I read somewhere—perhaps in an interview with Ursula K. Le Guin—that science fiction has both feet planted solidly in the science of today, that the fictional parts are pushing beyond those roots in a way that is both logical and plausible.
So when I read a blurb for CREATION: How Science is Reinventing Life Itself by Adam Rutherford, I immediately thought science fiction. According to Rutherford, we are radically exceeding the boundaries of evolution and engineering entirely novel creatures—from goats that produce spider silk in their milk to bacteria that excrete diesel to genetic circuits that identify and destroy cancer cells. Imagine what stories might be told in a world where such creatures are commonplace, where such engineering is taken for granted. Imagine the products, and the governmental involvement.
Creation by Adam Rutherford
Fantasy, on the other hand, is making it up out of whole cloth. Even so, it could draw on science for an idea. For example, another book I came across recently has such possibilities: TEMPERATURE-DEPENDENT SEX DETERMINATION IN VERTEBRATES edited by N. Valenzueta & B. Lance. It contains articles by leading scholars in the field and reveals how the sex of reptiles and many fish is determined not by the chromosomes they inherit but by the temperature at which incubation takes place. Fantasy would be a story in which human sex is determined by ambient temperature. And perhaps it can vary as the temperature varies. And so forth.
Now, if you wrote a story about a world over-run by snakes and fish because of global warming, you would be back to science fiction. Ditto for a world in which the biological engineering described in CREATION results in changing many species to be temperature-reactive and put that in the context of global warming.
TAKEAWAY FOR WRITERS
Check out the latest in science and then let your imagination run wild!
I can’t imagine a writer without some tools of the trade, even if those are only a good dictionary and a thesaurus, preferably a good manual of style as well. I share a few of my favorite resources.
Somewhere in my public life, I mentioned that I collect dictionaries. I have whole shelves of them, everything from slang to carnival jargon to common usage during the Civil War to books of insults and dirty words. I ordered all six volumes of the Dictionary of American Regional English—and then thanked my husband for his birthday present to me.
Writers are readers, by and large, and also word collectors. We tend to fall in love with words. Some writers make a career of writing about words as well as with them.
As a writer, some of your best material comes from your body. Using all of your senses, every day will infuse your writing with rich details and believable depictions of events and emotions.
I’ll give you a concrete example. I love getting massages. In my story “Beautiful Bones,” published in the Connecticut Review, I conglomerated various massage experiences and settings to provide a detailed and sensuous description of a massage to accompany the recipients thoughts and anxieties before turning to magical realism at the end. I call this a case of direct application, in which a character is having the experience I drew upon to describe it.
But consider the use of indirect application: you could just as easily incorporate many massage moves into the description of a sex scene. Or consider the case of a waitress whose partner offers a foot rub after a long day at work.
For any experience,try to note as many of your senses as possible.
What happens when you are angry? What happens to your heart rate, breathing, stomach? Do you blush? Go white around the lips? Does your body tense? Which part(s)? What happens to you voice—everything from pitch to loudness to speed of speaking. Now consider someone you know well: how do you know when s/he is angry? What are the visual and auditory cues?
Food and drink are more than taste!
In fact, eighty percent of taste is actually smell. When olfactory cues are absent, people can’t tell the difference between bits of apple and bits of onion. And then there are the issues of temperature, texture, and spiciness. How complex is the experience?
For writers, everything is material.
Whether it’s a walk in the woods, giving blood, taking a taxi from the airport to a hotel, the frustration of tax time, or just being bored out of your skull, pay attention and use your experience.
Crows and ravens have been popular in myth and literature for centuries–Odin’s Huginn (Thought) and Muninn (Memory or Mind) to Poe’s “Raven”–often with menacing depictions. Perhaps it’s because ‘murder’ has been the collective noun for a group of crows since the Middle Ages.
But I like crows! Every year they star in my autumn table.
Indeed, I like the entire corvid family of birds—crows, ravens, jackdaws, and rooks. I once took a two-week float and paddle trip through the Grand Canyon, and every campsite came equipped with a pair of ravens. Our guides warned us about their tricks. Even so, we were taken unaware when a raven landed a few feet away and started performing—hopping about, dragging first one wing and then the other in a beautiful raven dance. In the meantime, its partner was unzipping fanny packs and making off with bits of food and anything shiny!
Photo by Matteo Paganelli
The only one that seems to hang out near where I live is the American Crow, featured in the March-April, 2016 issue of Audubon, along with articles about Common Ravens and a corvid cousin the Eurasian Jay.
The articles provide fascinating glimpses of these bird brainiacs and the research that delineates their amazing abilities. Corvids are among the smartest animals on earth. They can make and use tools, play tricks, teach each other new things, and hold “funerals” for their dead. With only one exposure, they can form memories of human faces to be trusted and faces to be feared. Not only do these memories last for years, the fear response is taught to others born after the original exposure, and long after the exposed birds have died.
Birds are in the reptilian line of the animal kingdom (who knew?) but relative to their body size, corvid brains are comparable to primates. They appear to have cognitive abilities comparable to a four- or five-year-old child.
Crows are survivalists and exploiters who thrive in urban and suburban environments. According to the Audubon article, “The crows in your neighborhood know your block better than you do. They know the garbage truck routes. They know which kids drop animal crackers and which ones throw rocks. They know the pet dogs, and they might even play with the friendly ones. If you feed them, they probably not only recognize you but your car as well, and they might just leave trinkets in return.”
