SEX HELPS

"Sex without love is a meaningless experience,

but as far as meaningless experiences go, it's pretty damn good."

- Woody Allen

Sex does help. Just not the way we would think in our novels.

Jodi Henry once wrote an excellent post ( http://jodilhenry.blogspot.com/ )

on the subject she thought I was going to discuss : sex in literature.

A squrim-worthy topic she calls it. It is that and more because :

Sex sells.

You roll your eyes and go, "Duh!"

I mean, just look at the skyrocket sales of 50 SHADES OF GRAY and its two sequels!

Yes, sex sells ...

but not always for the reasons you might think.

Men, of course, are hard-wired to see a beautiful woman and have their hormones go into a conga line ( http://en.wikipedia.org/wiki/Conga_line )

But we men are more complex than the cliches written in COSMOPILITAN.

Sex. Lust. Love.

The first two are primal instincts. The third gives birth to legend and magic.

Every writer is in much of his work. But it is not as straight-forward as that.

J.R.R. Toilken rarely, if ever, wrote love scenes. Instead, he wrote distantly of Love, the concept with which Tennyson teased but never consummated in THE IDYLLS OF THE KING.

He was a shy man, and it shows in what he chose NOT to write.

He reflected his times -- as we must reflect ours in what we write and for whom we write.

But for whom do we write? And what exactly are "our" times?

We live in a lonely age. From teenager on up, we feel outside, misunderstood, and alone -- the three labor pains that give birth to the possibility of love.

A reader is drawn to a novel by what is lacking in her/his life.

We've already touched on some of the things most people feel lacking in their lives. It can be summed up in one word : intimacy --

Sex is only the tip of that iceberg floating in the existential void of our modern times. There is much more beneath the murky surface.

How many of us feels valued, loved for who we truly are - bulges, skin blemishes, and other imperfections not withstanding?

Not many.

How many of us have such passion and fire in the night that we tingle in the morning light?

Even fewer.

Many of us settle for half-relationships, tepid gropings in the dark that leave us feeling empty, not full, the morning after.

Why is that?

In the process of love-making, we leave a bit of ourselves with the other. If we make love without feeling love, the other fails to leave a bit of themselves within us.

Inside we have become less ... not more. Do that enough times and a void is carved within us.

That is why we have become the Hollow People, seeking to fill that emptiness within with all the wrong things :

Sex without satisfaction.

Passion without permanence.

Lust wearing the mask of love.

Think of the words of John Masefield :

I must go down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by,
And the wheel's kick and the wind's song and the white sail's shaking,
And a grey mist on the sea's face and a grey dawn breaking.

I must go down to the seas again, to the vagrant gypsy life,
To the gull's way and the whale's way where the wind's like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover,
And quiet sleep and a sweet dream when the long trick's over.

Why did I quote Masefield's poem?

We all long for that handsome, beautiful Other who will tenderly stroke our cheek,

fan the fires of our passions,

and fill our hearts and head with the laughter of two souls meant for each other.

Romance. Magic. Love.

Those are the stars a winning author steers by.

Fix them to your mast, and you will never go wrong.
***
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***

**

SEX HELPS

"Sex without love is a meaningless experience,

but as far as meaningless experiences go, it's pretty damn good."

- Woody Allen

Sex does help. Just not the way we would think in our novels.

Jodi Henry once wrote an excellent post ( http://jodilhenry.blogspot.com/ )

on the subject she thought I was going to discuss : sex in literature.

A squrim-worthy topic she calls it. It is that and more because :

Sex sells.

You roll your eyes and go, "Duh!"

Yes, sex sells ...

but not always for the reasons you might think.

Men, of course, are hard-wired to see a beautiful woman and have their hormones go into a conga line ( http://en.wikipedia.org/wiki/Conga_line )

But we men are more complex than the cliches written in COSMOPILITAN.

Sex. Lust. Love.

The first two are primal instincts. The third gives birth to legend and magic.

Every writer is in much of his work. But it is not as straight-forward as that.

J.R.R. Toilken rarely, if ever, wrote love scenes. Instead, he wrote distantly of Love, the concept with which Tennyson teased but never consummated in THE IDYLLS OF THE KING.

