Wake from death and return to life.
Tade kuu mushi mo sukizuki.
There are even bugs who eat knotweed.
(To each his own.)
I’ve been developing a short fantasy set in Japan, in an era and a culture about which I know little. That means delving into reading about all manner of topics: honorifics, architecture, food, names, proverbs. I’m tempted to fill the story with Japanese terminology, but I don’t know what’s true to the period and what’s modern. And tossing in every word I learn would overwhelm the plot, and distract or annoy the reader, so I’m backing off, using the literary equivalent of a pinch of salt. A taste, not a stomachful.
An interesting dish — but who wants to eat it?
As with everything I write, I wonder, “Who’d want to read this? Am I writing only for myself? Am I okay with that?”
My reading at the most recent writers meeting was an attempt to answer those questions. I brought my first two thousand words of the Japanese fantasy and invited the other members to tear into it. The story needs to be solid, because it will be competing against other and far better writers, and I want to do my best so there are no regrets if I lose. No excuses.
The group followed along as I read but made few notes on their copies of the pages, which was unexpected. My own copy was littered with notes before the meeting ended. The responses were favorable, the speculations thick and fast, the suggestions and critiques constructive.
It was the most — what’s the word? — refreshing critique session since, well, never.
In a prior group, my speculative stories were met with negativity, so I stopped sharing, stopped asking for feedback. The writer went into hibernation, and only the editor showed up for meetings.
At first, I believed the bad press: “Your stories are too difficult to understand” or “You’re not connecting with your audience.” While that may have been partly true, I came to realize that the audience — certain members of it — were never going to connect. Their understanding of and approach to reading left little room for deviations from their personal expectations: A story must look like this and not that.
With realization came renewed confidence. Nah, the audience didn’t change, but it stopped mattering. I could predict which of my stories they’d like — the more conventional ones — and which would make their eyes glaze and their mouths purse.
A new state and two writers groups later, I’ve landed with a mixed flock of hatchlings, most still in the nest, some just now recognizing their wings, some learning to fly. They’re fearless, though, sharing their earnest romances and troubled life stories, their awkward urban fantasies and sophisticated twisted fairy tales. They tell each other what they like and what they don’t understand, what’s not working and what piques their imagination.
The group works. I can’t explain it, but it works.
Maybe because the nasty black-hat villain Ego hasn’t arrived.
So I shared. They responded. It was good.
People have read my stories in publications, but it doesn’t necessarily occur to readers to contact authors and tell how the story affected them, how it stayed in their minds for days or roamed their dreams at night. How it made them cry, scream, laugh, think.
The response from my fellow writers the other night was like applause at a live play, accompanied by an honest but non-mean-spirited review.
I don’t need flattery or compliments or pats on the head.
As nice as it is, I don’t need applause.
What I crave? Capturing readers’ imaginations to such a degree that they fill in the details I didn’t describe. They journey alongside the characters, and talk to them, emote with them, live through them. The story matters so much to the readers they lose sleep to finish it. They argue with friends over why a character did this or said that. They can’t wait for the next story.
My cousin’s son, hamming for the camera, always ready for the laughs and the applause! (c2013, KB)
Participation. That’s what I want.
Better than applause any day.