Chuck Wendig: Terribleminds

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Julie Hutchings: Five Things I Learned Writing The Harpy 2: Evolution

Charity Blake became a nightmare. But there are far more dangerous monsters out there than her.

Train-wreck antihero Charity Blake thrives at being a winged avenger, but exacting vengeance takes as much from her as it gives. To retain the humanity she’s fought tooth and claw to keep, she tries to walk away from her monstrous side for good.

With no sense of purpose and a lifetime of failures haunting her, Charity struggles not to fall back into old, murderous habits. Until she meets a little girl who is more broken than herself. Rose presents a new direction for Charity. One where they can combine their carnal abilities to rewrite a horrendous history of wrongs that have impacted so many like themselves.

While Charity revels in the idea of following a new path, Rose drowns in her own power as she tries to piece together parts of her life her mind has buried deep. As Rose unearths hidden truths about her past, her catastrophic abilities spiral out of control, threatening everyone’s future. Overcome with debilitating grief and a world-altering rage, Rose becomes a danger beyond anyone’s control. A colossal threat that Charity must stop.

***

Go nuts, you’re an artist.

Not only is this book a sequel to some shit that a few pretty scary producers were afraid of, it’s even fucking weirder than the first one. There were *counts on fingers* 400 times that I thought who the hell do I think I am, writing this? It’s too much. Well, I’m too much. Henceforth, if my books aren’t too much then they’re not enough. I’m not the first person to write a book with Hell as one of its top 5 destinations—but I damn well had better be my own version of the best to do it. That means go bigger, go weirder, go the places nobody thinks of, and remember that the only boundary I need to know is the one I bust through like a hyena into a butcher shop. Or something.

Acquired Savant Syndrome is goddamn amazing.

You guys ever hear the story of Dr. Cicoria? He was an orthopedist, not like, an exciting doctor. He was in a phone booth when it was struck by lightning. Long story short, this foot doctor with no musical talent before the accident is suddenly waking in the night to write down the classical music he composed in his dreams. The guy goes on to become a pianist and composer in life. I read as many of these cases as I could find. To have unsurfaced abilities is pretty much the way of life—but many of these folks showed no glimpse of interest in the area during their pre-trauma lives. I fully subscribe to the old adage that we only use 10% of our brains. It accounts for all the glitches in our cranial Matrix(es). Like that time you dreamed of your aunt giving your cousin the same birthday present as you and then it happened, or déjà vu, or the ability to understand the new math. But I hadn’t ever wondered what else is in there. The brain is the depths of the ocean we can’t reach. Anything could be down there. The buried possibilities are endless.

The question becomes, Is there something hiding in me? Something I’m totally unaware of? What would I become?

Wendig’s right: Make it worse.

It’s a simple guideline: Whatever the crucial point, make it worse. If the character coughed, she hacked until her next breath was a question, not an expectation. If she’s freaked out by worms, she sees them everywhere—in the scrollwork on her bedposts, in every bowl of Ramen, they’re the eyelashes of the leering neighbor. Once this little girl, Rose, showed up in this sequel to The Harpy, she became worse in every way. It’s probably why I love her so much. Her secrets, once uncovered, don’t free her—they ruin her. She holds onto the worst and turns it on the monsters, the traitors, and the ones who tried to help but failed her alike. Her childhood wasn’t traumatic—it was good, healthy. Then destroyed. Then returned to her and destroyed again by her own hand.  I give you a special kid, with a tragic backstory which destroys her future, and she orchestrates part of her own doom. So, you’re welcome. *jazz hands* WRITING!

Pantster 4 lyfe.

I know HOW to write an outline. I’m actually pretty good at it, with college and all that. I try to start with an outline sometimes when writing a novel, but a chapter in I realize I’m still learning what the book is about. It’s like The Neverending Story that way, but without killing the horse. When it comes right down to it, I can’t create with boundaries. I have to construct the boundaries as I go because let’s face it—if I were good at following rules I probably wouldn’t be a writer to begin with. Not to mention that every book I write has a different process to it. I don’t have a formula. What the hell kind of response to our current world would it be if I wrote the same way all the time? The process has to change or the product remains the same. I can’t grow as a writer if I do the same thing every time. And it’s kind of a goal of mine to be able to stick to an outline someday. I wonder what that book will be like!

I can do it in the house. I can do it near my spouse. I can do it while I mom. I can do it when everything’s wrong.

I wrote Harpy 2: Evoloution during so much stuff. Both kids home 24 hours a day. The therapy and doctors’ appointments and filling of the prescriptions and trying to make sure they feel emotionally supported and get enough exercise and also eat. The over-the-top attempts at providing enriching experiences and celebrating the everyday things in life (I mean, at one point I even used the National Day Calendar to make up celebrations. There was a National Cake Day, that one was easy. But National One Cent Day?) I wrote this book while I worked my part-time medical supply warehouse job, which I loved—but going out every day during the pandemic because I was essential still scared me. And while I was there, my kids were in the same place they were every day, all day. That scared me too. I never want to see my kids complacent. The ability to bring them to all the fun places we go or even to play with their friends was erased, leaving only me to fill their social needs. And be their gym teacher. Yet, I loved it. To have them with me was all I’d ever wanted. Between March of 2020 and September I had not one moment alone in my own home. Not one, and I am a person who needs to be alone sometimes. My struggle wasn’t so different from so many others but what I’m getting at is this: I wrote a book in that time. Proving to myself that I don’t need the alone time, the special spot on the couch, the quiet, the right background, the clearest space in front of me, or any of the other things that make me comfy as a heated throw blanket. No. These are things I enjoy—but I didn’t always write under idea conditions, and truth be told, I was happier without the ideal conditions. I love the urgency of writing ideas on post-its. Nothing compares to the stolen feeling of typing a few paragraphs when no one needs anything and it’s just me and that laptop. The feeling that the book is always there, waiting for me to have a moment for it is intoxicating to me. A secret little world away from the chicken nuggets and bills. Writing isn’t an event, it’s a presence. That’s the kind of enveloping sensation that makes writing my home.

***

Julie’s a mythology-twisting, pizza-hoarding karate-kicker who left her ten-year panty peddling career to devote all her time to writing. She is the author of Running Home, Running Away, The Wind Between Worlds, and forthcoming The Harpy. Julie revels in all things Buffy, Marvel, robots, and drinks more coffee than Juan Valdez and his donkey combined, if that donkey is allowed to drink coffee. Julie lives in Plymouth, MA, constantly awaiting thunderstorms with her wildly supportive husband, two magnificent boys, and a reptile army.

Julie Hutchings: Website | Twitter

The Harpy (free until 1/20): Amazon

The Harpy 2: Amazon

I Want To Say Something, But I Don’t Know What

I’m a writer (er, obviously, are you new here?) and with everything going on, with the Capitol Siege and Stupid Coup and all of it, I want to give voice to it, I want to write about it, to make sense of it, but I have no sense of it. I have no meaningful words. I have a lot of anger. And it’s frustrating, being a writer, being someone who would very much like to articulate all of this into something cogent, something clarifying, something with a little context to it, but I don’t really have it. It’s elusive — or perhaps sense and sensibility are cowering in the shadow of anger and anxiety over what this country is experiencing right now.

