Writing – Page 12 – Mystery, fantasy and romance at the dangerous ends of the earth

Routine, Flexibility and Permission (oh my)

By Karen Abrahamson | March 12, 2011

I broke routine this morning and slept in until almost seven a.m. The weird thing is, the cats broke routine, too, and let me. Usually they are right there, yelling, or pouncing on me (see here for a wonderful cartoon of the experience), or else Ben will go into the kitchen and bang cupboards or otherwise wreak destruction to get me up. After all, cat tummies are far more important than my beauty sleep.

But this morning they broke routine. Actually they’ve ‘broken’ routine for the past week or so, ever since the corner of my bedroom started to seriously collect things for my trip. Last night I actually began the task of inventorying and packing. I think I have them nervous. I think they know I’m going somewhere soon. After all, they’re far from stupid. But the simple act of letting me sleep is consistent with other behavioral changes they are showing. For example Ben actually managed to crowd onto my lap and fall asleep while I was typing yesterday afternoon, when usually he just plants himself on top of my desk and pushes everything else to the floor. He also made a point of sleeping on my lap last evening. Definitely things are up.

We all know cats have routines and heaven help us if we vary from anything that impacts their feeding, brushing or taking them for walks. (Yes, mine go for walks on leashes.)

Shiva wanting to catch a fly (2010) Photo (c) Karen Abrahamson

As writers we need those routines, too. For me it has always been a routine to get up at 5:30 and write for two hours before I have to turn to work. I’ve done that for the past ten years and produced about four books a year, until this January when I was ‘forced’ to give it up.

Okay, not forced. I chose to give up. There I was in the middle of manuscript revisions and I just couldn’t do it anymore. I was over my head with work and preparing for this trip and had started having nightmares. So something had to give. It was a horrible choice. The guilt was enormous and so was the feeling of failure. But it was also a relief because I was hating everything I was doing because I didn’t have the time to do it well.

A friend of mine recently went through a similar experience for totally different reasons. He moved, due to a job change and then had to spend his time moving in and focusing on the new job. Time passed. He didn’t write. He blogged (here) about the challenge that posed for him because he, like myself, has been regimented about his writing and is a spectacular writer who recently sold his first four book series. His pain is that during his move he hasn’t written a word.

To me the ‘not writing’ has been a lot like what going through nicotine withdrawal must be like. I still find myself at the computer early in the morning, I know I should write (and I do—on work), but the most I’ve been able to write creatively has been these blogs. I tell myself it’s okay, but I know it’s not because it’s very easy to fall out of a habit that’s good for you and very easy to fall into a habit that’s not –like sleeping in.

On Thursday I received a phone call from the airline that is taking me to Peru. They advised that the flight times had changed and therefore I have to leave a day early and layover in Toronto overnight. Thanks goodness my schedule as a consultant is a little flexible. I was able to do it, even if it’s going to be tight for work. Be flexible, I said.

So I’ve decided that writers need to follow my cat’s lead and give themselves permission. Instead of being rigid and getting anxious about not writing, writers need to assess their situation and give themselves permission to not write. Occasionally the world intervenes, like my friend’s move, like another friend’s illness, like another friend dealing with a death in the family. I know all of them are back at the keyboard.

And I know I’m a writer, so I’ll be blogging while I’m travelling and writing when I get back from Peru. That’s promise, just as surely as I know Ben and Shiva will be back to caterwauling in the morning.

Shiva, imposing himself on thanksgiving dinner (2010) Photo (c) Karen Abrahamson

Wiggle Room – the Chinese army and finding the time for a creative life

By Karen Abrahamson | March 7, 2011

I’ve heard it said that if you want something done, ask the busiest person you know and they will accomplish it. Somehow these people have the ability to stretch a little more out of a minute or hour to get the conference planned, or the new report written. These people amaze me. Actually, I think they intimidate the heck out of me, because I am constantly finding myself scrambling trying to get things done and regretting my inability to say ‘no’ to new work. Of course, too much work impacts my ability to find time for my writing.

How do these people do it? Do they really have the magical ability to expand time?

Yak at Qinghai Lake (1998) Photo (c) Karen Abrahamson

Of course the answer is ‘no’ (at least I don’t think too many of us have Hermoine’s magic watch), but these people have tricks that help them get things done. I figure I must have a few as well as I am frequently being asked where I find the time to write, or travel , or blog.

The first thing one must do is decide if writing or travel is something you really want to do. For me, there were years of frustration about finding the time to write and the time to market my writing until a friend and mentor made the suggestion that I treat myself as a one of my clients. You see, I work for myself as a consultant and I schedule my time based on the work a client has asked me to do. The suggestion was helpful to me because it did two things:

1. It got me to schedule time;

2. It legitimized my writing and got me to take it as seriously as I take my paying work.

The first of these points speaks to organization, a key point if you are trying to fit writing into your life. Along with organizing your life to allow writing time, you must obtain the buy-in from significant others like spouses and friends – otherwise expect writing time to be a constant source of relationship friction.

