Showing posts with label writer beware. Show all posts
Showing posts with label writer beware. Show all posts

Saturday, 10 November 2012

Unborn chicken voices in my head

Since I first heard that lyric as a child I wondered what it meant 


I wrote my own explanation, included in this piece that was part of novel but which has subsequently been dropped in the editing process. *boohoo* *sob*



It felt like ball bearings in his bowels, an uncomfortable weight of doom and dread and the sense that he had done something wrong although he wasn’t sure what.  He picked up a spoon, examined it and set it back on the table.   He couldn’t pinpoint what he was afraid of.  It was an unnamed thing fopping about his in stomach and turning him off his cornflakes. 

‘It’s too late,’ said a voice, like the voice of the boy from the radio, ‘there’s nothing you can do.’

He looked at Mammy.  Daddy winked at him as he ate his cereal noisily, each mouthful crunching like he was walking on gravel spread across a grave.  He slobbered in the milky spoons and the surplus dribbled down from his mouth back to the bowl.

She sipped tea, sucking back saliva not wanting to scald the roof of her mouth with it. She nibbled the corners of her toast. Her not eating was an equal irritant to his robust pigginess, she masticated slowly swallowing in ten minute mouthfuls.

He wanted to get back to his room, to the radio, to the static, restful and soothing as a lullaby, to the boy and his voice which broke like a beacon through the fog of his mind.  The boy understood him.

Daddy cracked an eggshell with the lip of his spoon setting Kai’s teeth on edge.  He was queasy as Daddy slurped the soft jellied insides of egg from his spoon.  Eyeballs, the inside of Kai’s cheek had ridges.  Bite marks on the soft part and his jaw was sore from the grinding of his teeth in the night.  He caught sight of his reflection in the mirror of the coat stand in the hall and rose abruptly to slam the hall door shut.

Mammy and Daddy looked at him, Daddy no doubt sneering but he couldn’t see him, he was looking down at the table again.

It wasn’t his appearance he was afraid of, it was the space.  A lie of 3-dimensions in something that was flat, the deception of everything appearing to be the same in the glass only to discover when you examined it closely that was totally different, because it was reversed.  He had a strange notion, one that he couldn’t quite shake, that the place in the mirror only mimicked the room it reflected for the part of it that could be seen.  That there were other things there too, hidden at the periphery of sight, unknown things and his reflection wasn’t safe.  They were waiting to find him when he strayed in the glass.   He was avoiding mirrors. 

And he didn’t trust doors, not open ones and especially not the wardrobe ones. They had to be shut, closed completely.  It was important when he was trying to sleep, that the things in the dark spaces behind the doors could not come out. Even if the wardrobe was empty when he looked inside who knew where it might lead to when it was shut, some unknown place down a black corridor of mystery.  The world was a dangerous place.
Mammy was looking at him.  He looked up and tried to smile but he wasn’t able.

‘She knows,’ said the voice.

She doesn’t know, thought Kai, she doesn’t know anything.

‘She knows about Theresa,’ the voice said, ‘and she lets it happen.’

Kai wasn’t sure what to think.

‘She knows about you,’ said the voice.

She couldn’t, thought Kai, there is nothing to know.  But he picked at the skin around his thumb nail growing less sure.

She was talking to him.  About the chickens.  He focused really hard on understanding, they were laying more now spring was here and the weather had improved.  Her and Daddy were away for the day.

‘…can you collect the eggs?’ she asked ‘I don’t want the hens getting broody!’

He grunted.  His nostrils flared.  Suddenly brimming with anger and disgust, he didn’t want to go near the squawking pests who shit their own beds and cannibalised their eggs given half a chance.  

‘We’ll be back late,’ she said, ‘we’ll probably grab a bite to eat on the way home.’  She was looking at Daddy, her features arranged in an imitation of happiness, a faded carbon of joy.

Daddy looked up and leered at them, the yellow drip of egg yolk on the front of his shirt matching the nicotine stains on his teeth. 

He nodded.

‘I suppose they don’t care what you have for dinner,’ said the voice ‘I suppose they don’t care if you want to go too.’

‘It’s a lovely day outside’ said Mammy ‘the daffodils are up early this year.’

He grunted again.  She must be mad.  Outside the window was grey and dull and the flower beds were overrun with weeds choking all the daffodil bulbs.

‘You should go for a walk for yourself,’ she said, ‘get some fresh air.’

‘Yeah,’ he said and nodded, but he left the table and went straight back to bed.  Fully clothed he faced the wall.