So, instead of approaching with some bring-together point, or some manner of thesis, I’m just going to put words down in an order. I do not know if these words will be useful to you, or even to me. I can barely promise they’ll even make sense.

I think this country has been injured.

It has been bled and hobbled. And it’s not just the Capitol siege, full of its gaggle of militant dipshits and troll-faced traitors. That’s an injury, too, a sucking chest wound in our democracy that is currently being covered over with a wad of Band-Aids, not even with their adhesive strips exposed — no, it’s just a gummy, inelegant wad of them shoved into the hole as triage. It’s been the death-by-a-thousand-cuts against truth and fact and expertise. It didn’t start now, it didn’t even start under Trump. It was the GOP under Obama, and it was the GOP under Bush, too, and arguably under Reagan and on and on, backward through time, and it’s this ceaseless assault on collective reality. I was going to say it’s an attack on our agreed-upon reality, but even there — “agreed-upon” shouldn’t even be a thing you have to say. We shouldn’t have to agree about facts. Agreement didn’t used to be necessary. Sky’s blue, water’s wet. Now, you can find a reality to suit your desires — as if the world is a simulation, and all we have to do is dial up our preferred Truth, we just need to ask it to tell us what we want to hear. We call upon Alexa and say, Alexa, please tell me that Obama was Kenyan, and there are WMDs in Iraq, and Trump is a masculine genius God-King who will rout all the Satanic Pedophiles hanging out at Tom Hanks’ house. Siri, please confirm for me that vaccines are bad, that the coronavirus isn’t real, that Jesus was a capitalist with a machine gun. Google, show me the UFOs, the healing comet, the flat earth.

And where does that come from? I don’t know. I really don’t. It comes out of bigotry, in part, I’d guess — white supremacy protecting itself in the only way it can, which is by building for itself a temple of lies in which to dwell. (It can’t be built on truth, because if you believe white people are somehow supreme, boy howdy do I have some white people to prove you wrong.) Obama was a smart guy, an intellectual, but he was also a Radical Black Islamic Socialist, wasn’t he, so shit, I can’t believe him going on and on about these quote-unquote BOOKS he’s read, about these quote-unquote VACCINES that don’t cause autism, about these quote-unquote HUMAN RIGHTS that he must’ve just made up. And that bigotry also comes from the people who want to use it, who aren’t True Believers in the bigoted sense, they just know they can point a finger away from themselves. They blame THE CARAVAN or CHINA or BLACK LIVES MATTER or TRANSGENDER BATHROOM ATHLETES while they pick your pocket and stick you with pins, bleeding you and saying, “Oops, wasn’t me, wasn’t me, it was THEM over there.”

Problem is, that’s a dangerous gambit, isn’t it? The GOP started a forest fire, thinking, well, hey, lookit that. Got us a nice fire here. We can warm ourselves by it, we can use it for light, and it’ll rage on and burn down the houses of all our foes. Ha ha, burn, fire, burn. Then they realize the fire has turned toward them, roaring up on their houses, on their families. Because you don’t control a forest fire. You don’t leash a tornado, can’t ride chaos like a horse. And they learned that lesson on Wednesday — cowering with their Congressional cohorts while a mob of terrorists came looking for them with zip-ties and nooses. Because at the end of the day, they didn’t save Trump, and that meant they were not “patriots,” and had to go. Of course, they didn’t learn the lesson for long. Hell, that night, some of them were back at it. Hawley’s smug horse face, looking at the camera instead of the Congresspeople he just spent hours huddled with — going on about electoral integrity, spreading that lie around mighty thick. Cruz, too, digging in his heels. Mo Brooks, Jim Jordan, all of them. Some of them, like Lindsey Graham, said they were off the Trump Train, but sure enough, they bought a new ticket and are back on board. Graham was traveling with Trump just today, wasn’t he? Best buddies.

Then they go on and instead of acknowledging any of it, they cast blame away. They point fingers. They deflect, duck, dodge. They don’t talk about COVID deaths or the people who died in the riot. They just piss and moan about lost Twitter followers, about how it’s not nice to impeach Mister You’re Special And He Loves You President. How dare you be divisive, and try to hold someone accountable for their actions? This, from the party of personal responsibility. (Also, from the pro-life party, from the party of state’s rights, from the Christian party — all while demonstrating a love of death, a dismissal of state’s rights, and vices that would make Jesus Christ himself wanna throw fists.) They say, you impeach Trump, you’re just being divisive. You’ll cause more violence, tut-tut, tsk-tsk. It’s a threat. It’s an abuser trick. Oh, I know I hit you, but don’t tell anyone, or I’ll hit you harder next time. They talk of wanting unity and healing? Go fuck yourselves.

You don’t unify with people who tried to tear you apart.

You don’t build new bridges to the people that burned the first bridges.

You can’t heal when people keep ripping out the damn stitches.

They first have to stop doing the harm. Then they have to own the harm they caused. There must be accountability. That comes from apologizing, from saying, well, shit, that really got away from us — ha ha, oops, our fucking bad, by the way, Joe Biden is president and we lied for political gain and accidentally unleashed a violent insurrection on ourselves. It’s leadership they need, someone to step in and say, we’re going to return to the party of personal responsibility, and not rely on victims to do our redemption for us. Because that’s not how any of this works.

But they’re not going to do that. They’ve proven that. They’re still out there caping for a man who would gladly shove them into a woodchipper if it earned him a moment’s entertainment. They, with him, incited this. They unleashed this. They gave these people, their deplorables, a wagon train of lies leading to some fake-ass promised land — a chosen people for a chosen reality going to a utopia of guns and white people and personal liberty and American exceptionalism. So, I dunno. I dunno what we do. Hold them accountable where we can. Demand that no one work with them, that if they do, they’re done. Close the door any any cultists in our lives. Gotta say no more of this. But I really don’t know. I’m not sure what happens next. As long as they keep offering up their choice of realities, as long as they refuse fact and truth, they’re going to continue to embolden these people. They’re stirred by the lie, driven by inequities that they think are their burden instead of the reality, which is that they’re the ones who are more equal than equal. This isn’t economic anxiety. This is bigotry and madness. And the Republicans still think they can steer that forest fire. They can’t. They’ll learn that the hard way — as if last Wednesday wasn’t enough. Worse will come and they’ll try to skirt blame then, too. Because that’s who they are. Craven, soft-spined lickspittles in service to their God-King, a man who has been like this since the beginning, since 2016, since 2015, since the 90s, since the 80s, always a vapid, lying narcissist whose only love is the spray-tanned naugahyde fuckhead in the mirror. He’s a tumor drawing bloodflow to himself, and they think they can siphon a little for themselves, but they can’t. He’ll eat them up, too. Because he’s a cancer. And that cancer is very advanced, now. BTW, it’s not like we didn’t fucking tell you. Anybody with a spit-depth understanding of history and twelve brain cells to bounce together looked at that guy and said, “Yeah, he’s cancer.” But you all kept on chewing asbestos thinking it was cheese crackers.

(Not YOU all, you all. I know you’re not the ones.)

Jesus. I mean, I didn’t know that when I was writing Wanderers, I was putting this out there. I know I’m not a prognosticator — it’s never the point of science-fiction, to tell the future, but just the same, a white supremacist militia coup of the government driven by a narcissist and using a pandemic as cover, welp. Welp, welp, welp. WELP.