He was a shy man, and it shows in what he chose NOT to write.

He reflected his times -- as we must reflect ours in what we write and for whom we write.

But for whom do we write? And what exactly are "our" times?

We live in a lonely age. From teenager on up, we feel outside, misunderstood, and alone -- the three labor pains that give birth to the possibility of love.

A reader is drawn to a novel by what is lacking in her/his life.

We've already touched on some of the things most people feel lacking in their lives. It can be summed up in one word : intimacy --

Sex is only the tip of that iceberg floating in the existential void of our modern times. There is much more beneath the murky surface.

How many of us feels valued, loved for who we truly are - bulges, skin blemishes, and other imperfections not withstanding?

Not many.

How many of us have such passion and fire in the night that we tingle in the morning light?

Even fewer.

Many of us settle for half-relationships, tepid gropings in the dark that leave us feeling empty, not full, the morning after.

Why is that?

In the process of love-making, we leave a bit of ourselves with the other. If we make love without feeling love, the other fails to leave a bit of themselves within us.

Inside we have become less ... not more. Do that enough times and a void is carved within us.

That is why we have become the Hollow People, seeking to fill that emptiness within with all the wrong things :

Sex without satisfaction.

Passion without permanence.

Lust wearing the mask of love.

Think of the words of John Masefield :

I must go down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by,
And the wheel's kick and the wind's song and the white sail's shaking,
And a grey mist on the sea's face and a grey dawn breaking.

I must go down to the seas again, to the vagrant gypsy life,
To the gull's way and the whale's way where the wind's like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover,
And quiet sleep and a sweet dream when the long trick's over.

Why did I quote Masefield's poem?

We all long for that handsome, beautiful Other who will tenderly stroke our cheek,

fan the fires of our passions,

and fill our hearts and head with the laughter of two souls meant for each other.

Romance. Magic. Love.

Those are the stars a winning author steers by.

Fix them to your mast, and you will never go wrong.
***

DARK TIDES CALLING

I MUST GO DOWN TO THE SEA AGAIN,

TO THE LONELY SEA AND SKY,

AND ALL I ASK IS A TALL SHIP

AND A STAR TO STEER BY.

- John Masefield

Yesterday, William Faulkner talked of how fear binds your prose. Today, I will speak on how the soul frees it.

The only philosophy many learn is the one they see on the small screen or large. Those tales stem from the screen play – the written word.

William Faulkner wrote many such in Hollywood.

But remember : Art is not truth. Art is a lie that makes us realize truth.

Louis Lamour wrote that his friend was any book that gave him a new idea or a new slant on an old one.

The words of a story confirm the readers’ prejudices or opens a window to a broader view of a world than can never be fully grasped.

If our words are shoddy, vulgar, then we help cheapen the minds of those who read them.

If we speak of struggling hearts in conflict with themselves then we speak to the bruised soul searching for itself.

Great joy makes us love the world, but it is suffering that makes us understand it.

A loving person lives in a loving world. A hostile person lives in a hostile world. Everyone you meet is a mirror.

Books are the automobiles of the mind, the ships that transport us across the seas of imagination to ports filled with mystery, intrigue, and love.

Yet the cars of today seem but style-less boxes spat out by an industry concerned only with profit and fast turn-over. So, too, are the popular books of today.

If one would construct a car or a novel, one must understand the basic mechanics of each. Most of you already know how to write sentences. You must now learn how to write TRUE ones.

And what are true sentences?

Ones which speak the truths of the bruised heart and the searching soul. The irony is that people often say they have not found themselves. But the self is not something one finds.

It is something one creates with each step, each choice we make.

The hell to be endured after death is no worse than the hell we make for ourselves in this life by habitually fashioning our character in hurtful ways.

Such a person is always selfish. No matter how secret his ambition is, it makes him keep his thoughts at home.

But the heartbroken ones – whose hearts have been plowed by sorrow – they are the ones who give us consolation, compassion, and caring.

In short, success is to spend one’s life for something that outlasts it.

Writing true is a kind of magic. The magic of the child that still sits lonely and largely unheard deep within you.

What that child wanted long ago is what the child in all of us still wants : to be heard, to be loved, to feel safe … to laugh once again.