He lay and he listened and he fiddled with the bandwidth enjoying the repose of the static, waiting for the voice to come clear.  He heard his parents leave, he watched the shadows move across the bedroom.

‘We’re going,’ she shouted up the stairs but he didn’t stir.

He must have fallen asleep, he could hear voices.

‘Help us Kai,’ they said, ‘help us Kai, help us,’ they squealed.

‘Kai, Kai, Kai,’ like a mantra squeaky and high pitched, his name transmitted at sonar frequency.

He heard them outside all the way up to his room where he was lying on the bed.

‘Ick, ick, ick, Kai, Kai, Kai,’ and a scratchy noise, like nails scrambling against a hard surface.

He rolled over and got up from the bed.  Then he was in the yard though he had no memory of walking down the stairs and away from the house.  They knew his name and they would not stop saying it.

‘Kai, Kai, Kai,’ like an agony scraping over his soul.

‘Kai, Kai, Kai,’ they screeched, ‘help us Kai, save us.’ Their voices grew louder, there was a sound of tapping and of scratching.

He was in the chicken coop before he realised it was them, the unborn chickens squawking, chirping from the shells.  They were trapped, locked-in, desperate to get out.

 He pictured them inside, watery with transparent skin, featherless and slippery, their black pupil eyes swimming in membrane and goop.  The claws and beaks that tapping and scraped were the only parts that wouldn’t run through his fingers.  He didn’t know what to do.  If he cracked the eggs for them they would die.  He stood in the hen house arms raised in surrender.

‘I can’t help you,’ he shouted at them, ‘I don’t know what to do.’

‘You’re not ready to be born,’ he said.

‘Kai, Kai, Kai,’ they said, ‘help us Kai, it hurts, it hurts in here it hurts,’ a chorus sweeping over him.

‘It’s hurts us Kai,’ they said, ‘help, help, help, we’re stuck.’

And he felt it, their pain at being trapped in the shells, the cramping and the desperation to escape.  He was wild with the want to help them, to save them and to make them stop saying his name.
The chicken coop was dark, he switched the light on and he searched for the eggs in the straw of the nesting boxes and for the eggs that had been laid elsewhere too.  Guided by voices he found them one-by-one.

‘It’s okay, it’s okay,’ said Kai, ‘I have you, I have you now.’

Their pleading mounted a crescendo; he could not stand it any longer the unborn chicken voices.

‘Do it Kai, do it,’ they said, ‘end it.’

He tugged his hair.  Then he caught an egg and threw it.  A swift volley against the wall and it smashed with a thunk.  The egg oozed downwards but he felt a relief as the chicken’s soul escaped its prison.

‘Me, me, me, me,’ chirped the other shelled foetuses. 

He grabbed and shattered another and another against the floor.  The fourth egg didn’t splatter, he had to stomp on it with his foot before he felt the release.

Fast and hard, he annihilated the remaining eggs in an ecstasy of splintering and goop.  The voices quietened to silence.  He heaved with relief.   The chickens stared at him before they shook and ruffled their feathers and slowly, slowly one-by-one lapped up their children.  The relief seeped and away and all that was left was horror, he looked around him and the shed was destroyed. 

He awoke back in his bed as the car pulled into the farm, its front lights flashing across his bedroom wall.

It was a few more minutes before the angry reverb of the steps on the stairs warned him.  That Daddy was coming for him, he swallowed, beneath the covers cowering and afraid.  The door swung open and Daddy fell through it, afterwards Kai remembered the smell of drink on his breath.  Kai felt a kick in his back.

what other musical reference did you find? 
Kind of relates back to this post
Writing Inspiration #1

Thursday, 8 November 2012

Pitch Perfect



Pitching isn’t easy and this is one of the best blogs I‘ve looked at so far with the most concise step-by-step instructions for constructing one.

(and believe me I need step-by-step instructions - first pitch available on request)
 
How do I distil the essence, the multifaceted nuances and twists, the pivotal plot points of my 110,000 masterpiece to the back of a Cornflake’s box?

LIKE THIS IT SEEMS:
How to create that 25-word pitch: 

(Note: these steps are a framework not a strait-jacket. Adapt if necessary. For non-fiction omit 1 and 2 and decide what your book is about and who it’s for.)