The second of these points is probably the most important. Taking my writing seriously gave me permission to make it a priority to write. I can’t tell you how many people I know who say they want to write a book or are working on a book and yet they never sit down to write. The first job of a writer is to write – not to talk about it. Not even to blog about it. But to write. Bum in chair folks, and no matter what else is going on in my life, I always find time to be there.

You have to decide the writing/travel/whatever is a priority because it will hurt you more not to do the activity, than to do it.

I’ve also had people tell me that part of their trouble is the challenge of moving from creative to mundane (e.g. work) projects and back again. This is an issue of multitasking. So how do people manage this shift from project to project?

I know people who work on two or three novel projects at the same time. I admire them greatly, but I don’t think I can do it. These folk can literally be writing one manuscript in the morning and another at night. For some it’s a matter of compartmentalizing their writing, so writing a certain type of book is associated with a certain time of day. I suppose I do something similar when I get up early in the morning and write creatively, and then turn to my work computer at eight a.m.

Having separate computers can help, as well. Having one computer for work and one that is strictly for creative endeavors allows your brain to associate a certain place with a certain type of thinking. Keeping your creative space separate from the internet has also helped some writers, and definitely removing all games from the creative computer. For me, I have to keep my photography on a separate computer because that is a time sink I frequently get stuck in, because it also feeds my creativity.

Other issues fledgling writers run into include knowing what to write and just getting started. I’ve talked previously about inspiration, but sometimes it’s just the fear of getting started. There are wonderful books out there that can help. I fondly recall Natalie Goldberg’s Wildmind, and the wonderful book The Artist’s Way by Julia Cameron. Both helped me explore my voice and passions and taught me that my voice was valid. Books can teach you how to deal with the anxiety of starting through cleansing breaths, or meditation . Each writer has to find their own way to deal with the critics in their heads.

I’m reminded of a mantra Kris Rusch and Dean Smith put up at every workshop: DARE TO BE BAD. What this means is that all creativity (and travel, and just plain living, for that matter) is about taking a risk. We have to throw ourselves out there and only by taking those chances will something wonderful arise.

I’m reminded of one of my adventures: In China my travel companion and I decided to visit a remote area called Qinghai Lake. This is a wind-blown steppe in the mountains that has a huge lake that supports the massive migrations of waterfowl from Siberia to South Asia. So we hopped a local bus and travelled up into the mountains and were dumped off in a small group of buildings that were reminiscent of an old west town except there were no horses around, only yaks and monks.

Monks at Qinghai Lake (1998) Photo (c) Karen Abrahamson

So we ventured out to the lake on foot (not an easy hike, because the lake was distant and the wind was high and scoured us constantly with dust). We were met by Tibetan women bringing their children to see Westerners. (I scared the children because I have blue eyes and apparently that’s not a good thing.) We saw massive stone cairns, strings of prayer flags, and wonderful kids who showed off by riding yaks to guard their herds and, in the distance, blue Qinghai Lake. I ended up going back to our room alone and was just washing the dust out of my pores when someone pounded on the door.

Soldiers.

They barged in on me as I stood there dripping. I was shocked, to say the least, and my first reaction was to shoo them right out of the room again and bar the door. It worked. I stood there, heart pounding. Through the door I heard them whispering and laughing. And they went away.

Which proved to me, that if I could deal with the Chinese Army, I could deal with most anything – including anything that dares get in the way of my writing.

Kitty Sitters – or choose your writing friends and governments wisely

By Karen Abrahamson | March 5, 2011

This post arises from the fact that I’m leaving soon for a month in Peru, and also from recent news casts about what’s happening in Libya. With regards to the former, my biggest worry in preparing for this trip has been how to ensure my two cats are cared for during my absence. In the past when I’ve travelled for a long trip my parents have helped me out by moving in for the month or so to care for my ‘kids’ or else I’ve had a wonderful spouse to take on the chore. But this time my parents are getting to an age where travelling for cats is a too much for them, and the spouse – well, that’s no longer an issue.

So I have to find an alternative.

On the boat upriver to Seim Reap, Cambodia (2008)

For short trips I have wonderful neighbors who come in and feed the boys and give them cuddles, but three to five days is about maximum I can leave because these cats are so darn needy of human affection. Given their high activity level, I couldn’t very well take them to a kitty resort (read kennel) because I’m sure they’d go stir crazy. I know I would, confined to a small ‘cell’. Even places that have a cat run, don’t have the space these guys need. I mean, these are cats that would explode if they were cooped up that long. Messy, I think. All that cat fur and innards splattered everywhere. They normally run circles around the house just for fun.