They’ve been observed putting hard nuts in the street to be run over by cars and then collecting the cracked nutmeats after. They cache food, hide their caches, and steal from each other.
A murder of crows may not sound as appealing as an exaltation of larks, but I find them more interesting!
TAKEAWAY FOR WRITERS
Why use tired images of crows in a cornfield or birds on a wire? When a mention of birds fits your story, infuse your writing with much more interesting bird behaviors!
So, given how smart crows are, how long will it be before these learn that I only want to take pictures? I’m waiting for the day they let me come close!
I once took a class titled “Writing Fiction Based on Works of Art,” taught by Susan Hankla at the Virginia Museum of Fine Arts Studio School. I cannot share with you the great assignments from that class (those being the intellectual property of Susan Hankla) but I can discuss the concept.
Poets, musicians, painters, novelists, playwrights, sculptors—all sorts of artists—have a long history of drawing inspiration from something created in another medium. As a writer, think paintings, sculpture, architecture, music, and nature.
Several of my publications grew out Susan’s class assignments, what I am calling cross-over fiction. “The Naked Truth” started with a painting of a nude (not this one)
“Buddha Remote” started with a video display and “Not Mechanically Inclined,” a sculpture (also not pictured here).
By Michel wal (Own work) [GFDL (http://www.gnu.org/copyleft/fdl.html) or CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons
Three images of Elvis inspired “Love Me Tender.”
Not this photo of Elvis, 1954. Photographer unknown (commercial work-for-hire) derivative work: Dockino (PresleyPromo1954.jpg) [Public domain], via Wikimedia Commons
Writing cross-over fiction is a challenge and I urge you to accept it. Get thee to the VMFA, to other museums, to galleries and art shows, parks and the great outdoors. At the very least, find books of provocative images to stimulate and inspire your creativity!
On Saturday, February 27, Libbie Mill Library hosted the launch of Virginia Is For Mysteries, Volume II.We were the first author event at the new library!
The launch included a panel presentation on Pathways to Publication, moderated beautifully by Mary Burton. Panelists included both traditionally published and independently published writers of short stories and novels. I served on the panel along with Meriah Lysistrata Crawford, Kristin Kisska, Adele Gardner, and Teresa Inge. We represented a wide range of genres: romance, fantasy and horror, historical fiction, memoir—and of course, mystery!
Besides those on the program, a number of Sisters in Crime contributors attended, along with more than seventy others.
L-R: standing, Yvonne Saxon, Meriah Lysistrata Crawford, Kristin Kisska, me, Ken Wingate, Heather Weidner, Rosemary Shomaker; seated Teresa Inge, Adele Gardner, Maggie King, and Lee Wells
Virginia is For Mysteries: Volume II launch (Photo from Sisters in Crime–Central Virginia)
The audience was thoroughly engaged and asked lots of good questions—before buying books and devouring the cake!
All the authors present signed books on request.
We were especially pleased that Sherlock showed up—and tolerated being womanhandled with great stoicism.
Visit the SinC-CVA website and the individual authors’ websites to see more photos and read more about the event.
I’m honored to have my story “War and Murder at Nimrod Hall” in the anthology. My story is set at historic Nimrod Hall. Over on the Virginia is for Mysteries blog, I shared how Nimrod Hall inspired me.
I can’t imagine a writer without some tools of the trade, even if those are only a good dictionary and a thesaurus, preferably a good manual of style as well.
Most of us have much more than the basics, however. I often set stories in times that are not now. Therefore, in order to get the details needed to enrich the prose and draw the reader into the period, I often rely on bits of dialogue about what something costs, or what’s being eaten or worn.
A few of my favorite references
For the cost of things, I turn first to The Value of a Dollar.
The Value of a Dollar, Grey House Publishing
The most recent volume is 1860-2014, and new it costs $155. I first came across this book in the reference section of a library in Clifton Forge, VA, when I was researching my novel Nettie’s Books, which is set 1930-1935. I was delighted to learn that ham was 8¢ a pound back then, and that Sears was selling 25 Hershey’s 5¢ Almond Bars for $1. I wanted that book! The price of a new one was prohibitive, but by dropping back to the previous edition (pictured above), it was very reasonable. Indeed, I just ordered the one that covers 1860-2009 for $7.91 plus shipping.
As you know from other parts of this website, I collect cookbooks. But I also collect food reference books for writing, such as the two pictured here.
The Century in Food
Fashionable Foods
Being able to put waffle irons, Kool-Ade, Spam, and Jiffy Biscuit Mix in the right period is highly tempting! Among other things, such references may trigger childhood memories for readers and help draw them in.
In addition, I find it very helpful to have good references for popular culture and slang. In fact, I have several of each. I often write stories set in Appalachia some decades past, when saying an overweight woman wears clothes so tight she looks like ten pounds of potatoes in a five-pound sack can create just the right vivid image of the woman in question as well as giving insight into the speaker. A character saying, “What a hoot!” is clearly older than the one who says, “Whatever.” The two books pictured here are rather specialized ones, but more comprehensive options are readily available both new and used.
Remember That? and Butter My Butt and Call Me a Biscuit
I revel in dipping into these and other references even when I’m not researching a particular writing project. Some of my favorites don’t fall into any of the above categories, but they are great stimulants to striving for better, richer language.
Falser Than A Weeping Crocodile And Other Similes
I was a reader before I was a writer (weren’t we all?) and for me, these are great reads! Advice to writers: choose research and writing tools you can enjoy.