There are many paths that lead us away from that child, tangled ones which murmur false promises.

Fill your story with characters who have chosen different paths for the same lost destinations –

and bring them into conflict with each other and with themselves.

Do that and you will write a true story whose ending will surprise even yourself.

***

NO MATTER YOUR WINTER, SPRING WILL COME

Your unconscious speaks to you all the time.

Usually, the din of our present moment drowns it out. Usually.

But the unconscious is a tricky little bugger.

As I was driving today in the blinding rains,

courtesy of this terrible winter storm brutalizing the whole country,

a car darted recklessly in front of me. I drive as if everyone around me is suicidal and moronic --

so there was no accident.

Through the blurred windshield, I spotted the bumper sticker on it.

I thought I read : NO MATTER YOUR WINTER, SPRING WILL COME.

When the windshield wipers sqeaked me a clear view, my impression wasn't even close to the true words of the sticker.

Don't ask. Just content yourself with the fact that it matched perfectly the mindset of a suicidal moron.

But it got me to thinking as I drove home. My unconscious mind was right.

Life is a circle of seasons. No winter stays forever. No summer is endless. Trauma will end. Healing will begin. And no joy lasts forever.

My blog friends email me :

some are struggling in the middle of their novels;

some are just trying to overcome the inertia of pushing the beginning of their narrative over that first hill;

while others are brooding about revisions : where to prune, where to further illuminate.

Whatever season you find yourself struggling in, know that with the trials,

there are also pleasures involved with each season. Both blessings and blights have expiration dates.

Life is both less and more than you may think.

It is a fragile tangle of perceptions that exist in a fleeting moment in time.

This moment.


See? It is already gone : that moment when your eyes first spied the title over my post.

And that is something my half-Lakota mother taught me as we looked out over Lake Michigan at a frosty sunset while she spun me tales of the Twilight of the Gods, and what it meant to be courageous.

Suddenly, she turned to me and said : "Breathe each breath, little one. No two are the same. Remember the colors that paint this sky. Remember me, little one. Remember, and this sunset ... and I ... we will never leave you. Never."

At lunch today I read a few poems of Emily Dickinson. Writing of that sunset from so long ago has reminded me of her "Blazing in Gold." Here is a snippet :

"Blazing in gold and quenching in purple,
Leaping like leopards to the sky,
Then at the feet of the old horizon
Laying her spotted face to die…."

Another favorite comes from Christina Georgina Rossetti's "From Sunset To Star Rise" :

"I live alone, I look to die alone:
Yet sometimes, when a wind sighs through the sedge,
Ghosts of my buried years and friends come back,
My heart goes sighing after swallows flown
On sometime summer's unreturning track."

We write our tales, spinning them of the silk of our imagination and perceptions. We sail the dark seas of longing and desire ... to be published? No. I think we sail for a shore other than the need to be heard. No, we sail upon the Sea of Dreams to connect to others of like spirit out in the darkness.

That is why we sail upon uncertain seas to tell our stories ... to reach another heart like ours: hurting, hoping, and helping. That is a star worthy of charting our course by.

What did John Masefield write?

I must go down to the sea again,
to the lonely sea and sky,
And all I ask is a tall ship

And a star to steer by.
*****************************

SEX SELLS

"Sex without love is a meaningless experience,

but as far as meaningless experiences go, it's pretty damn good."

- Woody Allen

Jodi Henry wrote an excellent post ( http://jodilhenry.blogspot.com/ )

on the subject she thought I was going to discuss yesterday : sex in literature.

A squrim-worthy topic she calls it. It is that and more because :

Sex sells.

You roll your eyes and go, "Duh!"

Yes, sex sells ...

but not always for the reasons you might think.

Men, of course, are hard-wired to see a beautiful woman and have their hormones go into a conga line ( http://en.wikipedia.org/wiki/Conga_line )

But we men are more complex than the cliches written in COSMOPILITAN.

Sex. Lust. Love.

The first two are primal instincts. The third gives birth to legend and magic.

Every writer is in much of his work. But it is not as straight-forward as that.

J.R.R. Toilken rarely, if ever, wrote love scenes. Instead, he wrote distantly of Love, the concept with which Tennyson teased but never consumated in THE IDYLLS OF THE KING.