Luckily I’ve been fortunate to locate a lovely local grandmother who has agreed to come live with the boys for the month. She’d like to have a cat and she’d like to live in this area (her grandkids are here), so it’s the perfect arrangement. She’s come by a number of times now, just to get to know the boys and so we could check each other out. She’s even brought her grandkids with her (I fed them sugar and sent them home with her – guess I owe her an apology on that one).

Anyway, all of that effort to make sure my cats were cared for made me think of how we need to pay the same kind of attention to choosing our writing companions. I’m talking about the people we share our new writing with, whether in critique groups or one-on-one manuscript exchanges. I’ve heard a number of my writing friends (people I really admire) talk about hellish writing groups they are, or have been, involved with. Many of them tell horror stories of groups spending agonizing hours checking grammar and spelling, or fighting, instead of getting to the heart of the writing, or of writers who seem to be determined not to advance their craft, because they will not hear the advice of those farther down the road than they are. Others are caught in the myths of the publishing industry and choose not to educate themselves in what is happening to publishing at the moment and how that impacts us as writers.

Luckily, my first real writing group found me at the Surrey International Writers Conference. I ran into a work acquaintance and he introduced me to his all-male writers group, which was looking for a woman’s perspective. Good thing I got their humor, but they were serious about their writing and those friendships are some I still treasure to this day. I’ve been fortunate to be able to attend Clarion and made more friends that I still count on, and from there I found my way to Kris Rusch and Dean Smith and the outstanding cadre of writer’s they’ve created. I hope to have these friendships for the rest of my life.

What is it about these groups and individuals that are different than those other groups people have described? They are serious. They are committed. They are open minded. When they look at a manuscript they are looking at whether the manuscript works, not whether I crossed a T or put the comma in the right place. Most of all they are supportive and can not only tell me when a manuscript doesn’t work, but why it doesn’t and what might fix it. They do it in a manner that leaves me energized and ready to go back and face the rewrites. They fuel my writing and any time I can meet with this far-flung group is a VERY good day. Best of all, I think the feeling is reciprocated. We care for each other and we will help each other through the rough spots.

Early morning in the remote Tibetan village of Lamusa. (1998) Photo (c) Karen Abrahamson — Early morning in the remote Tibetan village of Lamusa. It's a long way home from here. (1998) Photo (c) Karen Abrahamson

Which brings me to Libya and my trip. You see, with all the trouble in Libya – things that could not be foreseen – I find myself appalled at how the Canadian government has acted on behalf of Canadians stranded in that country. You see the Canadian government didn’t act quickly to get Canadian nationals out of the country when things blew up. Instead they’ve made excuses that they couldn’t get insurance to take a plane in to Tripoli Airport. PARDON ME? You couldn’t get INSURANCE? You left Canadian citizens to beg their way on to other countries’ rescue planes.

I’m sorry to be political, but I’m not going to stay cosseted in a country where the current Prime Minister is trying to make bureaucrats officially describe our government as the “Harper government”, instead of Government of Canada. As a traveler I try not to put myself in harm’s way, but who could predict what was going to happen in North Africa? I always thought (hoped) the Canadian government would be there for me if things went bad. Seems I was mistaken. But then this is the Harper Government.

Shame on you Prime Minister. Seems I take better care of my cats than you do of your citizens.

Money: Or horses are like tomatoes (and cats are, too)

By Karen Abrahamson | February 28, 2011

This blog is about money. It may be very short. Or long.

You see, money and I have a long and troubled relationship. Yes, I’m doing okay at the moment, but it hasn’t always been so good. I can recall winters of eating mostly potato soup, or venison the neighbors donated to me and my spouse. I still remember the night our ‘house’ almost burned down when the wood heater (we couldn’t afford a furnace) overheated. The house? A converted garage cum chicken coop (not kidding). So I’ve seen some good times and some bad and right now things are less bad than others so I’m doing the not-too-smart thing and running off travelling. I guess my mom didn’t teach me so good.

So what does this have to do with travel and writing? Because I’m planning out the money for my Peru trip a number of money rules have started reverberating in my mind. I thought I’d share some that relate to travel and writing.

Tibetan monks after ceremony, Labrang, China (1998) Photo (c) Karen Abrahamson

My writing mentors, Dean Wesley Smith and Kristine Kathryn Rusch have some wonderful blogs about writers and money. One of their major rules that all writers should remember is that ALL MONEY FLOWS TO THE WRITER. What this means is that writers should not be paying faux publishing companies or shady agents to edit and revise the writer’s manuscript. True enough. Those scam artists who offer to publish your book if you only send them cash, are preying on new writers who don’t know that rule. But in this day of digital self-publishing a variation on the rule is, Money flows to the writer unless you are paying someone to edit your manuscript for self-publishing to ensure that you are publishing the highest quality possible. It might also mean that the writer who doesn’t want to learn how to make book covers, spends some money to have a creditable cover made for the book. Any writer prepared to do this needs to consider how long it is going to take to recoup the dollars spent, but also consider whether their time is better spent doing what they do best – namely writing.

