Category Archives: publishing

Literary Adventures Come More Frequently Lately

This week has been so far incredible, and now I’m gearing up for a slightly quieter week of writing and editing and putting my head down so that the copy-edit of the final draft of The Heathens and Liars of Lickskillet County can be finished.

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I got a poem published in RiverSedge, a lit journal based out of the Texas-Pan American Press. I will update on which poem got published once the journal is released.

Recently, I also received publication in The Southern Tablet. You can read my poem here: When You’re Sixteen In a Small Southern Town. It’s a fun poem about childhood and growing up, which is probably one of my favorite non-slam poems I’ve written recently.

On Saturday, I got the honor of being in my hometown newspaper The Aiken Standard. Entertainment writer Stephanie Turner penned an awesome feature about my first novel, my burgeoning poetry career, and my creative process. I was very happy at work that morning as several people approached me, having recognized my picture from the article. It’s been an interesting summer in Aiken, SC, because I always felt like in Charleston, people know me as a writer and in Aiken, people don’t know me as anything. But that is starting to change, and I hope only I can remain humbled and grateful about the opportunities afforded to me.

Read the Article here: Aiken Poet Completes First Novel.

Poetry, too, has blessed me this week with an incredible energy. On Wednesday night, Nova (a fellow poet and my significant other) and myself drove up to Greenville, SC to compete in a small slam hosted by Moody Black. I was happy to catch up with my poet family, especially one brother who is about to join the Navy. The event stoked my love for the spoken word art form and taught me just a little bit more about the competitive side of poetry. Check out the slam winner Annie Lee, picture below.

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The very next evening, I attended an open mic at MAD Studios in Augusta. I have featured here before and love the venue. This week, Bilaal Muhammed blessed us with some poetry. Augusta Poet Laureate SleepyEyez Carter was instrumental in bringing out many of the city’s poets and performers for an evening of high-energy love. During that evening, I learned that both Sleepy and Brotha Trav (the previous poet laureate) were heading to Atlanta on Saturday.

I called to ask if I could tag along. I performed as the spotlight poet at Urban Grind’s “Do You Lyric Lounge?” I also got invited back next year on August 2015 to perform as the feature. I am slowly building up a calendar for 2015, based around the same time my book will be released!

On top of all this great news, Germany won the WORLD CUP. I celebrated by buying some new books. In the coming week, I’m going to start blogging more frequently so I can give more full thoughts on the events and happenings I’m experiencing. On July 22nd there will be the Holy City Slam in Charleston (hosted by myself and Matthew Foley) which I will blog about before it happens. Also, we are having a small poet’s party tomorrow evening at a local pool– The Poetry Potluck! The other big news is the Word Perfect show in Charleston on August 14th, which will take place at the Charleston Music Hall.

 

“May Not Be Suitable For Children”: What Is Appropriate for Young Adult Fiction

goldshaft-advisory“May Not Be Suitable for Children” should be my pen name, plastered across every short story, poem, and novel I write. There arises a dilemma in writing young adult fiction for teens, even for older teens, in that you must purposefully censor the content, language, and context of the story. At the same time, you want to commit to a certain degree of realism in your portrayal of teenagers—they cuss, take drugs, and make poor decisions. But at one point can the pursuit of depicting something “real” cross the line into commercializing the controversial? While editing my novel The Heathens and Liars of Lickskillet County, these questions have plagued me.

Young Adult Lit in general has begun catering to younger teens, from ages 12 to 15, and with that comes a certain sacrifice of material. Violence becomes cleaner, romance becomes chaste, and the 14-year-old who might be a bundle of angry hormones speaks proper as a British butler. On the other hand, there exist plenty of YA novels that explore the dark and gritty. Thirteen Reasons Why explores the suicide of the protagonist’s sister. The Perks of Being a Wallflower highlight sexual abuse within the family and contain scenes about drug exploration. Probably one of the books that takes on the most criticism for dark material is Crank, which details a girl’s descent into meth addiction.