Anyway.

Fuck.

I’m just sort of angry? John Scalzi noted that though this was different from 9/11, it’s also very 9/11 in how it feels, and… yeah. It does. That was an injury, too. Feels like that’s one more sucking chest wound that got us here, somehow. I’m angry and worried and feel helpless to watch what’s to come next week. I’m hoping it isn’t much. That it’s like the Twitter protest that just happened, which is to say, nobody showed up. Sound and fury, signifying nothing. But the threats are big, and it’s just as likely that Wednesday was only a trial run.

I’m really not sure what happens now. I hope it’s okay. But I don’t think it is. I think they opened the door to something — opened it wide in 2016, widest in 2020, but it had been slowly drifting open for a long while before that — and now the horror behind that door is out. Snakes out of a bag. Gonna be hard to get them back into it, maybe. Stay safe, everybody.Love to you for reading. Be good. Be vigilant, I guess. Care about each other best as you know how.

If you need some more (and better) reading than what I put here:

I Lived Through A Stupid Coup. America Is Having One Now.

Writer Resolution 2021: How We Heal, How We Grow

Every year I like to do a writer’s resolution. Something that’s more for me than for you, but maybe also for you, should it apply. Resolutions are tricky, of course: I don’t ever want to make them a necessity, and certainly there’s something arbitrary about picking a calendar date to be like, OKAY TIME TO BE BETTER. But, at the same time, if you’re going to choose improvement and change, you have to decide to do it, and if not now, then when? So, now is fine, too, and with the gears-clicking, turning this strange machine to a new year, it feels like a time of circumstance and consequence to do something, anything, to seize on any desired changes.

So, hahaha, I thought, what resolution did I write last year? What did I think was the way forward at the start of 2020, this heinous chaos diarrhea year? WHAT FOOLISH NAIF WAS I, THEN? So, I checked and, uhhh, last year I wrote a 2020 Writer Resolution that said the following:

“You know the thing you do where you try to figure out, ‘If I had six months to live, what would I do in that time?’ Learn basejumping? Fight a bear? Fuck a robot? I dunno. There is of course the authorial version of this, which is, what book would I write? What book would I write if i didn’t know if anyone would read it, if I’d even get to finish it before The End gets me, if it would even matter at all? What weird-ass, particular-as-hell, little-or-big book lives in the deep of my heart and would emerge ululating its mad goat song upon hearing a potential death sentence? What curious narrative creature would crawl out and hiss, giddily:

‘It’s my time, now, penmonkey!’ — ?

Well, you’re dying.

Here it is: your terminal diagnosis.

You’re gonna die.

Whole world, too. Gonna die.”

So, weirdly I was both really on point, and also way off base.

On point because, hey, this year is a pretty good reminder of, WE ALL GONNA DIE.

Off base because, with that kind of knife to your back, it’s not easy to be creative. My point was meant to be generic, of course, and I think a realistic sense of our mortal scope is useful in that it reminds us we do not have an infinite panoply of days in which to accomplish our goals, and if we want to be a writer, then we must at some point write. And more to the point of that post, it’s useful to realize that in this limited temporal allotment we get, you might as well use it to write the kinds of things you want to write. Not what you think someone else wants or needs, not in someone else’s universe if possible, but your story, for you, by you, owned by you, you, you, you. Not for narcissistic solipsism, but to SEIZE THE CREATIVE CARP and to leave behind a work that came from your heart and your head.

The problem is, a real pandemic is a bonafide existential threat, not just the theoretical one we all live under constantly. (What a boner killer, amirite.) It was that, plus Trump, and electoral chaos, and general chaos all around. All that adds up and makes it difficult to write. It did for me, at least — others may have gone the other way, disappearing into their stories as an escape. But for me it was definitely the feeling of being knocked down, winded, even a little broken by it.

So, the resolution for me, and maybe for you, is this year looking toward healing and growing — a rise and return. Not some PHOENIX burn where we go from PILE OF ASH to ANGRY FIRE EAGLE, but something slower, more measured, more deliberate.

To digress for a moment, there are these two polar notions in the generic class of writing advice — the first being YOU MUST WRITE EVERY DAY, the second being GO AT YOUR OWN PLACE AND PRACTICE FORGIVENESS. Both can be true, and both can be false, and a rigorous adherence to either of these is, I think, where you find trouble. I’m increasingly aware that, and I’ve talked about this before, how writers first codify our writing advice for others, but then soon also begin to mythologize our own processes, too. Like, we grow to accept that this is our process, that this is how we write, and further, this is how we must write. For me, I’d created a folklore about how I wrote books, and it was even true some of the time: write every day, 2,000 words, ass-in-chair, have an outline, one book after the next, and so on. It wasn’t wrong. It also wasn’t right. It was just a thing I did for a bunch of books, mostly early on in my career, and it worked when it worked and failed me when it failed me. Because, of course, every book is its own different monster, and each monster must be met in its own way: one monster wants village children to eat and huts to mash, another monster wants an ear to crawl into and a brain to make a nest for its babbies. They’re different beasts. And that’s fine.

But trying to apply a single approach to each monster is tough — you can’t feed every monster the villager children you’ve collected, because one monster might be allergic to village children, and it prefers farm-raised kidbeef to eat. Wanderers reminded me that each book wants what it wants, needs what it needs, and we are a different writer when we begin every book, and a different writer when we end every book. Like the coronavirus, we mutate in every host.

To remove the monster from the metaphor–

Sometimes you need to slow down, take it easy, re-evaluate.

Similarly, you can also go too far on the self-forgiveness train, giving yourself so much room to breathe that you’re only breathing, and not writing. We are constantly in this battle between holding ourselves accountable and allowing ourselves a day off. A war waged between reason and excuse, between work and peace, between running and rest, between rebound and recuperation. And you only really get there, I think, by knowing yourself, and you really only know yourself as a writer by just doing it, by writing when a lot when you can and by seeing what happens when you do different things. We can de-mythologize our personal processes by simply fucking with them.

We tweak the formula. We juke left when we always jumped right.

Know thyself: a vital writer commandment. And you only know yourself as a writer not when succeeding, but when failing — or when your process, your own authorial folklore, fails around you. That failure state is deeply, deeply informative.

Anyway, this digression leads me to this peculiar point in time for me — and again, maybe for you. I am at that pivot point between recuperation and rebound. It has been a hard year, a broken-wing year, and I want to fly again. But I also know that’s not automagic: I can’t just climb to the roof and jump off and zip up to the fucking sky. It’s not 0 to 60. It’s neither rest, nor running. It’s the in-between, the interstitial, the liminal.

My goal is to regain momentum.

And this, for me, will be like running. Running for me was always about starting slow and small and building on that without burning out, without busting my shit, without tearing anything or, I dunno, what are marathoner problems? Don’t their nipples bleed? There’s a commandment for running and writing: IF IT’S MAKING YOUR NIPPLES BLEED, MAYBE COOL IT A LITTLE, BECAUSE HOLY SHIT, NOBODY WANTS THAT

It’s about practicing forgiveness — which means taking it slow. But it’s also about getting the work done, which means doing something, even if it’s only a little bit, every day. It’s about creating a schedule, but also about padding that schedule with sympathy, and knowing that it can’t just be day after day of GO GO GO. It’s knowing I maybe can’t run every day, but I can damn sure walk. In this sense it’s almost like physical therapy: I need to exercise my creative muscles in a way that is regenerative, even if it’s slow. When I began running, I took it slow, week after week, building ability and then slowly adding time and distance. And some weeks I lost those gains and went back to baseline — but there was at least a baseline to go back to, and subsequent weeks saw momentum, over time, building. That’s what I need now. I need to rebuild momentum, however slow that’ll be. It’s about healing and growing, but also recognizing that healing can first be about rest, but then must eventually be about getting up, and getting going once more.