He was a shy man, and it shows in what he chose NOT to write.

He reflected his times -- as we must reflect ours in what we write and for whom we write.

For whom do we write? And what exactly are "our" times?

We live in a lonely age. From teenager on up, we feel outside, misunderstood, and alone -- the three labor pains that give birth to the possibility of love.

A reader is drawn to a novel by what is lacking in her/his life.

We've already touched on some of the things most people feel lacking in their lives. It can be summed up in one word : intimacy --

sex is only the tip of that iceberg floating in the existential void of modern times. There is much more beneath the murky surface.

How many of us feels valued, loved for who we truly are - bulges, skin blemishes, and other imperfections not withstanding?

Not many.

How many of us have such passion and fire in the night that we tingle in the morning light?

Even fewer.

Many of us settle for half-relationships, tepid gropings in the darkness that leave us feeling empty, not full, the morning after.

Why is that?

In the process of love-making, we leave a bit of ourselves with the other. If we make love without feeling love, the other fails to leave a bit of themselves within us.

Inside we have become less ... not more. Do that enough times and a void is carved within us.

That is why we have become the Hollow People, seeking to fill that emptiness within with all the wrong things :

Sex without commitment.

Passion without permanence.

Lust wearing the mask of love.

Think of the words of John Masefield :

I must go down to the seas again, to the lonely sea and the sky,
And all I ask is a tall ship and a star to steer her by,
And the wheel's kick and the wind's song and the white sail's shaking,
And a grey mist on the sea's face and a grey dawn breaking.

I must go down to the seas again, to the vagrant gypsy life,
To the gull's way and the whale's way where the wind's like a whetted knife;
And all I ask is a merry yarn from a laughing fellow-rover,
And quiet sleep and a sweet dream when the long trick's over.

Why did I quote Masefield's poem?

We all long for that handsome, beautiful Other who will tenderly stroke our cheek,

fan the fires of our passions,

and fill our hearts and head with the laughter of two souls meant for each other.

Romance. Magic. Love.

Those are the stars a winning author steers by.

Fix them to your mast, and you will never go wrong.
***

NO MATTER YOUR WINTER, SPRING WILL COME

Your unconscious speaks to you all the time. Usually, the din of our present moment drowns it out. Usually.

But the unconscious is a tricky little bugger.

As I was driving today in the blinding rains, courtesy of long-reaching Hurricane Alex, a car darted recklessly in front of me. I drive as if everyone around me is suicidal and moronic -- so there was no accident.

Through the blurred windshield, I spotted the bumper sticker on it. I thought I read : NO MATTER YOUR WINTER, SPRING WILL COME. When the windshield wipers sqeaked me a clear view, my impression wasn't even close to the true words of the sticker.

Don't ask. Just content yourself with the fact that it matched perfectly the mindset of a suicidal moron.

But it got me to thinking as I drove home. My unconscious mind was right. Life is a circle of seasons. No winter stays forever. No summer is endless. Trauma will end. Healing will begin. And no joy lasts forever.

My blog friends email me :

some are struggling in the middle of their novels;

some are just trying to overcome the inertia of pushing the beginning of their narrative over that first hill;

while others are brooding about revisions : where to prune, where to further illuminate.

Whatever season you find yourself struggling in, know that with the trials, there are also pleasures involved with each season. Both blessings and blights have expiration dates.

Life is both less and more than you may think. It is a fragile tangle of perceptions that exist in a fleeting moment in time.

This moment.


See? It is already gone : that moment when your eyes first spied the title over my post.

And that is something my half-Lakota mother taught me as we looked out over Lake Michigan at a frosty sunset while she spun me tales of the Twilight of the Gods, and what it meant to be courageous.

Suddenly, she turned to me and said : "Breathe each breath, little one. No two are the same. Remember the colors that paint this sky. Remember me, little one. Remember, and this sunset ... and I ... we will never leave you. Never."

Yesterday I wrote of Emily Dickinson. Writing of that sunset from so long ago has reminded me of her "Blazing in Gold." Here is a snippet :

"Blazing in gold and quenching in purple,
Leaping like leopards to the sky,
Then at the feet of the old horizon
Laying her spotted face to die…."

