them, on the beach, in the woods, walking in the hills. First one, then the other, then, as familiarity with the camera brought confidence, both, smiling at the timer that allowed them to pose together. The belt showed clearly in some of the shots. He held it as he remembered, the leather warming beneath his touch.

He had never understood how they had known. Or how strong their hold was. How all that love and brightness could crumble to ash in the blaze of their fury. His invitation to leave, live with him for ever, had been spurned as if it came from the devil himself. The family had closed around their own, leaving him on the outside, not even looking in.

Did they know what they had destroyed? He sensed that they did.. That they were proud of their achievement, would be equally proud of the outcome.

He dreamed fitfully and rose at a quarter to twelve. He’d already set crossed sticks and balled paper in the grate. Now he carefully added the photographs and placed the belt on top. As the church clock started to chime the hour he lit the match and set fire to his life. Ringing bells across the town accompanied the beautiful flames.

His brain made moving pictures in the flickering orange and gold. Two young men. Teenagers still. A camping holiday that turned into something more. Turned, in the bitter end, to tears and mud. Careless of the remaining heat he smeared the debris across his forehead and lay down beside the hearth.

After that, it was easy, inevitable even, swallowing the bitter medicine. And falling gratefully, permanently, asleep.

New Year’s Resolution 2 (500 words)

He stroked the soft worn leather; fingered the prong on the well-known buckle – a snake swallowing its tail.

He watched her bring a bag of cast-offs, her own, her husband’s, her son’s. All for charity. The sick. The deserving. But when she looked at him there was no charity in her eyes.

He remembered skin, supple and brown as the belt encircling it. His eyes must have shouted their loss because he heard the girl on the stall say gently to him,

‘We haven’t priced this lot yet but if you really want it that badly …I’ll just ask.’ Then after muttering with another woman,

‘Is 50p OK?’

And he exchanged the 7-sided coin for a memory.

He wore it sometimes, savouring the closeness, his own skin tingling with the remembrance of touch. Mostly it stayed coiled on the windowsill, a memento of summer and teenage craziness, the buckle a reminder of desire and laughter. Bittersweet memories, like the nest of adders they’d disturbed on the South Downs. Tender memories like the night on the cliffs at Dover.

Then he would remember the homecoming and the look on their faces when they said he wasn’t welcome any more. The finality of the door closing in his face.

Christmas had no sparkle this year, despite the lights and the music. All he wanted was something he couldn’t have. And he imagined the scene in their house, the prodigal son restored, the fatted turkey roasted to perfection, the devil cast out. All their prayers answered. He made duty visits then returned home.

New Year approached on leaden feet but all at once he felt a stirring of courage. One final throw of the die, for the sake of his pride if nothing else. He bought wine, cheese, chocolates. Entertaining his as yet uninvited guest had to be treated as a foregone conclusion. He dressed with care and forced himself into the frosty streets.

When he let the knocker fall beneath its pine wreath and heard the echo in the hall he almost turned away. It was too like a death knell. But the door opened and a startled face blossomed with joy.

‘They said you’d gone away!’

‘They said you didn’t want to see me!’

And as easily as that the door swung shut and they were together. Running down the street hand in hand, shouting, laughing, crying. Shivering, too, in the icy east wind. His apartment, then, and a quick rummage through clothes that were all too big, too long, but were at least warm. A sweater that could be held in by the belt, restored to its rightful place. As he fastened it he knew it would have to be unfastened almost at once, but first, first …

They went out onto the balcony and stood, arms around each other’s shoulders, each holding a glass of wine. Wished the whole world a Happy New Year as the clocks chimed, then turned to the warmth, and to each other.

 

Favourite characters in my own writing

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Apart from the seasonal holly in our lane…

More questions and answers about my attitudes towards my writing.

For each of the genres/series already mentioned, what were your favourite characters to write?

There are four that stand out.

Harlequin, the narrator of my fae saga, tried to take over my mind while I was writing his journal. I loved having a muse who was so determined to be heard, so interesting (to me) and so prolific. Perhaps because the journal was necessarily written in first person, I identified with him quite strongly. I just wish he hadn’t told me his story in diary form because the formatting is horrendous.

Moth, his little sister, was another character who entered into my life very fully. I was asked to reply to the letters a friend’s grandchild had left to the fairies at the bottom of the garden and so Moth was born. She was a fae child, responding very seriously to a human child, and she had difficulties with writing, spelling, siblings, etc. She became very real to me and to everyone who was involved as I developed the children’s book. At the time, she was probably my favourite character to write but as she has grown up she holds less interest for me. Again, the letters were written in first person. I have held back on trying to publish Moth because the coloured gel pens the girls used are an integral part of the story. When it all started, publishers were not very interested in works that required too much coloured text. I discussed self publishing and decided it wasn’t economically viable at the time. The along came e-publishing but at first the only widely accessible outlets were black and white. I am now reconsidering the entire project.