All well and good, but unfortunately the rule with travel is that ALL MONEY FLOWS FROM THE TRAVELER. First there was the cost of the jacket I wrote about. Then there are new hiking boots (mine just died), and then there are the things like camera memory cards etc. Those are all the sundry costs before you go.

And then there is the cost of travel. As a relatively seasoned traveler, I like to plan for costs before I leave, because I don’t like depending on plastic when I’m overseas. First of all there’s the fact plastic runs up debt. Then there’s the fact that overseas use of credit and bank cards is more prone to problems. Picture this: In Delhi I went to my bank (an international that has branches almost everywhere) and plugged my bank card into their bank machine. Said machine eats card. On a Sunday. In the afternoon. Monday I call said bank and am told that said card had been reported stolen. I ended up spending almost 24 hours phoning my branch back home to get things sorted out.

Nope, cards are great backups, and cash may be good to get the best rate in exchange, but give me a good old traveler’s check any day. American Express or Thomas Cook are my best friends when I travel and are less tempting to thieves, as well.

But budgeting for travel can be a problem. I always plan for my expected costs and then double the amount , but even that has left me high and dry a couple of times. For instance in Cambodia, two years ago we budgeted about $2,000.00 for a bit over a month. I suppose that would have been fine, except inflation had hit Cambodia and everyone wanted everything paid in American dollars. Cash. I was never so happy to get back to Thailand where the costs seemed more manageable and we could use plastic because the time in Cambodia had eaten up the money faster than I’d figured. So rule three and four: ALWAYS EXPECT TO BE OVER BUDGET and ALWAYS HAVE A CONTINGENCY.

In the same vein, expect there to be times when travelling cheap is just too painful. I recall sitting in a grotty hotel room in a town in central China after a nightmare journey down the Yangtze River. My traveling companion and I were both close to tears and the thing that held us together was the fact that the next morning we knew we had the cash to lug our backpacks down the street to the nicest hotel in town (even with a swimming pool). When you travel YOU MUST BUDGET ENOUGH MONEY TO ALLOW YOURSELF TO RECOVER. Travel is hard. Backpacker travelling is even harder and if you don’t build in a comfort buffer you will find yourself hating your trip and travel. That’s not what it’s all about.

My last rule comes to me from a previous spouse who might have never travelled but he was wise in common sense and the way of horses. He was an old cowboy and superb horseman and he told me that horses are like tomatoes: they are just as perishable and just as easily ruined. Hard to believe, I know, but a 1,500 lb equine is so darned prone to injury and illness that they can go from magnificent dressage horse to fox feed in next to no time. Illustration: A very good hunter jumper mare cast herself upside down in a ditch on my property. We got her out, but the poor thing was exhausted. Did she just stay down until she regained strength? Oh no. She fought to get to her feet – so hard she broke her leg. So I learned the hard way to insure my horses and now, believe it or not, I have medical insurance for my cats, too. It has paid off, because Big Ben has already had far too many misadventures like shattering a toe in his carry cage.

Humans are no different. So the last thing a traveler wants to do is be caught somewhere having to shell out big bucks to cover medical costs. My parents had a lovely trip to Palm Springs end on an unfortunate note when my mom had heart troubles and ended up hospitalized. On my trip along the Silk Road an acquaintance on the bus behind ours had his arm shattered when his bus went off the road. Thus my last rule of travel is ALWAYS TRAVEL WITH MEDICAL INSURANCE. Let me leave you with my litany of past injuries and illnesses as illustration:

• Tropical ulcers in East Africa that required medical attention and frequent debriding (something you do not want to go through) and antibiotic shots for months.

• Food poisoning in West Africa that required my hotel staff to bundle me up and get me on a plane out.

• Food poisoning in Burma that (thankfully) required nothing (except a very rapid-fire rejection of the food).

• Two sprained ankles in China that made the next month and a half a nightmare ride.

• Walking pneumonia in India.

I hate to think what it would have cost if I something REALLY bad had occurred.

I guess I’d better be careful hiking the Peruvian mountains.

Planning for the Long Haul

By Karen Abrahamson | February 21, 2011

Planning a trip to Machu Picchu means planning for the long trek up hill. It means choosing a guide, choosing equipment, it means readying yourself so you don’t break down on the climb. Planning for a novel is much the same, but that doesn’t mean you have to plan everything step by step. Not in the least.

For the trek, I want to know that I’ll be comfortable and generally where I’m going. Yes, I have a basic equipment list, but whether it will be appropriate for Peruvian weather conditions needs consideration because I’m going at teh end of the rainy season. For writing, planning means something similar—not a plan that guides every chapter, but a plan that will generally guide me through the arduous process of writing a novel.