The controversy has already been much discussed in blogs and articles, asking whether YA is TOO DARK? Here are some opinions on that, but here too is my opinion.

The Article That Started the Debate

YA Fiction Is Too Dark

YA Fiction Saves Lives

Think of the Children!

YA Fiction Shows Teenagers As They Actually Are

As edits began on my novel The Heathens and Liars of Lickskillet County, I began to have these exact conversations with my editor and publisher. After we reviewed some of the scenes in question, I agreed—some of these existed purely for shock value, the I can’t believe they might do that moments. Some were clearly inappropriate, though others existed for very particular reasons.

I’ll give an example: one character in the novel struggles with abuse in her relationship. In the first draft, I merely hinted at this dynamic and in subsequent drafts I wanted to bring the conversation of partner abuse to the forefront. So I employed the Toni Morrison school of realism and left nothing to the imagination, which created a powerful though perhaps horrendous scene. Was the scene necessary to show the horrors of abuse or could have I implied my opinion in some other way? In the end, I removed that particular scene because I believed that the character could convey her unsettling experience more easily herself. I could explain why domestic abuse was a terrible thing without actually showing domestic abuse, therefore in some way glamorizing that sort of violence.

Other controversies arose, as well, such as certain sex scenes and the presence of drugs and especially the level of cursing that some characters undertook. This caused the book to lower the f-word count nearly 100 f-words, which you probably might not notice reading the book. I based this novel and some of the action and the idiosyncrasies of the book on my friends, and my friends in high school swore like sailors. Of course we were always talking about sex and crimes and what we going to do once we broke out of our hometown. That’s part of growing up.

The most important question to ask is, why are you writing? Is the scene, though controversial, serving a specific purpose? I want to write something entertaining but also something educational. You learn not just about science or the South or even about the inner workings of teenagers, but a little something about what it means to be human.

Lastly, another big question: who are you writing for? It took me a long time to come to terms with the fact that I’m writing young adult literature, but the stigma of writing for teenagers has begun to dissolve. I always wanted to write “literary fiction,” something serious, though you can write serious fiction for teenagers. After all, I was reading Melville and Fitzgerald and Dostovskey and Eggers as a teenager, and even now I’m barely removed from “teenager status.” Over the past few years, YA Lit has trended toward younger readers (12-15), but I wanted to write something for the almost New Adult. And I don’t mean the genre “New Adult,” which has been swamped solely by romantic fiction. I want to for those in-between, people like me. Maybe we’re not ready to read academic treatises yet and still crave the adventure of a teen lit book, though we also want something substantial in our fiction. We wanted to learn something about being human, want to better ourselves through the process of reading.

So, maybe The Heathens and Liars of Lickskillet County isn’t “suitable for children,” but I hope it’s suitable for you.

First Novel The Heathens and Liars of Lickskillet County, To Be Published Fall 2015

I am extremely happy to announce the forthcoming publication of The Heathens and Liars of Lickskillet County.

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On May 21st, I signed a contract with PRA Publishing for my first novel. This summer I am working with my superb editor to put the finishing touches on the manuscript, and then we’ll begin a massive marketing campaign. You’ll see reviews, blurbs, interviews, and other creative forms of marketing on this site! The tentative release date is August 2015, though I’ll keep you updated about specifics as the time draws nearer. Find out a little more about the book here:

When Declin Ostrander arrives in Lickskillet, South Carolina, he encounters a town on edge: after a grisly hate crime in their most affluent gated community, the citizens have adopted extreme caution and comical political correctness. The lynching coincides with a series of strange occurrences: the haunted house burns down, the local swimming hole is filled in to make space for condominiums, and a corporate lawyer arrives in town to defend the accused– a lawyer who happens to be Declin’s father. He moves to a new city every six months, sometimes once a year. Such might be the duration of the average hate crime trial. When Declin arrives at Lickskillet High, he struggles to relate with others and must seek out his own identity in the wake of tragedy.

