How Is Fiction Like Telepathy?

Image licensed by Shutterstock.

Words are powerful things. They whisper to us in the darkness. They seduce us. They cast a glamour over us, drawing us into their web with promises of beauty and escape. There they ensnare us, hold us captive, take control and have their way with us, until at long last, they’ve made us hear and conceptualize all of what they were summoned to express.  Fiction in particular exercises a singularly unique species of sorcery, one that most of us are powerless to resist.

What is this strange and exotic magic?

Stephen King, in his book On Writing, compares the art of storytelling to telepathy. He says that “all the arts depend on telepathy to some degree, but[…]writing offers the purest distillation.” Though his comparison is primarily tongue and cheek, it nevertheless makes a very compelling point.

Stories are a means by which the thoughts in one man’s mind are transferred to another. If, as an author, I were to write about a chair, the instant those words reached your eyes, you would suddenly share my vision, a vision that previously existed only in my mind and which only I could see.  This is, arguably, the mind’s most magical and mystifying skill of all, to be able to communicate, through mere symbols and sounds, thoughts of all kinds — sensory stimuli, emotions and dialog — as well as to be able to receive, decode and reconstruct perceptions from those same symbols and sounds when sent by someone else.

Of course, words are not alone in their expressive power. We have drawings, paintings, photographs and movies, all of which communicate senses, emotions and ideas just as effectively, though in different ways. However, words are alone in their ability to convey a common message, while at the same time allowing for infinite variation in the way that they’re perceived. Everyone sees the same photograph or the same painting. But the sights and sounds that are conjured by one’s mind in response to the words of another always belong entirely to the receiver.

Returning to our previous example, what does the chair I told you about look like? What color is it? What kind of material is it made of? Everybody sees a chair, but nobody sees the same chair. As the author, I can further refine my description. I can tell you to imagine a red wooden chair. But what shade of red is it? What kind of wood is it made of? I can continue to describe the chair in ever increasing detail, but no matter how many words I use, I will never be able to communicate with any real precision the image in my own head, nor will anybody else share yours. The story is mine, but its incarnation belongs entirely to you. This is something that no other medium can accomplish.

The next time you pull out a book and prepare to lose yourself in its dusty ink-bound secrets, you would do well to stop and reflect on what you’re about to do. Understand that you’re about to link mind to mind with the author, living or dead, that a communication is about to take place. Reflect on the power of those seemingly innocuous symbols that are imperfectly stamped upon the pages you hold in your hands and rejoice that you have been endowed with such a profound gift.

Do so in earnest, each and every time you prepare to read, and I promise that your life will never be the same.

Subscribe to receive a free copy of my short story The Sign.

Book Review: Doll Bones, by Holly Black

Doll Bones CoverSynopsis from Goodreads:

Zach, Poppy and Alice have been friends for ever. They love playing with their action figure toys, imagining a magical world of adventure and heroism. But disaster strikes when, without warning, Zach’s father throws out all his toys, declaring he’s too old for them. Zach is furious, confused and embarrassed, deciding that the only way to cope is to stop playing…and stop being friends with Poppy and Alice. But one night the girls pay Zach a visit, and tell him about a series of mysterious occurrences. Poppy swears that she is now being haunted by a china doll – who claims that it is made from the ground-up bones of a murdered girl. They must return the doll to where the girl lived, and bury it. Otherwise the three children will be cursed for eternity…

I picked this one up after reading this review. I promised the blogger who wrote it that I would eventually get around to writing my own. This is the result.

As I always do when I review a book, I like to point out both the positives and the negatives, because I believe that even a good book isn’t perfect, and because I like to present a balanced and thorough analysis.

Let’s start with what this book does right.

For one thing, it’s gorgeously written. Black has a gift for turning a phrase. The words she uses and the way she uses them frequently take my breath away. Occasionally, Black peppers her language with words that are a little complex for a middle grader, words like kleptomaniacal. I think this is a good thing. It’s not heavy handed, but comes up in the text organically, and it forces kids to do some research and to build their vocabulary.

Black does a remarkable job of describing the roleplaying of Zach, Alice and Poppy from their perspective, and of elevating mere child’s play to an elaborate ongoing act of talented and inspired storytelling. Just as in reality, the two in Doll Bones are one in the same.