So, that’s it for me.

It’s about being smart and self-protective while also knowing that art must be made, it will not make itself. I have stories to tell and you do too, I suspect. So let’s tell them, in the way that only we can, at a level just beyond comfort — pushing when we can, pushing a little, and then going back to baseline when we must. Being gentle, but forcefully so. The world deserves to hear your tales, and so the world waits for you to tell them. At your time. At your speed. Progress is progress. A game of inches, not a game of miles. We crawl, we walk, and soon, we run.

Go with love into the New Year, writer friends.

Write, make, create, spin stories. Build on what you lost. And on what you find.

Eat Farts, 2020 (And 2021, You Are On Notice)

So, sometimes I do the year end recaps and year-ahead look-forwards as separate posts, and sometimes I do an even SEPARATER (not a word) post about the pop culture stuff I enjoyed —

But this year, I’m running them all through the blender and am just gonna dump the resultant blog smoothie onto your screen. Because honestly, 2020 was a hot fucking fuckmess of a year, and time ran together like so much wet paint — it may still be a Monday in March? I dunno. So, why not Frankenstein a whole bunch of blog posts together? It’s only appropriate.

What The Fuck Did I Do This Year?

I want to be clear it is not a joke when I tell you that looking back on this year and trying to gauge its scope and its contents is like wrestling an oily pig in a carnival hall-of-mirrors. I can’t get a grip on it and I don’t know where I am. I honestly don’t know what happened this year and what I even accomplished? Eennnhhh?

To answer that, I had to look back over emails just to see like, the things I did. For a good portion of the year I didn’t really write anything new — I did two new drafts of The Book of Accidents, one big draft at the start of the year, and some tiny-but-plentiful tweaks midway through. And a copy-edit for that. Plus a pair of edits on Dust & Grim, and I helped curate the monster motivational Magic Skeleton book — though mostly there it was the publisher selecting what ones go in the book and then having the wonderful Natalie Metzger apply her fantastic art weirdness to it all. But all that time I didn’t really write anything new until this fall — and as such I’m 50k deep into the Wanderers sequel, Wayward. Part of that is because we didn’t have a surefire schedule for my next several books, right? Like, we knew TBOA was getting moved out of October 2020 to not get crushed by election coverage (whew), and then it was a question of whether the Wanderers sequel was next, or if it’d be another horror novel of mine, currently titled The Orchard. So, there were questions as to what I was even supposed to write next?

But obviously a large part of it too was —

Well, everything.

This year was a lot. A lot a lot. A lot a lot a lot. Pandemic and election and social media monstrousness and shenanigans around every corner. It was simply hard to get creative traction this year. And that’s unusual for me. I’m usually someone who can write his way through any bullshit, but this year I found greater solace in editing, in fine-toothing narrative to get it right, and any new material I wrote went into those, for the most part. Which is fine, of course. Progress is progress. Work is work. But it was hampered, hobbled, hamstrung. I suspect it was for you, too. That’s all right. It was a hard, bad year. A hard, bad, strange year. We were all being asked to walk around on a broken leg, and I think it’s okay if that means you can’t run. Even if people want you to. Even if you expect yourself to. You do what you can do. Forward is forward, progress is progress, however small it may be.

Not to say this is some we’re all in this together hoorah clarion call — I am an intensely privileged person, not just because of the natural privileges afforded to me but because I make a current living based on staying home. I don’t go to a job. I hide here in my WRITING SHED, peering out the windows like a paranoid maniac while furtively typing a few sentences here and there. I’m a lucky person and I’m doing okay, better than a lot of folks — certainly not my goal to play misery olympics. But at the same time, I think it’s okay for all of us, me included, to recognize that the year was a screaming fuckshow either way, and that very few people were operating at 100%.

There was good news, of course: Wanderers was nominated for both the Stoker and the Locus, which was really nice. It continued to sell well. The Magic Skeleton deal came together. My son is well. My wife is well. We’re healthy and weathered the storm of uncertainty and isolation okay. Virtual learning was hard but manageable. We adapted. Life continued. Trump lost. A vaccine was found. Life continued and continues. There’s real reason to celebrate but right now I’m mostly just tired? Christmas was nice, but mostly I just want to get through to 2021. More on that in a few.

Things That Were Good That I Enjoyed Maybe?

Once again I’m left wondering… what even happened this year? What came out? The two media forms that dominated my story-consumption habits were television and video games — both, I think, easy to get in and get out of quickly. Movies take time despite being shorter than television, because they’re best viewed in a single two-hour-chunk. And with a kid home 24/7 instead of being in school, we didn’t always have the time or mental fortitude to plop down for that temporal chunk. Books were hard, too, because, first, I found my concentration levels in the pandemic were reduced to the level of “concussed squirrel” and second, again, my kid was home. It’s really hard to sit quietly with a book. But TV and games were easier to grapple in the time allowed. Their consumption: uncomplicated.

Some of this too is hard because I try to remember, say, what movies I saw this year, and then when I look back at what movies came out in 2020, it’s like, really? Birds of Prey was out this year? Was it? Really? That happened this fucking year? Jesus.

So, who knows if I’m even remembering all this correctly.

But here are the things I enjoyed this year in their various category.

Not an exhaustive list.

Some of these may be hallucinations, I don’t even know.

MOVIES

Palm Springs was the first piece of media that I think inadvertently understood the vibe of the encroaching pandemic. It felt true in a way other stories did not simply by its proximity to everything going on. It is the film of 2020 — not necessarily the best film (though it is pretty great), but just a movie that lived in the same hell-realm we were all inhabiting.

Scare Me is a weird piece of not-quite-horror-movie perfection. A story about stories, but also a story about storytellers. Hilarious and weird and dark. Minimalist and spare. Shudder, by the way, is a great streaming service if you like spooky scary spoopy stuff.

Wolfwalkers is one of the most wonderful animated films of all time. I haven’t seen Soul yet, and will soon, but this is it for me. It’s deeply, unabashedly good, and unashamedly itself.

Class Action Park isn’t my childhood exactly, but it’s next door.

Enola Holmes — what a delight. I kind of thought it would be worse fare than it was? Honestly, Netflix can do really well with TV, but their film offerings have not always been aces-and-eights. But this felt real, and fun, and just fired on all cylinders for us here in the Wendighaus.

Bill & Ted Face The Music — what a happy movie. And a happy-making movie. It wasn’t just nostalgia fueling it, though that never hurts — it was crafted with love and care and fun, and you can feel it in every frame.

Were there other movies out this year? Certainly. Do I remember what they were? No. Did I see some of them? Probably. Anyway, onward we go.

BOOKS

The Only Good Indians by Stephen Graham Jones is a short, impactful, elk-fueled novel of terror and sadness. The guy writes in a way that is just easy-breezy — literary, if you care to call it that, but conversational. It’s high-minded storytelling told in a low voice, and please believe me when I assure you this is not derogatory — it’s the best way a story can be.