Old Moslem Fortress at Sintra, near Lisbon, Portugal (2005) Photo (c) Karen Abrahamson

So how do I do that? I wrote previously about the process of selecting a guide for Machu Picchu (here). To plan for the trek involves gathering information. Who are guides that operate at Machu Picchu? Who is reputable? Before the internet it was much harder to find out. I used to go to my travelers’ bookstore and ask them what they knew, or else talk to other travelers. Those old favorite guidebooks Lonely Planet and Rough Guide provided helpful suggestions that I often took advantage of and often I’d arrive with only a general idea that I needed to find a guide and then would go on a search when for a good one when I arrived.

Finding a guide when planning a book is another thing altogether. I used to plan my books chapter by chapter and used wonderful chapter outline sheets that had been provided by my mentor, Dean Wesley Smith. These helped me focus on the important points of a chapter:

1. Point of view.

2. Where are the characters at the start?

3. Where are the characters at the end?

4. How have things changed?

5. How have things gotten worse?

I wrote many novels based on those chapter sheets. What I found was that often the novel started with those sheets, but gradually the writing took over and the sheets were put away toward the end of the maniscript. If people are relatively new to writing, or if they have a hard time finishing a novel, this can be a helpful tool because the sheets help you outline your novel scene by scene, chapter by chapter. But I found that I gradually outgrew the need for the sheets. I sort of look back at them as training wheels that helped me learn what chapters and scenes are all about.

From there, I began to plan books in large chunks. I knew the characters got from here to there and bad stuff happened, but I didn’t write it down. Or if I did, I just jotted brief notes. I once heard Nancy Kress, the wonderful science fiction writer; speak of writing a list of all the things you know need to happen in the book (or all the scenes you want to put in, or all the events you want to happen). She then suggests that you take this list and put the scenes/events along a story arc, thinking about try/fail sequences (everything always gets worse) climaxes, and the three-act structure. I’ve found this very helpful, not to start a book, but to help clarify my thoughts when I’m lost in the thick of the action.

For my last three novels, I’ve tried something much more spontaneous. I’ve tried the write-into-the-mists form of writing—something romance writers call ‘pantsing’ (writing by the seat of your pants), which is much more akin to how I like to travel. I start out with a general idea of where I want to go and allow the destination to guide me about where I want to go. With writing, I start with a general idea of what the story is about. This allows me to enjoy the experience of the story, much as the potential reader will. A mystery writer friend recently finished drafting a novel and told me she didn’t know who the killer was until the last two chapters. Let’s face it, if the writer is surprised by where the story takes her, no doubt the reader will be, too. To write in this manner I have to let the character speak to me and at any fork in the story I ask myself what would the character do? So the noval arises from the character.

To write this way is an exploration. As I write, events or facts arise that mean I have to go back in the manuscript to insert information. Whether you do that at the time, or wait until the first draft is finished is your choice. I either keep a notebook, or keep a running list, of ideas or things to insert or change at the end of the manuscript. Other people I know, use the comments function to make notes of changes they need to make.

Increasingly, I’m noticing that research is one of the most important aids to my writing. But this is another blog on its own.

So planning for a novel, or a back-packing trip to the Andes, both require you sort out your planning method. Both require you to do your research, and if you are lucky, one will bleed into the other so your trip feeds our writing and your writing feeds your trip.

Destructive Forces, or The Beauty of Making Things Worse

By Karen Abrahamson | February 19, 2011

I’ve mentioned in previous posts about the destructive force of Ben and Shiva. Ben has his penchant for getting in behind breakable objects and purposefully shoving them off of shelves. (I have much less brick-a-brack these days.) Shiva has developed a penchant for shredding paper—cardboard—plastic. Anything he can sink his little teeth and claws into and I constantly am catching him at this lovely trick on things like – oh – my business license, or a manuscript stacked and ready to be mailed out.

I wonder if editors would understand a few chewed corners.

Hmm, maybe they would just figure I have mice, or was particularly nervous about mailing this one out?

Ruins and fromages trees, Angkor, Cambodia (2008) Photo (c) Karen Abrahamson

Anyway, in the midst of trying to preserve my manuscripts and various and sundry pieces of memorabilia from my travels, I got to thinking about destruction and its place in our lives and writing. At the same time a writer friend of mine sent me a link to some fantastic photos of the erosion and destruction of Detroit . The photos are bizarrely science fictional and evoked thoughts of Night of the Living Dead, Twelve Monkeys and War of the Worlds, and yet they are absolutely and utterly beautiful with their haunting look at faded glories. Maybe it’s just me, (but I think not, given the hordes of other visitors to places like Angkor, and Athens and Machu Picchu) but I am fascinated not just by the vestiges of what was once great and has now been destroyed, but also in the cracks in the great edifices and the things climbing through from the other side. As I watch the people of Egypt struggle for democracy I think of new life, like the fromages tree that grow from the Angkor ruins (one is on my website home page). Or maybe it’s the wisdom and laughter that shines through from an age-ruined face.