True to Black’s other work, Doll Bones deals with dark themes like death and supernatural angst. But it does so in a way that remains accessible and palatable for children. This is important, because while we must allow children to face and learn how to cope with the consequences of life in a broken world, we must also tread lightly and be very careful not to unduly frighten and depress them.

Dysfunctional family life is a central theme, and serves as a backbone in the development of the book’s main characters. Poppy’s parents have thrown their arms up and decided to let their kids do whatever they want. Zach’s dad selfishly left him and his mother to make a living for himself, only to barge back in on them when it didn’t work out, just as they were adjusting to life without him. Alice is being raised by an overly strict grandmother, who won’t allow her to do most of the things an ordinary child in junior high should be allowed to do. The various dysfunctional dynamics of these three families are all too common in today’s world, and are undoubtedly relatable to many of this book’s readers.

Black captures beautifully the inevitable and often painful realities of growing up. Zach’s ever-growing discomfort over his playing with action figures at an age where such things are frowned upon by his peers is something that both children and adults can identify with, as well as his father’s misguided attempt to help him “grow up” by throwing his action figures away. There’s also a very tangible (and sometimes painfully awkward) tension that arises between Zach and the girls now that they’ve grown to an age where they begin to notice each other in new and different ways. This tension comes to a head about two thirds or three quarters of the way through the book, and adds a nice sub-plot to the story.

The “epic quest” that the children undertake is as much a product of their ongoing fantasies as it is about laying the doll to rest. In fact, more than once, Poppy’s veracity concerning the spirit of the doll is called into question, yet they choose to press on even in the face of extreme difficulty. The lure of an adventure, however risky and terrifying, simply proves to be irresistible.

Now, what about Doll Bones don’t I like?

For one, the plot suffers from too many implausible scenarios. At the beginning of their quest, Zach, Alice and Poppy board a late night bus. I would, at the very least, expect the driver to ask them how old they are. But he says nothing, and the children are allowed to go on their merry way. Later, desperate to cross a river so they can complete their quest and give the doll a proper burial, they steal a dinghy. Miraculously, Zach is able to sail it, despite the fact that he’s had no prior training, and that his only knowledge of sail boats comes from books. When it eventually capsizes in the presence of a barge, nobody on the other boat stops to ask if they need help, despite the fact that they can clearly see there are children on board.

I’m also put off by how abruptly the story ends. As a reader, I feel a little cheated. Some lingering mystery can be a powerful thing, but there are too many loose threads that should have been tied up. To be fair, it’s a difficult tale to conclude properly. Without giving away the ending, it’s clear as we reach the final pages that the kids have gotten themselves in pretty deep; some extremely skillful cleanup would be required to pull it off successfully. I think ultimately, the task proved too difficult, and that Black chose to end the story a little early instead.

Overall, this book is well worth the investment. It’s beautifully written, mysterious and true to life. It successfully handles a dark theme with the delicate care required for children’s literature. Though it isn’t perfect, I would definitely say that the good outweighs the bad, and would, without question, recommend it for both children and adults.

Subscribe to receive a free copy of my short story The Sign.

What Can Fantasy Teach Me About Reality?

Image licensed by Shutterstock.

Who doesn’t love a good story?

Fiction is an indispensable part of the human experience. Without it, the world would be a dreary place. Imagination is essential for one’s sanity and happiness. But we always go into fiction with the understanding that what we’re experiencing isn’t real. Though we choose to suspend disbelief, there’s always that part of our brain that maintains the distinction between reality and fantasy. A vast unbridgeable chasm exists between the two: one is real, the other is not.

You might reasonably ask yourself, “what can fantasy teach me about reality?”

Fantasy teaches us about real people.

Though fictional characters are spun from the thread of dreams, their underlying natures are based on real people. Authors must always draw from a massive catalog of real-life experience; if what they want to write about can’t be found within its pages, it must be labeled as unbelievable and cast aside.

Fantasy is, in fact, an exhaustive study of humanity. It offers lessons from three unique angles:

  1. We learn about the characters. We’re privy to their thoughts, we observe their actions and we witness the ways in which they relate to others.
  2. We learn about the author. The way a storyteller’s characters think and act is a reflection of the storyteller himself. They can teach us about his cultural heritage, his upbringing, his prejudices, his interests, even how he might have gotten along with others. An artist’s creation is as much an expression of the artist as it is of the art itself.
  3. We learn about ourselves. Given that a realistic fictional character is based on authentic human nature, and that we are in fact real people, it stands to reason that we would find ourselves at least partially reflected in their image. We experience bits and pieces of ourselves in the characters we encounter, and we have the benefit of an outsider’s perspective. As a result, we discover more of who we are.