Survivor Song, Paul Tremblay. Supercharged rabies pandemic, thanks to Paul Tremblay? With requisite Tremblay heart-punching and kidney-stabbing. He will always hurt you. And you will always like it. Paul Tremblay is a monster.

Goldilocks, Laura Lam. I read this just before the pandemic and hahaaahahaha it landed differently as soon as the pandemic hit. Character-driven into-space thriller with roots on Earth and in our present. It’s very good, and if you liked Wanderers, I think you’ll like this, too.

Hummingbird Salamander, Jeff VanderMeer. It’s not out yet, but mark it — it’s a Fincherian puzzle to be solved, this book, and it’s as much about you as it is about the protagonists. All books change you a little but some books change you more than that, and this is one of those.

Wow, No Thank You, Samantha Irby. I needed funny this year, and this brought the funny. Samantha Irby is one of the funniest goddamn people on Planet Earth and if there is any reason to save this planet it is because she is on it. This is a collection of essays and I cried laughing.

Blacktop Wasteland, SA Cosby. Propulsive-at-times, sad-and-reminiscent in others, this is a gut-punch of a book, that puts a fine point on race and racial tensions in this hard-as-hell crime novel. I like books that don’t fuck around and this is a book that doesn’t fuck around. I’d even argue the noblest pursuit of a novelist is to write a book that refuses to fuck around, so read this to get that.

I’ll note here an interesting contrast — I watch movies for escape, but read novels that don’t necessarily aim for escape. I don’t know why that is. Maybe because books contextualize experience differently, and provide catharsis in a more impactful, nuanced way. Also I’ll note that I think horror is the genre to watch over the next two to four years. And I don’t just say that as a person with a horror novel out in 2021. But, uhh, also because of that.

TV

Ted Lasso, holy shit, Jesus Christ, Ted Lasso. Listen, I’m sure I’m being overwrought by saying it’s one of the greatest seasons of television ever, but it sure felt that way when I watched it. It’s sublime. Funny, just a little fucked-up, appropriately profane, and ultimately deeply sweet and optimistic. It was the show I needed in 2020. I honestly can’t stop actively loving it day to day. I think about it often. I adore it always. *slaps the BELIEVE sign above the door*

Cobra Kai doesn’t always know what it is, whether it’s a saccharine nostalgia-bomb or a cynical subversion of all that — sometimes it’s glib and goofy and sometimes it’s like BOOM HAVE SOME REAL CONSEQUENCES. Sometimes it’s making fun of itself, and then it’ll switch gears and be sincere as fuck. I dunno. But it works and I love it.

Also JFC, was Schitt’s Creek this year? Goddamn. Loved that one, too. It’s clear to me that I am enjoying a particular kind of show, a show that somehow balances sweet and salty very well — that takes itself seriously, but not too seriously. What I would consider the Parks and Rec model. The Good Place too and wait WTF that ended this year too? That was 2020?! What the fuck.

The Boys isn’t that. It’s zero sweetness, all salt. But it works. It reimagines superheroes as deeply fascist, fucked-up narcissistic hell-beasts masquerading as humans and it feels very apropos to 2020.

I think Perry Mason rambled a bit, and it’s pretty fucking dark, but it worked for me.

What We Do In The Shadows is one of the funniest, weirdest shows. The Jackie Daytona episode may be one of the greatest episodes of television of all time.

There were a lot of good adult-friendly kids-TV, too. The new season of HildaKipo and the Age of Wonderbeasts may be one of the best cartoons of all time, right up there with Avatar: the Last Airbender — it is, in its way, the Ted Lasso of cartoons, featuring a wildly optimistic character who chooses to befriend all their enemies, always choosing compassion over the other thing. Summer Camp Island is soothing as hell. Craig of the Creek and Apple & Onion are wildly good.

There were some shows that missed for me, too — chief among them is Mandalorian.

BEWARE: SPOILERS AND STAR WARS FAN WANK TO ENSUE

I know, I know, heresy, I get it. I loved S1, but S2 has really pushed aside the titular character in favor of, well, everyone else. Mando was relegated to a series of fetch quests. His agency was largely removed and logic was cast aside as we were instead treated to the motivations of others, like Ahsoka, or Boba Fett. Both of whom I like, and who I enjoyed seeing! But each time it felt like Mando was simply caught in the swift-moving rivers of other people’s stories. And it’s a strange choice given that his actions in S1 were literally to blow up his life to save The Child (aka Baby Gogurt) — and yet S2 is him mostly trying to get rid of the kid. For noble reasons, admittedly, but in a way that feels like he’s just acquiescing to it instead of owning his role. He starts to reclaim agency by the end of the season (and the second to last episode may have been one of the best of the whole series), but then the finale had… well, You Know Who show up. Again, I like Luke. I like him being a bad-ass. But I didn’t like that he’s a just a HAND OF GOD who shows up and saves them, then takes Baby Gargamel away with nary a protest from Surrogate Mando Dad, and nobody else bats an eye, either. They just fought through hell only to have Mando give away the kid to a dark-clad stranger who just murdered a bunch of Terminators. And the other storylines — Gideon, the Darksaber supremacy — don’t even get an epilogue or a nod to what’s to come. There’s no closure, there’s just the end of the show, and then there’s a Boba Fett show but a delayed Mandolorian season and — ennh, I dunno. I’m falling off the Star Wars bandwagon these days, for some personal reasons and also because I think it needs another hibernation period. It’s also a franchise mired in prequelization — the constant looping back to fill in blanks rather than leap forward. Marvel nearly always moves forward, but Star Wars nearly always looks backward. Mando escaped that trap by being uniquely about its own set of characters, but by doing that thing where it reminds us that STAR WARS IS BASICALLY ONE ZIP CODE (my wife called it “the town in Gilmore Girls, but in space,” which I amended to, “Starwars Hollow,” give us both awards now, pls), it once again feels somehow regressive, a galaxy stuck in the past that cares very much about one family’s bloodline and destiny.

But, bonus: Cobb Vanth!

GAMES

This is getting long, so I’ll just say these are the games that geeked me out this year: Hades, Ghost of Tsushima, Miles Morales, Ori and the Will of the Wisps, Animal Crossing: New Horizons, Spiritfarer. I really wanted to love Valhalla but it’s a buggy brutal mess where you’re mostly just a dickhead Viking who shows up and does some pillaging — so far the “bad guys” are barely that. It invests me in the narrative, and the storytelling is good, but it feels like more of a chore than the lush (if too long) Odyssey. I also wanted to love Squadrons, but couldn’t really get into it. It felt fine! But only that. I think it was the too-short single-player that left me feeling unsatisfied? But hey, Rae Sloane and the Starhawk!

Also a weird shout-out to No Man’s Sky, a game that continues to deepen itself and improve wildly — doubly so now on the PS5, where it looks fucking amazing and its abysmal load-times are now a mere fraction of what they were.

What The Hell Happens Now?

Whew.

Oof.

I have no idea.

I mean, at least given THE FUTURE OF THE COUNTRY AND THE WORLD, I’ve no idea. I hope Trump is done, his goose cooked, his brownies baked, his fate signed and sealed and delivered. His legal options are long exhausted, so all he has left is chaos — but he may make more chaos yet, because I think what waits at the end of it is jail. He’s a cornered monster, and not to be trusted.