Buddhist nun at Mingan, Mandalay, (1997) Photo (c) Karen Abraha

What does this have to do with writing?

A writer’s job is to make things worse and to recognize that destruction is life. This is hard, because even though I think we are attracted to destruction—fascinated by it, even, if you notice the way traffic slows next to a serious traffic accident—we hate to inflict it on other beings. We are fascinated and repulsed by news of a slaughter of others. Haiti’s earthquake, for example, or Hurricane Katrina, or the Tsunami that wiped out so many in Malaysia and Thailand. And yet as a writer our hands pause as we destroy our character’s beloved possession, or reputation. We hold back from hurting them physically or mentally. We take heed of the cardinal rule and DON’T kill their cat or the dog or the horse, but we don’t do other things to wound them either.

Which makes our writing boring.

Think about it. Are we interested in a character skipping happily through life? No. Even all those Jackie Collins novels of the beautiful people carry their own carnage. That’s what makes us read those novels and all those T.V. magazines: seeing the crumbling of those magnificent edifices of the cults of personality.

So it’s not just thrillers and action stories that should have destructive forces, whether they’re external or internal to our characters, we need them to ignite the passion in the reader and make them want to read on. The ‘oh-no’ moment. The tension of anticipation of when the lover finds out that they’ve been cheated on. The implications when a character finds their home, their family, their life (insert your character’s loss here) is gone. We want to know and we want to understand how character’s overcome, because we all have those forces in our lives and we want to see what comes after.

The difference is, in our writing (unlike all life situations), the edifices of the character’s old life may crumble or burn, but something lovely and fragile and – more – arises from the ashes. Like that fromages tree. Like the wisdom I see in those old eyes.

So get back to your destruction when you turn to your keyboard. I’m going to keep an eye on that chewed box in the corner to see what loveliness arises.

Zen and the Art of Travel

By Karen Abrahamson | February 14, 2011

This topic came to mind as I was running around through the frantic holiday seasons. Too many people, packed too close together and all of them trying to get too much done too fast under too much pressure. No wonder there were so many unhappy faces. I’ve seen the same look of tension on my face when I’m in the midst of a novel and things don’t feel like they’re working well. I can’t tell you the number of times I’ve called writing colleagues and gained their help to talk me through days of angst and despondency.

The same sort of tension can be experienced when you travel.

Ranakpur - old temple worker and the Zen of repetitive work (2000) Photo (c) Karen Abrahamson

You’re in a strange place, with a strange language so you can’t express yourself and as a writer that’s something you need to do. You don’t understand the logic or the cultural norms of the place and the people and that alone is frustrating. The fact you don’t necessarily know where you are, or how to get to the place you want to go, all add to the tension and vulnerability a traveler feels. This not knowing how to get from point A to point B (or even what point B should be) are both anxieties a writer feels, too.

So how do you react?

I know that both at home and abroad, when I’ve felt vulnerable and tense I’ve barked at people—and usually felt bad about it afterwards. The trouble is, we North Americans feel quite comfortable showing our displeasure at something. Often it’s a matter of blaming someone else for how we are feeling, but that’s not the way it is in most parts of the world. In many parts of the world just showing such negative emotion is considered rude—or worse.

My lesson in this came travelling in Burma. There I was, all 6 foot 1+ of me about to travel by local bus from Yangon to fabled Mandalay. I was careful. I did the right things. I made sure I was on an air-conditioned vehicle, had a seat by the window, and that I wasn’t at the rear of the bus. Well the best laid plans oft go awry, they say, and so it was for me. The first clue was when I arrived at the bus. Sure I had a window seat and I wasn’t at the rear. Nope. I was seated over the left front wheel well which meant that all the foot room in the seat was gone.

Okay, tension there.

Then it turned out my seat partner was a stout little man who was wide enough (or I was – it’s all a matter of perspective) that it was impossible for us both to lean back in our seat at the same time.

Okay, frosted now.

So we leave Yangon with me fuming and travel north into the dry lands south of Pagan and the air conditioning broke down. (Did I mention that NOTHING works in Burma?) And then the bus overheated so we had to keep stopping to cool the engine. And on. And on. And on. For hours.

I was furious. I was fuming.

Until I noticed something.

That stout little man never once leaned back and he never once stopped smiling.

He shared his foot space with me and every time we came to a stop, he made sure I got off the bus, got food and found my way around. The entire group of passengers took me under their wing, laughing when I doused my head under a water tap, being gracious when I shared my snacks (Good old M and Ms travel exceedingly well) and making sure I got back on the bus in time. What I learned from those people was patience. When my legs cramped up from their position or the heat became unbearable, I just had to look at my Buddha-shaped travel companion to remind myself that the Buddhist philosophy is that all things pass away, and so, too, would this bus ride.