Every town the same: a new racism, a new house, a new you. Declin’s father works for the infamous Knights of Southern Heritage, a cultural group often accused of hate crimes, and though he does not care fondly for the Knights or the victims, he relishes the chance to constantly move from town to town, to essentially recreate himself. The town reels over a central mystery: who killed Francis Jameson?

The book re-landscapes the South as an absurdist menagerie of Southern heritage groups, social segregation, and corrupt local politics. At the center stand the disaffected and aloof teens of Lickskillet, crusading against the humid hum of boredom with reckless mischievousness, post-modern apathy, and redeeming humanity.

Of course, I’ve written a book that is Young Adult (though that term here applies to 16-30 years old) and Southern. I wanted to write a different southern novel, one that didn’t glaze over the potholes of our history and society. Whether I’ve succeeded in recreating the SC atmosphere will be up to you readers come next year.

Cistern, 5pm

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dangling from his shoulder as he

stretches onto his side in the Cistern’s shadow mosaic,

his crisp blazer folded beneath his white crown.

When I approach to ask

if he might sign a petition for everyone

to start loving one another, he lowers his book and

wordlessly draws a pen from his breast pocket, and leans

forward to grab the clipboard.

Genre Crisis: “New Adult” Label

a_4x-horizontalNobody likes to be put into categories, most of all writers. But categories—or in the world of books, genres—are very helpful for marketing and selling a book. When querying publishing firms and literary agents, one must identify their genre, which helps the editors and agents decide whether the project will fall into their areas of interest. But recently, I’ve had an extremely difficult time placing my novel in a genre, which should be a good thing because agents seek works that cross several genres, except it seriously curtails one’s ability to market himself.

I could easily make up my own genre: Southern comedy transgressive? Meta-cultural southern teen exploration? Young adult, but not that young, but maybe still in their twenties who like funny but also serious writing?

The problem is, if the agent doesn’t recognize the genre, then she or he cannot place it right? I tried literary, but that

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can’t just say that: you need a better phrase.

brand is too broad. While my project has literary elements, it certainly could be explained more descriptively. I tried young adult, but this generally means the books is marketed for teens ages 12-15. My novel is marketed toward older teens and 20-somethings. It, like many New Adult novels, tracks the growth and development of young adults whose identities are forming, who are seriously changing.

So maybe your book is a noir space opera western with thriller-paced plotting, literary aesthetic, and occult elements? Well, you need a better way to say that, a shorter way.

As I’ve been e-mailing literary agents, literary magazines, and publishers, this question has plagued me constantly. Finally I found an age-group description “New Adult” with which to market the novel THE HEATHENS AND LIARS OF LICKSKILLET COUNTY. “New Adult” bridges the gap between the safe and young group of Young Adult (YA) readers and Adult fiction. But because my books deals with characters in between, I think this genre (a relatively new invention of words) is fitting.

Querying agents has so far not worked out, but I am still sending many, many emails all over the country (and the world!) to publish this novel, as well as poems and short stories.

Have you had trouble labeling a piece of work? What genre did you settle on?

Summer Publishing Haze

While summer serves as my one chance to sit down, breathe, and send out short stories to literary magazines, it also usually serves as a time for literary editors to take a break. I have been sending out short stories to various magazines that are still open, and 24 rejection letters later, I came to a realization I can’t actually publish short stories I’ve previously published on the blog. For that reason, I’ll be deleting the short stories I intend to send out.

Otherwise, I won’t be able to publish these stories. By the end of the day, I will have taken them down—sorry if you never got a chance to read them. Submerged and Memoir will continue to be on the blog, but Chicken Deluxe, Monster Theory, and Gartenswerg will be gone.

I have been working on various other short fiction pieces, which also face publication possibilities. Whenever I sniff the first inkling of success, I’ll be talking about it here on Word Salad. Until then, I will be working. I will be busy writing, editing, and submitting.