1. Take your main character (MC) and give him/her an epithet – eg vengeful divorcee, desperate aspiring author…
2. Identify the MC’s central mission/problem/fear and what he stands to lose if he fails.
3. Brainstorm words and phrases that your book conjures up, including themes, moods, actions.
4. Pick the 25-30 that sound most compelling.
5. Pick the 5-8 of those that sound even more compelling then the others.
6. Fashion those ingredients into a tight, heart-tugging 25-word pitch.
7. Include wolves.
  1.  Kai - Lost boy (too peter pan)
  2. Becomes increasingly isolated until his physic pain begins to manifest itself physically as a disruptive presence
  3. *done in my head like the rest of this should have been* 
  4. Winter, glass, ice, mirrors, Snow Queen, Supernatural, Nature, Charmed objects, dark magic, wolves, foxes, friendship, betrayal, loneliness, isolation, redemption, preternatural, misery, peevishness, cruelty, sorrow, love, fantasy, imagination, violence, escape, running, premonition, predestined, neglect,  snow, bleak, desolate, warm, forgiving, bonded, medal, crows, trees watching, birds watching, nature looms in to inspect the scene, the farm is alive, a voice shrieks out in the darkness, thwarted nature, Kai’s voice is stolen, he is powerless, the boy is cipher for all the negative emotion he cannot express makes him self-harm, disruptive behaviour, paranoia, destruction, girl, longing, farm, adventure, death, magic, protection
  5. Supernatural, charmed, dark magic, betrayal, isolation, cruelty, destruction, longing
  6. Lost boy Kai becomes increasingly isolated until his physic pains manifests itself as a destructive presence
  7. Lost boy Kai becomes increasingly isolated until his physic pain manifests itself as a physical presence.  This destructive force tricks him into betraying his best friend Jimmy.  Preternatural forces surround the farm battling the sympathetic magic of nature, the charm that Granny left to protect him and the girl who dreams about him. 


So, you’ve got your 25-word pitch. Next, swell it to a paragraph by elaborating on that “must-read” core.

My guidelines follow. It’s hard to create guidelines that apply to every type of story, so do adapt at least 1 and 2. Again, for non-fiction, use common sense and omit points that don’t apply.

1. Focus on main plot only. (Obviously, if you have a dual story, or similar, you might need to mention both but aim for the minimum.)
2. Show MC’s central mission/problem/fear and what he stands to lose if he fails – and indicate (some) obstacles and journey.

Lost boy Kai becomes increasingly isolated until his physic pain manifests itself as a physical presence.  This destructive force tricks him into betraying his best friend Jimmy.  Preternatural forces surround the farm they are countered by the sympathetic magic of nature and the charm that Granny left to protect him. A girl dreams about Kai.  Her home situation mirrors his, it is bleak and uncomfortable.  They find each other and share an adventure as she uncovers how to break ‘the boy’s’ hold over Kai.  Ultimately ‘the boy’s’ hold is too great and Kai retracts from society into an inner landscape of cold, desolate winter (with wolves).    

3. Be concrete, not abstract. For example, avoid statements such as, “This is a book about survival” – show us who survives what and how.
4. Give a sense of the tone. For example, for a humorous book, convey this.
5. Do not praise your writing. It is not for you to describe your prose as “poignantly lyrical with flashes of genius”.
6. Stay true to your genre. For example, what might sound compelling in a crime novel may not sound compelling in a romance.
7. Do include a sense of the ending when pitching to agents and publishers. This doesn’t mean you must say exactly what happens, but we need to know something of the resolution.
8. Avoid unanswered questions such as “Does Larry save the world?” “Will Ella ever find love?”
9. Comparisons with other books can work but require great care. They must add something to our understanding of what sort of book it is. “My book is a cross between Twilight and Where the Wild Things Are” is not going to work.
10. Hone, hone, hone – imagine each word costs you $10.
11. Get others to read your pitch – it’s amazing how helpful an outside view can be.

 End Product - Pitch

Lost boy Kai becomes increasingly isolated until his psychic pain manifests itself as a physical presence – ‘the boy.’  This destructive force tricks him into betraying his best friend Jimmy.  Preternatural forces surround the farm, they are countered by the sympathetic magic of nature and the charm that Granny left to protect him. A girl dreams about Kai.  Her home situation mirrors his, it is bleak and uncomfortable.  They find each other and share an adventure, she tries to break ‘the boy’s’ hold over Kai.  Her compassion and empathy are not enough to save him as ultimately the hold is too great.  Kai retracts from society to an inner landscape, cold and desolate, bleak as winter.    

 (maybe a little clunky but workable?) 
(bearing in mind i'm leaving out death, an affair, someone getting stabbed with a kitchen knife and other random incidents of violence, sexual assault, knacker drinking and taking yokes!!)