I hope the pandemic will fade this year — we have vaccines, but we also have new mutations of COVID on the rise, and hope but not confirmation that the vaccines will work against them.

For me personally, I had a whole year in 2020 with zero book releases (well, excepting the Wanderers paperback!), so this year I’ve got three — first up is You Can Do Anything, Magic Skeleton, with Natalie Metzger, out in April (pre-order here), and then comes The Book of Accidents in July (read an excerpt here, pre-order here), and soon I’ll reveal the cover and some sketches for Dust & Grim, which lands in October. Hope you enjoy ’em all. And if you don’t, that’s okay, too.

I’ll keep writing Wayward in the meantime.

Hope you can find some peace and creative comfort in the new year.

I’ll be back then to talk about that a little more — what we can do going forward, as writers, as the calendar burns the previous tire-fire of a year and we step out of the smoke and haze into a (hopefully) renewed 2021.

For now, I’ll see you on the other side.

Be well, frandos. Give to a local foodbank, if you can.

This Grievous Wound

What it is, I think, is this: Donald Trump has lost the presidency, and is fighting that obvious, irrefutable result because it is useful to him to do so. Yes, perhaps there is some buried splinter of certainty inside him that he is the president, or that he deserves to be president, and we have seen that this is a man who has long demonstrated the emotional security of a hangry, sleepless toddler. (No disrespect to toddlers.) But it is also very, very useful for him not to let go of the presidency in idea, if not in practice. He is a man on the verge of various investigations. He has a debt column longer than the Constitution, Declaration of Independence, and the script for Hamilton combined. And he has mounting legal debts. Further, he’s a man whose unnatural orange tan seems the result of a steady application of Fryolator grease, but it could very well be burned onto his flesh from the warm glow of himself — he is, in his mind, a self-illuminating creature, the center of a galaxy whose glow is all, and who thrives on the adoration of the planets he provides warmth to — or in vengeance, cold.

That’s part of the trick with him — it’s hard to know where his narcissism ends and where his grift begins, because a grift is more self-aware than the kind of bloated ego-fed solipsism that narcissism requires. A grift demands manipulation, and a manipulation suggests that while you may be the smartest guy in the room, you’re also not naturally so, and anything you get is something not given and earned but rather, taken and stolen from the rubes. He sees us as rubes, that much is clear, but he also sees himself as god, and a god doesn’t need to trick the rubes, does he? A god simply has command of them, because that is the nature of divinity. And therein lurks the a blurry, foggy landscape between how much of this is because of a cunning intelligence and how much of this is simply a reptilian mind mashing buttons in his brain in order for him to brute force attack every institution, every relationship, every norm around him.

But the reality is, it doesn’t matter.

Trump gains from chaos. Whether his understanding of this is granular and keen or whether it is in a hazy, almost feral way, matters little. What matters is, he doesn’t care about being president, because being president is work. He doesn’t care about you, because you aren’t he, and he is all that matters to him. He doesn’t care about his country because to him this country is just another company he can buy, bleed, gut, live in its carcass for a while, and then sell to the next asshole. For him, this is all transactional, and his refusal to not only concede the election (which we knew would happen) but to stop fighting the electoral outcome, is just another one of those transactions. He understands, again implicitly or explicitly, the buy-in, here: he can (and will) keep this going for the next four years. He will push the constant narrative that he is an aggrieved party, a strongman kept from his circus by the mean ol’ ringleader. He will say they cheated, you cheated, everyone cheated. He will demand now, and in six months, and in two years, that we hashtag OVERTURN this election.

And this is useful to him to do so.

It is useful because he can continue to fundraise. Never stop fundraising.

It is useful because he can try to grab the media spotlight by its privates, dragging it around with him wherever he walks on the stage because who doesn’t want to watch the big man making a racket over there? The media has only barely learned this, and it remains to be seen how long they will hold the lesson, and how soon they will return to covering every mouth-sound he makes.

It is useful because he can keep doing rallies, and a despot loves his rallies.

It is useful because he can bring people into his gaudy Trump properties, his hotels, his golf courses, because who wouldn’t want an audience with the Rogue King, the True Heir to the Red, White and Blue Throne? The man has his debts, after all, and he’s not going to pay them. You are.

And finally, it is useful because if he is less The Last President and more The Next President, it will be harder to investigate him, because investigating a political opponent is corruption, or so they’ll say — corruption he supports when it’s him doing it, but that’s true for everything. (We like to imagine that the Republicans are trapped by our identification of their myriad hypocrisies, but they are freed by that expectation — they know we think we’ve called GOTCHA on this, but haven’t got ’em. Their hypocrisies are part of the package, a feature and not a bug, and they will happily do all the things they said we couldn’t do and they’ll do it with a shit-eating grin on their faces.)

Trump has no moral center, here. He has no guiding principle. He is not a man holding onto power because he genuinely feels something, anything, about our democracy. He is not a man who grips the wheel of the vehicle because he thinks he’s the most responsible driver. He doesn’t care who the best driver is. He doesn’t care about the truck, or the road, he only cares that he likes the way this feels, and that he can drag us to wherever he wants to fucking go. He’s not here out of some devotion to democracy, to America, to us or even to his people. He doesn’t care about them, either. He just wants what he wants because — well, either because that’s enough, or because he can make hay from it.

Of course, it’s almost not his fault. Dracula is Dracula, of course, but one who is enabled by a world of Renfields — blood-bags, body-buriers, victim-procurers, glad-handing yes-men gleefully eating spiders and cockroaches to Please Their Master. And Trump, our rubbery American Vampire, is held aloft on a palanquin of bones by an unholy host of enablers, admirers, users, and cowards. Some, like Texas AG Ken Paxton, are like Trump — Paxton is currently under investigation by the FBI and likely angling for a pardon. Some are like Ted Cruz, humilation-kink aficionados who are happy to tongue-bathe the boot of the man who said his father killed JFK, who called his wife ugly, who suggested that any vote for Cruz in the primary was (here, a familiar refrain) voter fraud. Some are Mitch McConnell, the ur-vampire pretending to be a Renfield, using Trump as the battering ram to knock down the doors of democracy so that he could let slip the hounds who would eagerly fill all the roles he belligerently, shamelessly stopped Obama from filling. (Remember how the USPS is fucked right now? McConnell — with a little inadvertent help from Sanders, sadly — blocked Obama’s appointees to the USPS Board of Governors, which left the entire thing empty, which further let  the Trump Administration fill those roles from snout to tail. That board then chose LeJoy, and here we are.)

Trump is enabled by a world of dipshits and abusers, some who just want to be in his glow, some who want to avoid his ire, and others who happily crowd their hands up his asses, trying to puppet him around. And all of whom would, at the slightest provocation, be thrown under the wheels of the truck that Trump is driving, because Trump has all the loyalty of a rabid wolverine.

None of these people are acting on principle.

Not one of them.

They seek power both personal and political. They seek money. They seek escape from prosecution and consequence. They all want something, this Circle of Skeksis, from Trump, from us, from our democracy. But they don’t care about it.