Memoir: Insert Grandiose Subtitle Here (Part I)

A few days ago, my brother threw a vintage typewriter from the second floor window of the public library. The window a circular feat of glass-engineering, stained green and bubbled-out like a submarine porthole. The typewriter an indulgent gift from our parents, a rusted antique that had been meant as a decoration. My brother, however, could not be convinced not to loudly pound on the stuck keys.

When finally he could not deal with the defunct device any longer, he flung it through the window. Among falling shards of glass, the typewriter plummeted, its black metal pieces flying apart upon impact. The night the police escorted him home and dumped the remains of the relic on our front lawn, he collected the pieces and buried them in the back yard.

When he had dug a hole at least three feet deep next to where Skippy had been buried (he had collided with an ice cream truck), I shuffled out beside him and dumped the typewriter into the abyss. We kicked and shoveled dirt onto its black veneer, patted down the earth, and then as if my brother had buried his writerly ambitions, he retreated to his room.

My older brother, he was only seventeen, but prone to outbursts of incredible self-doubt during which he would rant about failure, about never being published, and that no one would ever accept his gift of genius and storytelling craftsmanship. I secretly harbored the notion he wrote like a mutant conglomerate of Stephanie Meyer and R.L. Stine, but I never voice this opinion. My parents naturally nursed his ambitions, deluding him with the promise of literary DNA.

Despite his dramatic funeral metaphor, I suspected he would be pitching his newest novel to me by the end of the week.

*

                The Snyders– my family– were a strange folk who loved most of all to read and write. My dad– Carl Snyder or Papa Snyder– he was a literary critic and scholar at the local university, and he published books on books, on the theory of writing books, but he had never written a book himself. Despite this, we and the literary community treated him as a book expert. He looked regal as a gentrified sailor, his head a plume of white, his beard a snow-capped fringe he neatly trimmed every morning with a tiny electric razor.

When I was young, I often watched him trim his beard and wondered why he was so old, why his hair was white and my mother’s was brown. Brown naturally, before she starting having to dye it. When I turned seven, I learned my father was much older than my mother, that my older sister Agatha had a different mother than I. That no one ever talked about that openly or ever discussed the details of the couple’s demise deeply disturbed me. It occurred more than once that perhaps my sister had been adopted or dropped on the doorstep by grumpy aliens.

This concerned me at first, since my mother often commented that she loved Agatha’s name (a tribute to Agatha Christie, a great female mystery writer). My mother adored female writers with grit because she wrote a bestselling crime series.

The fact that my mother had published and my father had not– this did not escape the attention of my brother, who had begun the process of cataloging our lives in a journal. A black leather journal he kept hidden in the top of his closet next to his stash of booze and marijuana– like I wasn’t going to look in such an obvious place.

A gritty, but optimistic professional detective starred in my mother’s hit series. At first, the books had focused on the detective’s personal life, marrying her to a cute forensic scientist, then impregnating her with a new plot twist. Around the time I had been born, however, my mother found her voice and began writing the series in a darker direction. In the fifth sequel, the detective lost her child in a car accident caused by a sadistic criminal. By the end of the novel, her husband had even killed himself out of grief.

I’m not sure what happened in my mother’s life that forced her hand to execute such a thematic darkening, but the critics consumed the work like doves nip up Popcorn. Once she began writing the detective as more desperate, more outlandishly existential, the more popular her series became until she became a figurehead in the dark crime genre, the best-selling woman by far.

One evening, when my father was drunk, he taunted my mother that he might review her latest novel in The New Yorker, that the review would deflate her career and bring her to ruin. He had the power, he claimed, belching and nearly barfing. She replied calmly by calling his bluff, then Googling her own name and then my father’s. This I knew through their animated dialogue about the importance of “hits” or “reviews.”

When I turned thirteen, I began reading my mother’s series, but though I finished every one, all 28, I only continued out of respect for her. The drama dragged on for awfully long, creating repetitive sequels in which always crimes occurred so horrendous, I could not exactly imagine them on my own. Once presented, however, even the most grisly scene seemed trite, perhaps because violent insanity became the norm. At least I read her works; two years later, my father’s scholarly work remained dusty on my shelf.