Another favorite comes from Christina Georgina Rossetti's "From Sunset To Star Rise" :

"I live alone, I look to die alone:
Yet sometimes, when a wind sighs through the sedge,
Ghosts of my buried years and friends come back,
My heart goes sighing after swallows flown
On sometime summer's unreturning track."

We write our tales, spinning them of the silk of our imagination and perceptions. We sail the dark seas of longing and desire ... to be published? No. I think we sail for a shore other than the need to be heard. No, we sail upon the Sea of Dreams to connect to others of like spirit out in the darkness.

That is why we sail upon uncertain seas to tell our stories ... to reach another heart like ours: hurting, hoping, and helping. That is a star worthy of charting our course by.

What did John Masefield write?

I must go down to the sea again,
to the lonely sea and sky,
And all I ask is a tall ship

And a star to steer by.
*****************************
Post Script : If you would like to see how an agent truly views queries and the writers who send them, go to this delightful, enlightening post by agent, Anita Bartholomew of Salkind Literary Agency : http://www.editorsandauthors.com/

AND A STAR TO STEER BY

I must go down to the sea again, to the
lonely sea and sky,
And all I ask is a tall ship and a star to
steer by.
- John Masefield.

What star do you steer by? When you live? When you interact with others? When you write?

Everybody knows something, but is what they know true? Can you hear Pilate ask his infamous question? I can.

I mean, flames look like objects but in truth are processes. In like manner, so are we humans. We judge others by appearance, by action. But how valid is that?

The human mind is a mysterious realm. A man can't always be judged by what he does. He may keep the law to the letter, and yet inwardly be worthless. The lights go out over the city, and his actions do a 180 degree turnaround. Another man may commit a sin against society and yet accomplish through that "sin" a true act of compassion and heroism.

Nor are words to be trusted -- if politicians haven't already taught you that. Universal peace is much talked about. I can't help but think that foxes have a sincere interest in prolonging the lives of the poultry.

That last thought got me thinking along strange lines during my exile during Rita and Katrina, and I wrote a story for my amusement alone. What if the Earth were invaded, and Good was too busy hunting terrorist plots and pointing nuclear missiles at each other to notice? What if it were up to Evil to defend the planet? As in "Not in my sandbox you don't!" And so taking that premise, I had a fallen angel awaken in a British asylum with no memory of having gotten there -- an asylum run by alien invaders. I called it "THE LIES LOCUST TELL."

And to make it doubly interesting, I told it in first person through the eyes of the fallen angel. Ever try to express yourself realistically as an angel, whose perspective spans eternity? I found out how hard amusing myself could really be.

Here are the first four pages of my story to give you a chance to see if I did a credible job at looking at life through the eyes of a fallen angel :

THE LIES LOCUST TELL
The spark of an anguished soul flew past me in the night. I shivered as her light drew back the curtains of my mind. I would have cursed her had she lingered. But Death was impatient. Words breathed through the mists of my awareness.

"Darkness yet in light. To live half dead, a living death. And buried but yet more miserable. My self. My sepulcher."

My mind roughly brushed aside the dry leaves of Milton's broodings. No time for self-pity. Yet too much time for all eternity. Enough! I was here for a reason. And as always that reason was death. Always death. The why was unimportant. There was always a logical why for Abbadon.

The where, however, was another matter. And when might illuminate the present darkness of my mind as well. Keeping my eyes closed, though tempting, would but delay the inevitable. I opened them.

Only a peek through slit eyes. After all, my ears told me that I was not alone. I frowned. A hospital room?

I reached out with more than my ears. My spirit shuddered as the ragged claws of madness raked it from down the hall. An asylum. A Sidhe inprisoned within a madhouse. How utterly fitting.

I ran my long fingers along the rough sheet beneath me. A state asylum obviously. Even better. But what state? My awakening consciousness was stubborn in its ignorance.

I bunched up the sheet in my fist in hot frustration. A sharp intake of breath from the next bed. Her scent came to me. I smiled. Only a human.

And I?

What was I?

And with the question came a fragment of the answer. I was not the happier for it. More words whispered out of the darkness that was my soul.