Fantasy teaches us to appreciate the extraordinary within the ordinary.

All good fiction no matter how whimsical is rooted in reality, because we can only relate to something that aligns with our understanding of the universe and how it works. There might be magic, but that magic is always governed by rules, and the basic laws of nature, though extended, always remain backward-compatible with our own. People don’t walk through walls or breathe under water unless they possess special powers, and in such cases they are the exception rather than the rule.

Unfortunately, we take reality for granted. Because it’s something we interact with every day, because it’s no longer new as it once was when we were children, we disregard it. Thankfully, fantasy reorients our perspective.

Free from that thin veneer of mundanity that ordinarily coats the surface of reality, we’re involuntarily struck by the raw beauty we encounter in the world of our dreams. We take these experiences with us and assimilate them into who we are. Gradually, we become accustomed to seeing things through the lens of childlike awe. Eventually, without ever realizing what’s happened, we rediscover the extraordinary that lies hidden just beneath the surface of the ordinary.

We become sensitive to the great emotional epics that play out within the confines of real relationships. Our hearts are smitten by the jaw-dropping beauty that manifests itself in real landscapes. We become aware of the magic that’s existed all along, operating under the name of Science. We become sensitive to a hidden splendor that’s always been accessible to us, but was until recently outside our once narrowed field of vision. Imagination is like a mirror: the mystery and wonder we encounter in fantasy is reflected back onto our perception of the world, flooding it with new light so that we can see the world anew.

Fantasy teaches us to accept difficult truths.

There are uncomfortable realities we prefer not to think about. We’re faced daily with poverty, hunger, war, mental illness, even the evil within ourselves. Life is much easier when we allow ourselves to forget that the world is a dark place. As a result, we erect mental walls when sensitive topics are broached. Our eyes glaze over and we assume the mental stance of a three year old, covering his ears and singing “la, la, la…”

Reading fiction is one way to become more receptive. Because stories aren’t real (at least on the surface), we have a much greater tolerance for controversial ideas. We open the gates and we allow the author’s beliefs to make a home inside our hearts.

Because good fiction is grounded in reality, it’s inevitable that we begin to apply these beliefs alongside our own. Like Inception, the ideas communicated through stories bubble up into our conscious minds as if they were our own. In this regard, artists wield a very real and profound power over the rest world, and therefore have a grave moral obligation to always tell the truth.

Fantasy teaches us how to approach and solve real problems.

Simply put, fantasy makes us better problem solvers. We observe how different kinds of characters respond to adversity, learn from them and apply what we learned to our own problems. Fantasy teaches us to be creative, to think “outside the box,” to be more adaptable.

Neil Gaiman cites an interesting example. In an article for The Guardian called Why our future depends on libraries, reading and daydreaming, he writes:

I was in China in 2007, at the first party-approved science fiction and fantasy convention in Chinese history. And at one point I took a top official aside and asked him Why? SF had been disapproved of for a long time. What had changed?

It’s simple, he told me. The Chinese were brilliant at making things if other people brought them the plans. But they did not innovate and they did not invent. They did not imagine. So they sent a delegation to the US, to Apple, to Microsoft, to Google, and they asked the people there who were inventing the future about themselves. And they found that all of them had read science fiction when they were boys or girls.

Conclusion: Fantasy is reality remixed.

Fantasy is only fictional on the surface. Humans may be capable of imagining things outside their immediate scope of experience, but they can only do so by forging new connections between existing ideas. Like so many songs on the market today, stories are nothing more than reality remixed.

If it’s not real, it won’t make sense. If it doesn’t make sense, we won’t connect with what we’re reading. And if we don’t connect with what we’re reading, we’re going to get frustrated and put the book aside.

In order to concoct convincing tales, authors must resort to unabashedly plagiarizing reality, and in the end all they can do in their never-ending quest for originality is to hope and pray that they were clever enough not to get caught.

Subscribe to receive a free copy of my short story The Sign.

Why I Write

Image licensed by Shutterstock.

Why do I write?