After my sister moved out, she published a poem about my mother and father which compared them to angry flies debating whose shit tasted better. The poetry she published before going to a college in California, those verses were dark, very prose-like, and jammed with eccentric metaphors that just barely made sense. At college, she made the transition of talking deeply about her own life to talking deeply about other peoples’ lives.

Once poetry critics discovered her literary lineage, they began heralding her as the “Confession Poet of the Literary Life” which I thought was bullshit since she lied outrageously. Now she remained only a depressing scribe, having reconnected with my parents during those two years, like a poser Sylvia Path devotee writing sonnets in her own blood. What a totally morbid bitch, moping around and comparing everything to the fucking “abyss.”

Michael at least– my older brother– he had the decency to suck genuinely and not be praised for it. If even Michael could be published through his parental connections, I would certainly lose all optimism for the quality taste of the publishing world. Maybe at the age of thirty, he’d finally produce some picture book under a corny pen name.

Imagine the weirdest kid you knew, the one who makes up lies about who he is, throws typewriters out windows after they don’t work despite their initially futile condition, or cuts French fries with a knife and fork. If you know someone like that, you probably have met my brother.

And me? The youngest of the Snyder clan? I don’t really write, not really– I mean, I’m writing this, but I don’t write fiction. Or poetry like my sister. Or even criticism like my father. Like every kid without an interesting story and didn’t have the imagination to come up with one, I folded and decided to write a memoir.

*

                Father stumbled through the front door, a pile of boxes under his chin, straining against his veined hands. He dumped the stack at the bottom of the stairs, gasped once dramatically, and called, “Get your arses down here. Your sister’s home.”

My brother scrambled downstairs first, scratching his bum and yawning. I followed, rubbing my eyeballs, figuring it was a mental illness to get up before ten on a Saturday. Course then I remembered Agatha came home today, hauling home from college more clothes than I owned in total. We lugged her suitcases and boxes and hampers brimming with underwear to the laundry room and loaded them straight into the washer, while Agatha blabbed loudly through the wall how difficult her final exams had been. And we hadn’t even finished school yet, looking toward another grueling week of school before winter break began.

Agatha hovered in the hallway. “Michael, I heard you broke your new typewriter. You know, I might write a poem about you. A crushed, young artist struggles to find himself and in an effort of desperate expression,  breaks a fucking window with a fucking typewriter.”

“Stop that talk. Michael’s perfectly fine, isn’t that right?” My father did not wait for a reply. “And Agatha, don’t use language around Jackson. He’s impressionable.”

I wanted to speak up, but Agatha broke in. “He’s fifteen– I hope he knows what “fuck” means. Furthermore, I believe I use language any time I talk at all. Would you prefer if I spoke French?”

She could, she claimed, but not understanding or speaking French myself, I could not validate her fluency. Father blew her question off with a wave of his hand, then stormed into the den. “Damn it, Georgina, you can’t even say hello to Agatha when she comes home?”

“I know she doesn’t want to talk to me, Dad. She’s angry.”

“Yes, I am,” hissed mum’s voice through the wall. “That poem you wrote was very inappropriate, Agatha. The imagery, that was barbaric and untrue.”

“Damn it, the murder scene was a metaphor, Georgina. Anyways, I was just being ironic.”

Generally, I tried to avoid squabbles, but as research for my memoir, I decided to stick around, observe the events. Michael shook his head and tromped up stairs, his head down. Once he told me that he hated Agatha, that she taunted him and hated him because his mother was still alive and hers was dead.

Mum and Agatha were having a tiff again because she had recently published a poem in Harper’s about a metaphorical literary critic whose metaphorical wife died in a metaphorical car accident, and then he met a metaphorical new girlfriend. At the end of the poem, the plot unfolded to reveal the fiancé had designed the car crash as an elaborate scheme to marry a famous literary critic, she being a famous children’s novelist.