And yet, their followers believe the opposite. They are told, by Fox, by Newsmax, by Breitbart and OANN and a thousand sock-puppet chodes on Twitter and Parler and Facebook, that these people are standing up for AMERICA, for YOU and ME, for our REPUBLIC (they’re hesitant to call it a democracy anymore). These people are heroes, painted into shirt-ripping beefcake Founding Fathers — if the Founding Fathers were John Rambo, a pack of flag-fucking warriors with a pair of AR-22s and a surfboard under their boots as they cross the Delaware River. And they are told again and again that these people deserve to be president. The votes against them are somehow both Real and also a Fraud, legitimate and yet, illegitimate because anything that insults these Hero Men must be the result of a grave unfairness — and if democracy allows this unfairness to occur, then it is perhaps democracy itself that is the enemy.

Because if democracy stops Trump from being president —

Well.

Then it is perhaps time to stop democracy.

We have long been deafened by this dueling banjo song of American Exceptionalism and Individual Liberty, where we are somehow both The Greatest Country on Earth and also a country full of Individuals Whose Personal Liberties Shall Not Be Infringed. Becoming only a country of disentangled individuals, we are no longer a nation of communities, of people, but rather, a series of one-person islands, and how dare you steal my fucking coconuts, and you better not cross these waters to even say hi or I’ll rap you on the head with a fucking rock, and what’s mine is mine and what’s yours is also mine because I fucking said so, that’s why. You’re not an individual, I’m an individual. I get what I want, and you get what I don’t. Communal responsibility? Community power? Fuck that. Me, me, me, oh say can you see.

But if we aren’t a place of communities, if all that matters is what I want, wah, then democracy doesn’t even matter. Because votes are a mechanism of community will, and if we have ceased to care about the will of the community and instead only care about the will of what we want personally to occur, then where do we go from there?

We are already a troubled, divided nation. Have we been more divided before? Perhaps. Probably. There was a Civil War, after all, and the Civil Rights era, and all the racist horror between those two periods (and after) (notice a pattern?). But this division feels strange, a shared cultic delusion, a Stockholm Syndrome as COVID-19 swirls around us.

Trump’s election in 2016 was already an injury to our norms — he stepped onto the national stage buoyed by lies. I said then it was an act of small petty men hacking at the roots of our democracy, hoping to fell the tree in order to sell its lumber, and they have continued to do so, and have nearly succeeded. Because now, these small petty men — selfish and without principle — have widened this chasm between us by what feels like an uncrossable distance.

That chasm is an injury.

And it may be a grievous, even fatal, one.

It’s not enough that Trump won’t be successful. And it’s likely he won’t be (though this is 2020, so who the fuck knows what hellshow could happen in the next three weeks). It’s that he’s convinced a not inconsiderable portion of this country that he’s right. He probably knows he won’t get back in the White House, at least in 2021. But they don’t know that. He probably knows he didn’t win. But they don’t. They’ve bought the lie. They’ve embraced their cognitive dissonance so hard it’s become a part of them — the only good way out of a hole is to quite digging and start climbing, but then you have to admit, oops, I fell into a hole of my own making, and that’s not something people like to admit. Easier instead to dig down, down, down, to make it look like, I know what I’m doing, I’ve been doing this all along, this is alllllll part of the plan, see you later, Surface-Dwellers, I’m King of the Hole, fuck you. 

So utterly complete is this violent attack on information, on truth, on fact, on process and democracy and science, on education and expertise that… some people are going to be really hard to bring back. They may not come back. We don’t have a National Deprogrammer. We don’t have fairness in media. We don’t have the gall or gumption to fight mis/disinformation the way the other side has fought actual information.

As it turns out, our democracy is held together by one thing, and one thing only:

A loose, flexible agreement of ideas.

In the air, it’s a tangle, and we fight over everything. But all the way down, below us, we always knew that there was a safety net of a few key principles that were braided together and that was strong enough to catch us if we fell. At the end of the day, we were a democracy, we thought. A nation of states, of communities, of a few shared principles and notions. We agreed on that.

Thing is, it was an illusion. A comforting one, as many illusions are, and maybe not useless. And hey, once upon a time there were some very real threads that held us together — the Voting Rights Act, the Fairness Doctrine, and their like. Laws and regulations which agreed that democracy was sacrosanct, and that truth mattered, even if everything else was debatable. But we cut those ropes. And now we’re in freefall, and there is no safety net. Because, oops, laws and regulations are just things we made up. They’re only there if we uphold them and keep signing our agreement to them. The garden needs tending. The fire needs tending. Vigilance was required. But now? Oof. Those laws and regulations have left us reaching for handholds that aren’t there, hoping for a safety net that has been cut to ribbons. And it’s not just the election. We’re mired in a pandemic with three thousand people dying every day, and yet there are still people who think it’s fake, who won’t wear a mask, who even in the hospital with the disease they cry it’s a hoax. And instead of a firm federal response — or any federal response — we have a piss-pants “president” whose only fight is the one to be coddled, bottle-fed, and glorified. He golfs, we go poor. He tweets, we get sick. He rallies, we die.

He doesn’t care about the injury he’s caused.

But the injury has hobbled us. And I don’t know how we heal it. It’s a sucking chest wound — it’s a compound fracture. Maybe it won’t kill us, but you don’t just heal that sort of wound the way you do a thorn-scratch or a bruise. It will take so much to heal it, so much. And we don’t know if the sepsis of fascism will settle in for good — a blood infection of autocracy, a poisoning of viral narcissism to compliment the global pandemic running through us like a chainsaw. And every GOP who signs on, every media member who trumpets this shit, they’re codifying it, they’re legitimizing it, and whatever results — whatever suffering, or starvation, or bigotry, or violence — becomes legitimate in the face of it. It becomes an act of lauding the infection, of pretending that the sickness in our political body is a natural part of us, rather than something forced into us. We accept and embrace the tick, the tapeworm, we name it and give it power. I’m King of the Hole, the tapeworm cries. Fuck you.

Trump doesn’t care. His enablers don’t care. They’ll kill the body and leap to the next one — parasites and scavengers, they hold no allegiance to you, me, or even the flag they claim to love so much. Their allegiance isn’t even to each other, though they put on a good show. Their allegiance is to them, to their own individual liberties, and that’s the ultimate liberty to stick you, bleed you, and leave you and our democracy for dead.

* * *

I don’t know what we do about it.

But if you can, donate to Jon Ossoff, Reverend Warnock, and Stacey Abrams’ Fair Fight. Our democracy may very well count on it. And while you’re at it, find a food bank, local or otherwise, and donate, okay? The way we push back on this is by being a community, as good to each other as we can. We must refuse to let the injury define us. We must hobble on in the hopes of healing.

Natania Barron: Five Things I Learned Writing Queen of None

When Anna Pendragon was born, Merlin prophesied: “Through all the ages, and in the hearts of men, you will be forgotten.”

Married at twelve, and a mother soon after, Anna – the famed King Arthur’s sister – did not live a young life full of promise, myth, and legend. She bore three strong sons and delivered the kingdom of Orkney to her brother by way of her marriage. She did as she was asked, invisible and useful for her name, her status, her dowry, and her womb.