"Come away, human child,
To the waters and the wild
With a faery, hand in hand,
For the world's more full of weeping than you can understand."

I frowned. I had no patience for whimsy. Not even that of Yeats.

From the corner of my eye I saw the human in the next bed begin to shiver. No matter. The human was not important. Time and place. They were.

I flicked my eyes to the barred window. The glass. Thick, dense. Like the humans who made it.

Under my fingertips a pebble. I nodded. A mere speck of stone. But it would do.
The pebble shot from between my thumb and forefinger like a bullet. An electric circuit died, wailing its death song in tones higher than humans could hear. I smiled like a wolf. We would have visitors soon.

More the pity for them.

I drew in a breath from the cold breeze bleeding from the wounded window. The sharp tang of Autumn. Oak. Ash. Thorn. Decay. Rotting leaves, mottled in bright hues of strangled life. The dark and bloody soil beneath them breathed out its lineage. An aching sadness hollowed out my chest. The Misty Isles. Albion. England.

I whispered, the words on my lips feeling like dewdrops of blood on a wounded doe, "The lonely season in lonely lands."

"Oh!," whispered the girl sitting on the next bed. "You like Robert Bridges, too? No one reads him anymore, you know."

Not rising, I turned my head and studied her. A tiny field mouse of a girl. Bright eyes, so clearly wanting to be liked, so clearly showing they often hadn't been.
Those quivering eyes were mute witness to the fact that Man had plowed through her world. And unlike the poet Robert Burns, it had not cared overmuch. How human.

I rose slowly to a sitting position. "Fragile beauty is like that. Easily destroyed. Even more quickly forgotten."

She cocked her head as if studying me. And it was then I noticed the corpse-yellow bruise covering the left side of her face. I felt mine harden. Her frightened eyes darted to my chest then flinched away. I felt the breasts under my dingy hospital gown burn.

And I knew. I knew. I had been touched, fondled without invitation or delight. My body remembered though my mind still lay half-shrouded in fog. A male human had dared to touch my bare breasts. And even more, this tiny field mouse of a girl had come to my defense. And had paid the price.

"You were my champion I see."

She looked miserable. "I wasn't able to stop him."

"Few humans in your position would have even made the attempt."

She kept studying me. I wondered what she saw. One human in a generation saw me as I was. The rest of the herd saw only what they were looking for. And I? What was I looking for?

I turned to the face reflected in the barred window. Certainly not that. Not that.

High cheekbones, seemingly intent on bursting up and out of flesh that shimmered as if coated with stardust. A living waterfall of honey-wheat hair, looking more like a lion's mane than any other earthly word I could use. My eyes. I shivered looking at them though they were my own. Large, slanted fae eyes chilling even me with their lack of warmth or mercy. Their color the burnt-out ends of ancient days.

From beyond the wounded window I heard a mournful singing. Nightingales. Far off and forlorn. To do a service for a Sidhe was a fearsome thing indeed, never to be done lightly nor without cost. But before the field mouse found that out I would do her a kindness. I smiled bitter. A breaking of tradition, true, but I broke every rule I could not bend.

I brought the faint, bittersweet song to the ears of the field mouse and murmured lines from the poet she so liked,

"Nay, barren are those mountains and spent the streams;
Our song is the voice of desire, that haunts our dreams,
A throe of the heart,
Whose pining visions dim, forbidden hopes profound,
No dying cadence nor long sigh can sound,
For all our art."

She clapped her hands like a little girl. "Oh that was so beautifully done. Your accent is the oddest thing I've ever heard. Even more haunting than those nightingales."

She stuck out her hand. "My name's Clover."

"Of course it is."

"No, really. My Mum was a bit spacey I'm afraid. The last of the Flower Children."

"We might have gotten along then. I am the last of my kind, too."

She paled, lowering her hand and her voice until even I had difficulty hearing her, "Y-You haven't told me your name."

"Names are dangerous things, Clover."
**********************************************
Louis L'Amour once wrote : the man or book who can give me a new idea or a new slant on an old one is my friend. Hopefully, this post has been a friend. I know that I think of all of you out there who have written me as friends.

And it is the midnight hour when that dread gate gapes open, and silent shades slip into the darkness to visit our dreams ...