Agatha swore the poem did not depict mum because naturally my mum had killed no one and wrote not children’s books, but crime fiction. But I pointed out that her occupation, that was probably a metaphor as well. The problem with poetry, I felt, was you could never tell what was real, what was not. If you tell me, your heart is a glacier or a volcano or a wooden coffin, I begin thinking you should seek medical attention.

That night, we had a dinner, and while Agatha talked about her grades with my parents (they were concerned why she missed every biology class but no sessions of Yoga), I snuck upstairs to loot my sister’s bags. Not in a creepy way, not really, but once she got settled in, she would hide her writing, her poetry. She only let people read published work, polished lines stark and bleak, but some of the verse in her doodle-filled notebooks were riotously funny.

Not that we usually shared writing, writers being entirely secretive creatures. Mum refused to show even Dad whatever novel she had been working on for the past few months.

I pushed open the door, tiptoeing across floorboards that threatened to shriek, thumbing through the spines of the notebooks laying on her bed. Opening the first, I leaned against her dresser and read the scribbled lines in the dark:

As I stare into the abyss, feeling my mind sink below the surface of the slithering sea

Agatha always mentioned the fucking abyss, as if she owned a luxury vacation home there.

I see myself staring back at me, a dark reflection

Closing the book, I sighed and muttered, “Well, that’s fucking boring.” I reached for her dresser, gingerly rearranging trinkets laid there. I pulled a crisp letter from the pile to read it and a sparkling ring toppled out– it must have been nestled inside the crease. The ring bounced and rolled into a pile of clothes on the floor. Abandoning the letter, I scrambled after the ring, my body drawing murderous screams from ancient floorboards. Agatha, Agatha would hear, would come running, I thought, as I tore through the dirty clothing to find the ring. Such a beautiful ring, not anything like Agatha might have worn. Shiny as a magpie’s ambitions, as expensive as an engagement ring.

Like an engagement ring. I paused.

Wrenching a warped bra from the pile of shirts, I watched the ring fly into the air. Like a swooshing basketball arcing as the seconds counted down. And I like a wide receiver racing to catch the ball as it plummeted to earth in meteorite-fashion. Plink, the ring fell onto the floor vent, rolled to the left, and fell into the darkness.

The abyss.

Nothing left to do but to flee the scene. I skirted out the door and managed to hop into my own bed as Agatha tromped up the stairs, screaming something back at mum like, “You haven’t written anything good in two years.”

My teeth chattering, I began to write longhand something about the abyss, about sisters, about how we lie to ourselves when we write, how we trick even our own memories of events we never understood.

Jonathan S. Foer: Storytelling

Photo Credit by Maria Mansfield Richardson of the CofC Honors College

Because he had to talk at lengths about his ideas concerning vegetarianism in his final session, Foer allowed in the first forum a more general discussion of his ideas concerning fiction. Readers of his fiction work pounced upon this opportunity to question him concerning Extremely Loud and Incredibly Close and Everything is Illuminated.

He began by answering a girl’s question about Oscar, the protagonist of Extremely Loud, whether or not he based that character on himself or someone he knew. No, he said, not really. Characters have to be believable, but not in a journalistic sense. “If I wanted to write a book that accurately portrayed a nine year old, I would have interviewed a nine-year old.”

There is a difference, though, he contests, between journalistic and novelistic truth. We as readers may believe exaggerations and oddities through a story because it serves a greater truth. “Fiction isn’t about the facts,” Foer said, “just about what you know without someone telling you.” He made a point to emphasize that books that resonate the most with us simply “feel true.”

Next he told an anecdote about the first time he talked with a fan in public, over a radio broadcasting show. He sat wearing headphones, ready to discuss Illuminated, when the first caller phoned up. “Your story, that’s the story of my family, something that tells my story—” This man must be just like me, Foer thought: a young Jewish man, reaching back in time for his heritage. The man continued “—as a sixty year old black man from Trenton, I thought nobody would get it right.”