Writing isn’t easy, especially for those of us who work full-time in a completely unrelated field. You come home from work exhausted. Those very rare moments of explosive inspiration aside, you have to force yourself to sit down and work some more, when all your body really wants to do is eat and go to sleep. You have to face the demons of self-doubt, which hover over your shoulder in the darkness, whispering that you’re not good enough, that you’re a hack, that today is the day everyone will discover you’re a fraud. You have to recognize that you will fail, and you have to do it anyway.

You then have to be brave enough to confront the crap you wrote the next day. You have to take this rough source material, this hunk of dark grey clay forged from the jumbled stilted dreams of the insubstantial mind, and mold it into something half-way decent. You have to revise. You have to revise again.

After the number of revisions rivals even the number of stars in the galaxy, you have to break out of your shell and share your work with others. You have to not only accept but embrace rejection. You have to allow your heart to be broken, and then you have to pick up the pieces and try again. You have to revise. You have to revise again.

If you intend to publish, your not even close to finished. If you go the traditional route, you still have to send out hundreds of query letters to agents, be rejected over and over again, and hope that at least one will take an interest in your work. And whether you go through traditional channels or self-publish, if your book is to have a prayer of succeeding, you’ll still have to hand your work off to an editor, who will point out all the many things that are wrong that you didn’t catch in the first bazillion and one revisions. You have to revise. You have to revise again.

After all this, there’s nevertheless the very real possibility that nobody will want to read what you spent months or years writing. Bookstore shelves are littered with books that will never be purchased, books which will be returned to the publisher for a refund, books written by authors who will never have an opportunity to publish again. The Amazon Kindle store is bursting at the seams with self-published titles that will all suffer a similar fate. And if your books do sell, they likely won’t make anywhere near enough to financially justify all the blood, sweat and tears that went into your writing.

Why would anyone subject themselves to such a torturous and thankless routine? I can’t answer for all writers, but I can answer for myself.

I write because that’s who I am.

It doesn’t matter if I have an audience of one million, one thousand, one hundred, one or even zero. I write for my Creator, the author of the cosmos, because it’s what he called me to do. I in turn write for myself, because it’s my purpose, because composing new stories is what fulfills me as a human person. I feel compelled to write, even when it hurts, when I’m busy, depressed or lacking inspiration. It’s built into my DNA. It’s written indelibly upon the mandates of my soul.

I write because it’s in our own pale and imperfect reflections of the universe that we come to know and love the universe itself.

I write because beauty is important to me. I know that nothing I create will ever be perfect, but I strive for perfection anyway.

I write because I’m haunted when I don’t. The days I spend away from my notebooks and computer are days that I feel anxious and restless. Ideas back up in my mind like a clogged up sink, and their continually increasing weight begins to burn my soul like wild fire. I eventually have no choice but to huddle up in the dark after hours and yield to this all-consuming force.

I write because I have a passion for creating things. I liken the difficulties encountered when crafting a new tale to the pangs of childbirth. When the pushing is over, when you’re finally laying down in bed exhausted, sweat beading on your forehead, when the challenge of giving birth to an idea is finally over, you can at last gaze upon the child of your mind with stupid giddy love and wonder. It doesn’t matter that your child isn’t perfect, because the child is yours and you love it anyway.

In short, I write because I’m a writer. In the end, that’s the only reason that should matter.

Subscribe to receive a free copy of my short story The Sign.

Friday Freewrite

Image licensed by Shutterstock.

What’s Friday Freewrite? Find out here.

Climbing. Searching. Always seeking, never reaching. I lift my eyes, wretched creature that I am1, shielding my vision lest my eyes be blinded by the searing fire of distant perfection.

I’m nothing but chaffe2. I’m nothing but ore; gold riddles my innards, but only sparsely.

Yet, let me be smelted. Let me burn in your fire, so that I may be pure, so that what is gold is3 within me may sparkle and shine with the radiance I have longed so much to see.

Footnotes

1. At the time I wrote this, I was waiting inside a church to go to confession.

2. Should be spelled chaff.

3. Even though I’m not supposed to pay attention to structure while I’m freewriting, when I have a very concrete idea in my head that I want to flesh out, I do usually briefly backtrack to make tiny corrections that would otherwise obscure the meaning of what’s trying to come out of my head.

Subscribe to receive a free copy of my short story The Sign.