“Dialogue should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms.” ~Alfred Hitchcock
It’s interesting that, as an author, you learn things about yourself through reading and listening to how your readers interpret your work. For instance: I have always loved horror, but didn’t realize how much of it I’d put into Guardians until I read two reviews that highlighted the “brutal aesthetic” present in Son of Ereubus.
As author Anthony Pacheco put it, “On the surface, leave no doubt that Son of Ereubus is creepy as hell. I would not call it a horror book but there are many horror elements on display. Indeed, the level of creep is so persuasive that, like the inhabitants of the human world and their protectors, a reader gets used to it. There is a certain, brutal aesthetic to the plot.”
Though, my favorite line from his review is this one: “Garren is the anti-hero and even before he grasps the ugly horns of self-determination, he strangely becomes a sympathetic figure. How Chancellor made me feel pangs of sympathy for such an evil fuck, I have no idea.”
Ien Nivens, in his review at Berkshire Fine Arts, said this: “Stark brutality reigns on one side of that divide. The seat of power “reek[s] of sweat and grime” and more than a little gore. In Eidolon, a young man’s rite of passage is the taking of a soul, while a woman given in a chilling parody of marriage is rendered incapable of protest, her former allegiances juiced out of her, her private will severed from her body.”
Chilling parody of marriage—indeed it is. That phrase also had me smiling, because it meant that my intentions, and effort at carrying them out, had delivered. It’s in these moments, where you find yourself holding your breath, that the negative reviews and snide remarks and hardships of being a published author, become worth it. You send your baby out into the world and wonder if you’ve revealed enough—said enough—for your readers to see clearly the picture you were attempting to paint for them. You suspect that you used too much paint in some areas (and you probably did) and not enough in others. But in these wonderful, rare moments, the most important things have been seen and I’ve never felt joy like that before.
There was a scene in particular that concerned me, that I remained tight-lipped about, because I wondered if anyone would understand why it was even there (a well-meaning beta reader had told me it was pointless and to take it out). And then Ien stated this, “When Duncan takes the stage, very near the end of Son of Ereubus, to expose not only Garren’s depravity (which we’ve witnessed from the very beginning) but the cost of it in wrenching human terms, we take the full brunt of Chancellor’s integrity as a novelist of purpose. She delivers a blow to the viscera before she offers her hand again–open this time–and hauls us to our senses and our feet to remind us that there’s business to attend to yet.”
I teared up like a junior high girl who’d just been asked to dance.
And it’s these things that I cling to as I find that my world—the real one—has changed. Vivian Beck warned writers to savor the days they spent writing for themselves. She was right. More than I would have imagined and more than I care to detail here, publicly. But, let me add to that warning: Spend this time, the days and months, and years, before publication, finding your center. Discover the real reason for your writing. Don’t just savor the days, catalog them. File them so that you can go back and pull from them what you’ll need when your days are no longer at your sole discretion.
The stories were never really yours to begin with, but the telling…the telling is for a time. There is more than a little magic in this. There is more than a little utility in this. You are packing your bags, filling them with everything you think you’ll need for the journey ahead. If you’re wise, and I know you are, you’ll remember to take care of yourself and not those you intend on meeting down the road. If you don’t, it will make for a lighter carry-on, but trust me—please—when I tell you that you’ll regret it once you get there. Wherever there is for you.
To expand on the analogy of our work being our children, you’ve got to consider both of you in order to be a good parent. If you don’t bring the things you need along, then how can you expect to care for your child? On the same token, if you bring nothing to nurture your child, how will it flourish? You rely on each other. Are there times in your life where your writing means everything to you? It works both ways. Don’t ever, ever, forget that.
There are some who would try their hardest to convince you that only readers matter, and that a work is nothing without them (there are moments after publication where this thought beckons once again). But, this is not so. Too many authors wrote prolifically during their lifetime, only to perish before their work was ever read by a single reader. Are they any less an author because of this? Any less a poet? Of course not. The validity of the work doesn’t correlate to the validation of the public. After all, woe is the writer who mounts their merit on the masses…
Revel in the telling…because if you’re destined to see your work in print, there will come a time when you will long for that blessed exclusivity.
A woman who has been trying to get pregnant for years, is alone in her bathroom, waiting on a little blank square to tell her whether there is life inside of her. Does the pregnancy begin when the test confirms it? When she tells the father? The world? No. The recognition has nothing to do with the life force at all.
So, while you are waiting on that test…revel in knowing the outcome. Revel in being what you know you are—what grows inside of you. Revel in the telling…because saying it aloud to yourself…I am a writer…I have a story to tell…is so very different than saying it to another person. And that’s a moment you can never get back.