This illustrates the innate universalism of personal stories. Even emotions we think that we exclusively express, the feelings we believe alienate, those are the things that unite us to other people from a myriad of backgrounds. Books connect us in a beautiful way. Foer learned, we are not always closest to the people who look most like us, not just people with the same skin color or ideas, but instead with people who share similar stories.

“Does it get any easier?” asks the next spectator, a fledgling writer. Foer shook his head. It doesn’t get easier, never does. In fact, he asserted, it gets harder with each book he attempts to write. You have to choose a story you’re willing to stick with for a very long time. He put it quite simply: “People who continue to write become writers. The others just stop.”

He addressed also the critical analyses of his work, at first calling BS on the whole trope. But he admitted that once a book leaves an author’s desk, it’s no longer only his. Once a book goes out into the world, it gets better because each reader breathes life into it.

Foer sets up this contrast: either “interpretation of literature” is nonsense, authors subconsciously place info into stories, or maybe books are flexible. Maybe books can mean more than what they’re meant to mean. This was a fresh insight—that just because authors don’t intend a theme doesn’t mean the book can’t have it. Readers are people who like to be provoked, challenged—they make a story more full by comparing it to their own stories. They add in bits until the story sprawls and is out of the author’s control; this is not a bad thing.

Books, Foer explained, are not the party—they’re the invitation to the party. Where you go and what you do once you reach the party is the choice of the reader.

Game of Thrones, Season 2: Why I’m Stoked

Night gathers, and now my watch begins. It shall not end until this episode ends. I shall take no wife, hold no lands, father no children. I shall wear no crowns and win no glory. I shall live and die at my post. Except for the dying part, because I doubt I’ll die in the hour it takes to watch Game of Thrones on HBO. I am the sword in the darkness. I am the watcher on the walls. I am the fire that burns against cold, the light that brings the dawn, the horn that wakes the sleepers, the shield that guards the realms of men. I pledge my life and honor to the most intense show ever, for this Sunday night and all the Sunday nights to come.

Why am I stoked for Game of Thrones?

If you have reading this blog for any length of time, you have probably noticed that George R.R. Martin’s series Song of Ice and Fire has caused me to develop a quick love of fantasy, specifically his fantasy. After watching the first season of Game of Thrones on HBO, I tore through the series like a Dothraki arakh through a man’s gut. At the moment, I am beginning the fifth book. So far, it is vying for favorite status.

My current favorite of his series is book 2 entitled Clash of Kings. With five different kings in Westeros, war ensues, Lannister against Stark, brother against brother, ward against lord. The story line is far more engaging for this reason, not that series one was uninteresting. Only that season two will include more fighting and wars. Particularly exciting is the Battle of Blackwater. I am quite ready to see Tyrion Lannister in battle again, though not be bumped on the head during the first minute.

Speaking of Tyrion, viewers will see much more of him this coming season. While his adventures on the Wall and as Catelyn’s captive are certainly interesting, he begins controlling much more in the second book because he has become Hand of the King. His movements during this book become very important to the final outcome.

Also, a key player in the upcoming series is Theon Greyjoy, a minor character in the first series. He will travel to the Iron Islands of his birth to confront his fearsome father Balon, his rash sister Asha, and his devoted uncle Aeron. Except that Asha will be named Yara in the upcoming season and played by Gemma Whelan.

There are many new key players to watch including Brienne of Tarth, Melisandre, Stannis and Renly Baratheon, and Ygritte the wilding. But who these characters are and their significance will be explained soon, quite soon, come April 1st. Look at pictures here!

Another new character I’m excited to see portrayed is Davos Seaworth, who turned out to be one of my favorite characters. His origin and general dedication really touch me, somehow. He will be played by Liam Cunningham who I’ve heard is quite a skilled actor.