Twenty years after she left her home, Anna returns to Carelon at Arthur’s bidding, carrying the crown of her now-dead husband, Lot of Orkney. Past her prime and confined to the castle itself, she finds herself yet again a pawn in greater machinations and seemingly helpless to do anything about it. Anna must once again face the demons of her childhood: her sister Morgen, Elaine, and Morgause; Merlin and his scheming Avillion priests; and Bedevere, the man she once loved. To say nothing of new court visitors, like Lanceloch, or the trouble concerning her own sons.

Carelon, and all of Braetan, is changing, though, and Anna must change along with it. New threats, inside and out, lurk in the shadows, and a strange power begins to awaken in her. As she learns to reconcile her dark gift, and struggles to keep the power to herself, she must bargain her own strength, and family, against her ambition and thirst for revenge.

***

Women Are Mostly Just Plot Points in Much of Medieval Literature

I mean, I get it. I’ve read enough Western literature to innately understand that, for the better part of the last few thousand years, women aren’t exactly portrayed as heroes, or really anything other than convenient stumbling blocks for the real heroes. There are a handful of exceptions, of course, but it’s far from the norm.

Now, I’ve got to preface this by saying, Queen of None came about shortly after I graduated from my MA program, where I studied Medieval literature and Arthuriana in general. I came into that program with a Just Because I’m a Woman Doesn’t Mean I’m a Feminist Scholar attitude and left with I Am a Feminist Scholar and I Will Burn Down the Patriarchy mentality.

But Arthuriana, and the romances of the Middle Ages, are particularly cringe-worthy in terms of the “strange women lying in ponds distributing swords” factor. Women show up all over the place: in ponds, in forests, in towers, and in beds (there are so many Elaines in the Arthurian legends it borders on ridiculous). Granted, there weren’t a whole lot of options in terms of adventuring for a woman, but that doesn’t mean it didn’t happen. In fact, the more I learned about the expansive Middle Ages, the more I found women who were so much more than plot points: real women who wrote books, traveled the world, had visions, and chronicled history.

The whole idea for Queen of None came from a single passage I read during my undergraduate studies in Geoffrey of Monmouth’s History of the Kings of Britain. It simply said that Igraine and Uther had two children, Arthur and Anna. But while Arthur gets all the attention, Anna vanishes in the shadow of the king and her half-sisters.

I Can Write Books and Be a Mom

Motherhood and writing are inextricably connected for me. I’d always considered myself a writer. In fact, I don’t really remember when I started writing book-length things. I just always had stories that needed multiple pages. But I was very bad at finishing those stories, and I was mostly a copycat for the majority of my early writing life (no shade, that’s totally what most young writers do). Hell, I rewrote the better part of The Stand when I was 13 or so.

When my son was born, however, I understood that I needed to finish writing. I needed to start writing books, not just… book-shaped things that couldn’t be published. I didn’t want my son to ask me, “Mom, what did you want to be when you grew up?” and my answer be that I dreamed of being a writer someday. I wanted to be able to tell him that I worked damned hard at it, and made it happen.

Be warned though, writing with kids is not easy. When people ask me what it’s like to balance a writing career, a full-time career, and raising kids, I explain that it’s very much like wrestling a greasy owlbear. It is hard. It’s a lot of eking out words and edits at weird hours, a lot of not doing things (like watching television or hanging out). It’s, dare I say it, discipline.

And even more than that? Keeping a writing career going while raising a family means you constantly have to learn new ways to write. You have to be flexible. I have a special needs son. The only constant is change.

Trunk Novels Aren’t Always Trunk Novels

I started writing Queen of None as a NaNoWriMo project in 2009 or so. Then I spent a year or so revising it. I sent it out and it was rejected. Once. So I decided, naturally, that it was never meant to be and no one cared and it was, therefore, a trunk novel (i.e. a novel I would store in my virtual “trunk” with all the other not fit for publication books out there) and total hot garbage, and maybe I should consider quitting writing? Thankfully I didn’t go that far. But yeah. We writers can sure have some rollercoaster emotions.

Let me preface this with saying, I’ve recently been diagnosed with ADHD. And this kind of behavior is often called RSD, or rejection sensitive dysphoria. Generally, I have a thick skin about this stuff. But in the case of this book, I totally turtled.

I ended up coming back to Queen of None over and over again. I edited it more. I added new scenes. I changed the characters. I rewrote a big chunk of it. Then I did some more edits. Then, I was approached by Vernacular Books and I told them, “Hey, I have this Arthurian feminist romance that casts Arthur’s sister as a hero, but it’s kind of like Circe and maybe you’d like it?”

They did. And here we are.

Damnit, I Love the Editing Process So Much

I think I might like editing more than I like writing. And when you find the right editor? It’s just magic. Eric Bosarge, my editor on Queen of None, he told me that his favorite scene was Lanceloch’s fishing scene (you’ll have to read to understand). And what blew my mind was that in all the scenes — and far more exciting events — that was also my favorite.

Eric’s questions, like good editors should, helped me really burnish the manuscript to where you see it now. It was an intense month of editing for me (hello, hyper-focus), and I held the whole book in my head again, dreaming of it, pushing myself to make more connections and go deeper with language, with the theme, with character. All in all, even though the book is under 100,000 words, I tracked well over 10,000 changes between Eric’s edits and my own. My poor computer wanted to kill me. And it was almost euphoric for me. I love making things better.

But I’m so proud of what came out of it. The scenes I added, the edits I made, all really just enhance the story on another level. As writers, we need to be pushed out of our comfort zones in order to improve. It’s a scary business, walking outside your door, to quote Bilbo. But stasis isn’t just a creativity killer, it can be a career killer. Especially in this raucous, unpredictable, wild world of publishing in the digital era.

Heroes Don’t Always Carry Swords

In many ways, Queen of None is a quarantine novel.  No, there isn’t a pandemic in the book. But Anna, but dint of her status and relationships, doesn’t leave Carelon during the entirety of the narrative save for one instance. She lives in castles. She haunts the halls. She becomes a shadow. While the knights of the Table Round are out slaying beasts, hunting grails, bedding dames, and knocking skulls for the realm, she’s doing embroidery (albeit begrudgingly).

That doesn’t mean, however, that she can’t have power. Like the medieval women of my studies, she still exists. She still finds power, both from within and through her relationships. If there’s anything that defines Anna Pendragon, it’s her patience, her willingness to wait. Maybe she’s a little bit of Aaron Burr in that respect (there really are some parallels, now that I think about it). Time and again, she puts herself, her body, her mind, and her soul, on the line to fight for what she believes is true. That doesn’t always mean she gets it right, or that she’s a good mom or sister or wife in the process. But a complex heroine is a lot more fun to write than one who is the pinnacle of purity and sweetness.

And that resounds with me, as well. I’ve always loved epic fantasy, heroic tales, and swashbuckling adventures: but there aren’t a lot of women for me to look at. The tale of Arthur is not new, but Anna is. That meant she had to bring something different to the table (pardon the pun, or don’t). As a writer, that was such a satisfying experience. As a woman, a mother, and someone who’s had to stand up for what she believes in time and again, it was also a powerful experience.

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Natania Barron has been traveling to other worlds from a very young age, and will be forever indebted to Lucy Pevensie and Meg Murry for inspiring her to go on her own adventures. She currently resides in North Carolina with her family, and is, at heart, a hobbit–albeit it one with a Tookish streak a mile wide.

Natania Barron: Website

Queen of None: Indiebound | Bookshop.org | Amazon