You can see from these two that I tend, naturally, to think and write in first person in my original work. I know some people dislike reading first person accounts and prefer narrative in tight third person. However, I have never had a problem with either as a reader, and I find that if a character is telling me their story they tell me in their own voice and I simply scribe what they say.

Genef, the heroine of my fantasy detective series, is another favourite. She ‘speaks’ to me and makes the story telling effortless. Her dragon, Scratch, does the same. I started the series writing in first person but realised quite early in the first book that it wasn’t going to work for me and then had to rewrite extensively. In a detective story you have to leave clues for the reader, and the plot lines contained clues that Genef and Scratch couldn’t possibly have known about. So in a sense, the reader was ahead of them in the process of detection, a plot thread which I found interesting to develop. I know there are plenty of first person detective stories – they just weren’t something I felt capable of writing. I love writing the dragon, with his non-human and non-elf view of the world and all its events. He might be my favourite character of all. In the third book, the one that is currently being amended after beta, some of the chapters are in tight third person for the dragon because he has experiences the other characters can’t share and which are essential to the plot.

The first book is available here: http://www.amazon.co.uk/The-Scroll-Skilled-Investigators-Book-ebook/dp/B00WRIHW4U

or for people who have an e-reader other than a Kindle, here: https://www.smashwords.com/books/view/533349

scroll 2015 for blogs

In all my work I am heavily invested in the main characters while I am writing, but the four I have mentioned are probably my all time ‘favourites’ since I have turned them into series, not just single stories or books.

There was a question as to whether any “muse” character speaks more than others, or tries to push their way in, even when the story isn’t about them? I have never had this happen, in either original fiction or fanfiction. I think my muses know their place, which certainly isn’t in stories that don’t belong to them! For me, a muse is the story teller in each individual story and they speak to me very strongly and directly. They might also speak to me outside the story, for instance to comment on something I have seen or visited. This helps me to get to know them better. For example, Moth might comment on the trees in a wood I have been to, telling me whether they would make good fae homes. I can’t imagine why any of them would want to muscle in on someone else’s story or distract me from other writing.

Another question asked for preferences in writing male or female characters and I really don’t have a preference. My characters are first and foremost characters with their own important stories to tell. Their gender is in some ways secondary to that. If I am under pressure, writing more than one story for various publishing needs and fanfic challenges, I might hear Harlequin step in and tell all the characters who are trying to tell me their story to be quiet and let me work. But that’s rare, and only happens if I’m feeling overwhelmed.

If that happens, it’s my own fault for taking on too much at once and I allow my subconscious to use that particular muse to sort the situation out because he’s good at it! I sometimes wonder whether writing is a bit like multiple personality disorder only comparatively benign.

The question about favourite characters is much harder to answer in relation to fanfiction. I write in multiple fandoms and in most of them I use the most obvious characters. For example, if the fandom is a cop buddy TV show the cop buddies will feature heavily in my writing. I enjoy reading about minor characters given their own story but rarely write them. If I look at all my fandoms, I would say that my favourites to write are probably, stupid though this might sound, whatever I am writing at the time. If I start a story, I live it until I’ve finished it and whilst writing, the relationships are my favourite ones ever and the characters take over my brain. However, they don’t continue to live there in the way that my original characters do.

There are, of course, in fanfiction, crossovers and fusions. When I write these, they are my reactions to canon, not at the initial instigation of the characters or muses. I am currently writing a Lewis/Harry Potter crossover series. It was started as a result of a prompt that appealed to me and a couple of photographs of the actors concerned that seemed to add something to the prompt. They have similar looks so I made them cousins and the plot developed from that. This seems to take me back to writing crossovers in my head as a child.

I’m always fascinated to hear how other people’s muses behave and how they approach their characters. So let me know!

And if you celebrate it, have a Happy Christmas!

Advent

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These are the days

the days that pass in a blur of dark and light

the days when by mid afternoon

we huddle in our curtained rooms

and shut out the night.

 

The days of miracle

the days that are full of glittered decoration

the days when presents fill the minds of everyone

to give and to receive, wrap and unwrap

and share, with anticipation.

 

These are the days of wonder

the days of glistening lights on every street

the days when trees leave the forest

to wear indoor finery while we call

cheerful blessings to all we meet.

 

These are the days of miracle and wonder

The short days of the solstice and the longest night

the days when the world sleeps and yet

outside my door an onamental quince has already

opened new flowers to welcome the light.