Concerning casting, there is one aspect that excited me much. Two veterans from the British drama Skins have been cast. One we’ve seen in Season One as Robert Baratheon’s bastard Gendry, who also plays a much larger role in Season Two. Joe Dempsie plays Chris, a directionless screwup, on Skins, while anorexic, half-psycho Cassie (Hannah Murray) will be playing Gilly, a pregnant wilding who has sex with a crow (metaphorically!) and her own father (unfortunately, not so metaphorically).

In the casting alone, there is much to be excited about. The stories we will see unfold are quite epic, I promise. Much blood, I promise. Much ringing steel, I promise. Some dragons, those too. Treachery and death and love, all those, they are coming. That this show will be fantastic, that is as sure as winter itself. Winter is coming, but perhaps it’s not such a bad thing for us.

Evolution of Writing (Part 3): Who Is, and Who is Not, a writer?

As much as the art of writing has changed over generations, so has the perception of the writer. Let us crank up the Dolorian again to travel back and look at how the common people viewed writers over the ages and how writers viewed themselves. Could the persona of “writer” have changed that much from the dawn of time?

Speaking strictly in cavemen terms, writers were pretty progressive. They used symbolic language to communicate stories that we have read millions of years later. Such brilliant narratives as: I found mammoth, I made spear, I kill mammoth, and I eat mammoth. From the invention of fire to the first use of clubs, cavemen scholars documented their primeval progress on cave walls. Even before words existed, man possessed an innate need to tell stories, which we surely have not outgrown today.

Once language, written and spoken, was formalized, writers of stories became better well-known. They were the wise men of their day, scholars and preachers and philosophers. These were storytellers who could actually read and write. Playwrights such as Socrates, philosophers such as Plato, scientists too: all these were celebritites because of their skill at the written word.

And yet in the recent past, writers have been viewed not as elite people but lowlife bums too lazy to get jobs. They sit at home collecting unemployment checks while writing about their drug addict lives. We can see the writer crouched over a rusty typewriter, tripping on Benzedrine, chain-smoking, and naked.

The Beatniks of the fifties inspired this attitude towards writers. They were poor people trying to connect with a mystic way of life through drugs. Rather than tell legends, they wrote about their own lives. But they were also glamorized as enlightened and hedonistic. Living life to the fullest. Though sometimes pretentious and overly “ironic” by today’s standards.

While some writers are scene as wild like these, others are seen as recluses.

Think of Salinger or Pynchon. While some are poor, others are rich.

There once was a time when writing was the past time of wealthy aristocrats. Famously, in 1818, Lord Byron challenged his visitors at Lake Geneva to write a gruesome story. Each took turns trying to scare the wits out of the others. One such story that came of this was Mary Shelley’s Frankenstein.

Some writers speak as nobles, others for the common man. During the Industrial Revolution, portraits of the common man came into vogue. People saw working conditions from a working class man’s perspective. We saw inside of factories, the evils of corporations run wild with greed, and the daily strife of living in poverty.

Then there are the Romantics, writing expressively about their emotions, about their torments and loves and loss and horrors. Then come the realists who take scientific views and incorporate them into stories. They are intellectuals writing factually about things that will make them look smarter if the right professors read the books.

 The war-torn writers write about how battles scarred them, about their emotions being drained. About the absence of a meaning to life. About horror and blood and brutal, pointless violence. These men we viewed as lost souls, writing as emotional release. Penning those feelings that were pent up for years after wars.

We have seen writers in a variety of ways for so long: as highly influential literati, as common men spinning common tales, as the Lost Generation, and as hipsters telling stories ironically.

Today, these perceptions have all meshed so that there is no one perception of “writer.” The only true thing tying us together is our burn to write, our need to tell stories. We cannot clearly define ourselves any longer. We are novelists, vocalists, bloggers, and poets. We are idealists, realists, poor, young, old, wealthy, calm, and angry.

There are no literary periods anymore. All we have to offer are words, trying to describe our own human condition. Perhaps the public sees us in a myriad ways.

But in truth, we are only humans struggling to articulate our own inability to articulate our struggles.

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