Jack Said
I Find
The first two parts of Entangled States, ten chapters, are like reaching a coast. The direction doesn’t matter. You hit the stretch where the land and sea meet. It’s turbulent, with crashing waves and hissing, seething waters. Taking it all must be done in pieces. There is the sea and the land, and there’s also the sky. Each exercises its own elements, colors, and behaviors. Once you pass this borderland, you’re released from the complications inherent to progressing from sea to land and freer to relax and take more in.
Now into part three of the book, it settles down again. I remember writing all of this, and recall thinking about the parts, and the placement of these chapters and scenes, and how they’ll interact. At that point, it was like being too close to a pointillism piece of art. Distance is needed for the colors to blend and become something more than blobs.
Wild, to think, while writing it, I saw these blobs and strokes, and applied them, and now I need to step back to comprehend the whole. I was realizing the whole on one level while I already saw and comprehended it on another level. Then, not so wild, as I write to help clarify and understand what I think.
The Intersection
I dreamed about my work in progress last night, specifically about the story-line now being addressed. My mind, being what it is, inserted me sometimes, so that I was part of the story. My mind, being what it is, would see that I was dreaming about my writing and including myself as a character, and then try to untangle me from the fiction being written. “I’m the writer. I’m not supposed to be in this story.” That would lead to dream-confusion among the dream participants (dreampants?) about what was going on. It was really…interesting.
Which, after awakening to think about it, demonstrates an intriguing intersection between who I am and how much I put of myself in my writing. Even when I deliberately decide to have a character do or speak in ways that I wouldn’t, that choice is based on what I’d be doing. My characters are composites of other people, but I’m essentially imagining how those folks would respond. I don’t know, though. I don’t have a secret window into their lives. I guess at what they’d do, twisting their responses into madness and lies, and courage and hypocrisy, betrayal and honor, all based on what I think I’ve heard them say and do, and the character’s arc. You all know how unreliable we are as witnesses. We color it all.
But in there, in the intersection between my dreams and imagination, and my choices and decisions, is where my writing takes place. Sometimes it’s a large intersection – or even a roundabout, with too many cars traveling too fast, all trying to change lanes and enter and exit at the same time – and other times, it’s two small animal paths meeting in a quiet field. Whichever intersection it is, I sort it and write.
Time to write like crazy, at least one more time.
The Tone
“They wanted to go to the movies,” she said, “but I told them you said, “I want to see that movie, too.””
Her impression of him sounded like Disney’s Goofy talking. “That’s not how I said it,” he said.
“It was in the way I told it,” she said.
He knew she was right. The story-teller always sets the tone.
Michael Seidel, writer 