And really, in the whole scheme of things, how bad was a twelve hour bus ride anyway? I made friends, I saw the country and I learned a vital skill that helps me to this day in my writing and travel.

Patience.

For every bad day, for every time that the words have to be pulled like hot coals from my brain or my wrists burn with pain, or I’m lost in another country, this too will pass. And when it’s over I’ll have learned so much along the way.

Voice: Kitchen Cupboards, Gleaming Mountains, and a Peeled Pommelo

By Karen Abrahamson | February 12, 2011

For all that Ben and Shiva are full brothers, they are very different cats with very different voices. Shiva, though much smaller, has the loud Siamese yowl that can shatter sleep like a siren. He’s a skitter-bug cat that loves to play and will make a toy out of anything he can get his little Velcro paws on. His favorite playtime is diving under the pillows on my bed and waiting, like a jaguar, for something to move so he can attack. He also likes to sit on top of the kitchen cupboards peering down like a vulture.

Sweet and evil (2009) Photo (c) Karen Abrahamson

Ben, on the other hand, is much quieter, with mews more like muttering to himself, but there are dark waters swirling in that cat. This week the challenge has been that he has figured out how to open upper kitchen cupboards – in particular the one above the fridge that holds the wine glasses (maybe he’s developed a taste for the vino?). He’ll throw anything off the fridge that I put up to block him. The scary thing is I actually know when he figured out how to do it. I saw him watching me as I was getting something out of the cupboard and the spark of idea absolutely flashed in his eyes.

While both of these cats have watched me open cupboards numerous times, both of them (and me) come from different perspectives. Shiva comes from the perspective of “that’s interesting that she can do that”, while Ben comes from the place of “If she can do that, so can I – and no one can stop me”. One comes from the place of a gentle, clowning soul, while the other is just, well, evil? Me, I just want my wine glasses safe in the cupboards, all of which illustrates the underlying concept of character voice – different perspectives regarding our environment.

This is different from a writer’s voice. A writer’s voice comes through as style. A writer’s style may grow and change, but you can tell a Stephen King no matter when he wrote it, or under what name. Same goes for a James Lee Burke. There’s a certain attention to detail that comes through no matter what he writes.

But character voice can be the bane of new writers. What is it? How does it work? What’s all the fuss about when I can write a beautiful descriptive scene, or a terrific action sequence?

Character voice ilustrates the different world view each character possesses, just as Ben and Shiva and I each have different perspectives about my kitchen cupboards. I’ll share with you two different stories from my travels that illustrate how two people can live through exactly the same thing and have totally different experiences.

I lived in Thailand for a while and while I was there I travelled around with a wonderful Thai friend named Nin. Now, one of my favorite Thai delights was the large citrus fruit called pommelo. For anyone who hasn’t tried them, they are like a grapefruit only much larger, drier, and sweeter, and their rind is about an inch thick. As a result they are delicious, but incredibly labor intensive to peel.

So Nin and I were driving with her fiancée and we stopped and bought a pommelo and she began to peel it for me. Not that I was in any way incapable of peeling the darn thing myself. She not only peeled the rind, she then carefully performed delicate surgery on each segment to release the luscious flesh from its skin. Then she passed each delicious piece to me or her husband-to-be.

Now that I think back on it, it was one of the most beautiful examples of the Thai ethic of total focus on performing each action perfectly in order to provide pleasure to others. At the time, however, I was embarrassed. I thought she didn’t think I was capable of peeling a pommelo, and I felt uncomfortable having her serve me when I could have peeling the fruit myself. Yet to Nin this was just being the lovely woman that she was, and gifting a friend with something she loved. Two different people experiencing the same thing, but coming from different cultures, our understanding of the event meant something dramatically different.

What draws the eye: Little girl in Kashgar, (1998) Photo (c) Karen Abrahamson

The other example took place along the Silk Road in western China. My friend and I were smashed side by side on an interminable bus ride across the Taklamakan desert and far in the distance across an eternally flat land, I saw a bluff gleaming in the low angled sunlight. I watched it change iridescent pinks, blues and mauves as the light fell in the late afternoon, so I hauled out my notebook and waxed on and on about the wonder of beauty in the midst of all that desolation. When I finished with my eloquence, I turned to my friend, a fellow Canuck and mathematician, and pointed out the mountain and prepared to launch into my ode to beauty. What did she say when I pointed out the mountain?

“Sure. It’s chalk.”

A perfect example of how different our minds worked. And that’s character voice. While I waxed poetry in my journal she was busy examining the visual data to determine the geological makeup of that mountain. The jar of the dissonance in our experiences shut me down – until I burst out laughing.

If only I could shut Ben down so easily.

For the Writer: Travel Open

By Karen Abrahamson | February 7, 2011

Dawn at Holy Amristar's Golden Temple (2000) Photo (c) Karen Abrahamson

Reviewing my travel journals for excerpts in this site reminded me of facts I had long ago forgotten. Like the fact that Moroccans have a unique way of holding their hands when clapping, or the way my Mauritanian guide, Akbar, poured his mint tea by holding his red teapot at least three feet above the small juice glasses we drank from, or the way the Rajasthani women regarded my small gold earrings as symbols of an ancient royal family. Alone, these aren’t particularly earth-shattering bits of information, but in a story they provide unique bits of authenticity about a country that help establish a place for others.

To me these are the small bits of place – I call them the gifts – you can only gain by travelling. So how do you go about gaining these insights?

My basic philosophy is to travel open.

This speaks to being willing to be where you are:

1. Coming from our fast-paced culture it can be easy to set a schedule that keeps you moving on to new places all the time, rather than taking the time to get to know a place. When I traveled in India, for the first month I hired a car and driver to help get me to all the spread out places I wanted to go. They expected me to spend a day in each location. Instead I spent the time traveling around the state of Rajasthan, and only that, when the company I had hired the driver from had advised that the one-month period allowed most tourists to visit Rajasthan, Uttar Pradesh and one other state.

But the way I traveled I was able to spend two evenings as the sun went down, with a hotel owner and his friends as they played evening ragas (songs to the time of the day) on sitar and tabla on the rooftop terrace overlooking the lake of Udaipur. I was able to meet an Indian woman in an old fortress town and be invited home for dinner with her family. I was able to sit beside the pool at the golden temple of Amritsar and chat with young Punjabi women. On other trips I was able to stay an extra day and walk the long, pristine beaches of Zanzibar. Or decide at the last moment NOT to go to Beijing, but to return to the Tibetan highlands of Lamusa instead.

2. Traveling open also means not being consumed with your own needs all the time, and not being afraid. Some of the ugliest travelers I’ve seen are the people who won’t take the time to adhere to local customs. Like the tourists who won’t remove their shoes at a temple door. Or the tourist who complains vociferously about the native food not being like it is at home. Note to tourist: YOU ARE IN ANOTHER COUNTRY, HERE!

I once had a lovely Indian guesthouse hostess practically cry with pleasure when I said I would love to eat whatever her family was having. I was invited for dinner every night and had some of the best food I ate in India. She even took me into her kitchen and showed me her spices. As a result of being open to things like this I’ve been invited into Tibetan tents, and taught how to make chapti. I’ve sipped tea with retired Ministers of Culture who were trying to preserve their country’s ancient arts, and I’ve had a man in an empty Cairo street turn and give me flowers in welcome when my first inclination was to be afraid. All of this when I rarely spoke the language.

Rajastani kitchen (2000) Photo (c) Karen Abrahamson

Traveling open means being willing to put aside your own schedule to take advantage of the many gifts along the way. Like the young woman at Burma’s Schwedigon Pagoda who told me her sad life tale that inspired a short story of mine.

Most of all, traveling open means traveling with a smile. That, and a writing notebook or computer, are the most important things you can pack when you travel. One gets you the memories and one helps you keep them. These are the gifts that fuel my writing.

Destructive Forces, or The Beauty of Making Things Worse

By Karen Abrahamson | February 5, 2011

I’ve mentioned in previous posts about the destructive force of Ben and Shiva. Ben has his penchant for getting in behind breakable objects and purposefully shoving them off of shelves. (I have much less brick-a-brack these days.) Shiva has developed a penchant for shredding paper—cardboard—plastic. Anything he can sink his little teeth and claws into and I constantly am catching him at this lovely trick on things like – oh – my business license, the cardboard box in the corner, or a manuscript stacked and ready to be mailed out.

I wonder if editors would understand a few chewed corners.

Hmm, maybe they would just figure I have mice, or was particularly nervous about mailing this one out?

Anyway, in the midst of trying to preserve my manuscripts and various and sundry pieces of memorabilia from my travels, I got to thinking about destruction and its place in our lives and writing. At the same time a writer friend of mine sent me a link to some fantastic photos of the erosion and destruction of Detroit . The photos are bizarrely science fictional and evoked thoughts of Night of the Living Dead, Twelve Monkeys and War of the Worlds, and yet they are absolutely and utterly beautiful with their haunting look at faded glories. Maybe it’s just me, (but I think not, given the hordes of other visitors to places like Angkor, and Athens and Machu Picchu) but I am fascinated not just by the vestiges of what was once great and has now been destroyed, but also in the cracks in the great edifices and the things climbing through from the other side. As I watch the people of Egypt struggle for democracy I think of new life, like the fromages tree that grow from the Angkor ruins that I have on the home page of this web site. Or maybe it’s the wisdom and laughter that shines through from an age-ruined face.

What does this have to do with writing?

Which makes our writing boring.

So get back to your destruction when you turn to your keyboard. I’m going to keep an eye on that chewed box in the corner to see what loveliness arises.