WHY DOES THE NILE FLOW UP?

No, the Nile doesn't flow up you protest.

Sure, it does ... when you look at a map, the Nile flows up.

Of course, there is a difference between what appears UP on a map and the compass direction NORTH.

In reality, the Niles flows DOWN the mountains of East Africa to the Mediterranean Sea.

Reality is a slippery thing.

Heroes can wear fur ... but not easily.

The immense popularity of THE WIND IN THE WILLOWS did not come until Graham’s last few years,

when A. A. Milne staged it (1929) and E. H. Shephard illustrated it (1932).

The first reviews of the book were lukewarm or worse; this is excerpted from the famous thumbs-down which appeared in the London Times in 1908, the year of first publication:

"The chief character is a mole whom the reader plumps upon on the first page whitewashing his house. Here is an initial nut to crack; a mole whitewashing. No doubt moles like their abodes to be clean; but whitewashing? Are we very stupid, or is this joke really inferior?"

All of which probably explains the hard reception, Hibbs, the bear with two shadows, is facing http://www.amazon.com/THE-BEAR-WITH-SHADOWS-ebook/dp/B004MDLWD0

What some critics, agents, and even publishers do not seem to realize is:

FICTION IS NOT REALITY.

Like Mark Twain said, "Fiction has to make sense."

I.) Fiction reflects reality through a mirror darkly ...

A.) That mirror reflects society's face with all its ...

1.) Blemishes

2.) Scars

3.) Hopes

4.) Its dreams and the smiles despite the inner pain of most of the people you walk past on the streets.

II.) Fiction distills reality, revealing more truth than reality does in a shorter span of time.

A.) Fiction prunes out anything that doesn't propel the story and themes forward.

B.) Fiction is more intense and dense page by page than our lives are day by day.

III.) Fiction is a crucible ...

1.) holding our characters to the fire to purify and hone their spirits so that they are stronger, purer or broken or shattered at the novel's end.

2.) We are the blacksmiths, hammering our characters on the anvil of adversity. If our characters are having a good time, our readers grow bored.

IV.) As in reality, adversity introduces our characters to themselves and to the reader.

1.) Unlike reality, all dross events are sifted from the narrative.

2.) The best fiction reveals the characters of our players in what they do and why they do it.

3.) Shallow fiction makes prose puppets, forcing the characters to do things, not letting their actions flow from their inner natures.

V.) That is why everything in fiction serves multiple purposes. Like packing a solitary suitcase for a long trip, each item, each scene must serve multiple functions.

1.) Life is often haphazard, cluttered.

2.) Fiction must never be those things.

3.) Fiction ultimately relates seemingly unrelated items and scenes.

EXAMPLE :

a.) Parents give a gun to a young boy for his birthday instead of the bike he wanted.

b.) How does that relate to anything?

c.) It was the same gun that his older sister used to commit suicide.

d.) Based on a true incident from M. Scott Peck's PEOPLE OF THE LIE.

VI.) Like a skillful mother, an author should be doing 2 things at all times in the same scene or action.

A.) As in the prior example :

1.) The gun wasn't just an inappropriate gift to a young boy.

2.) It was a silent message : We want you to kill yourself, too.

B.) Likewise each scene should propel the story forward, upping the tension and suspense at the same time :

1.) As with the above example :

2.) Boy now knows his parents want him dead.

3.) What does he do with that knowledge? What can he do? He is just a young boy at the mercy of insane parents.

And we as writers are at the mercy of influential agents, publishers, and critics upon whom the fate of our novels rest. What can we do?

Stand on our ground.

HAVE YOU HEARD ABOUT THE BEAR?

On this day in 1907 Kenneth Grahame wrote the first of a series of letters to his son, Alastair,

describing the Toad, Rat, Mole and Badger adventures that eventually became The Wind in the Willows.

Grahame had been inventing such bedtime stories for several years and the letter, occasioned by his being separated from Alastair on his seventh birthday, picks up what seems to be a continuing tale:

"Have you heard about the Toad? He was never taken prisoner by brigands at all. It was all a horrid low trick of his."

Alastair was an only child, born blind in one eye and with a squint in the other.

He was plagued by health problems throughout his short life. Alastair eventually committed suicide on a railway track

while an undergraduate at Oxford University, two days before his 20th birthday on 7 May 1920.

Out of respect for Kenneth Grahame, Alastair's demise was recorded as an accidental death.

Mother once told me that the folly of most two-leggeds was that they wanted "happy endings"

when the best one could hope for was the appreciating of the happy moments in between the dawning of the light and the dying of it.

"Can't we have both, Mama?," I remember asking, coughing from double pneumonia.

She ruffled my hair and smiled sadly, "Perhaps you will be the exception, Little One. I will pray so."

Perhaps Alastair's suicide was brought on by his handicap and his maladjustment to an adult world that seemed, to him as to Rat, more than adventure:

"And beyond the Wild Wood again?" [Mole] asked: "Where it's all blue and dim, and one sees what may be hills or perhaps they mayn't, and something like the smoke of towns, or is it only cloud-drift?"

"Beyond the Wild Wood comes the Wide World,'" said the Rat. "And that's something that doesn't matter, either to you or me. I've never been there, and I'm never going, nor you either, if you've got any sense at all."

Grahame himself is described as one who pined for but never took the Open Road,

as an escape from his banking career and a loveless marriage.

When he offered THE WIND IN THE WILLOWS to his publisher he described it as a book "of life, sunshine, running water, woodlands, dusty roads, winter firesides, free of problems,

clear of the clash of sex, of life as it might fairly be supposed to be regarded by some of the wise, small things 'that glide in grasses and rubble of woody wreck."

My own THE BEAR WITH 2 SHADOWS grew from my own childhood tales told to me by Mother

as she hugged me as I shivered and coughed from double pneumonia. We were iced in our basement apartment in Detroit by one of the worst ice storms in remembrance.

Phones down. Just new in town. All alone.

So Mother merged bits of myth and legend she remembered from both sides of her bloodline : Lakota and Celtic.

She was sure I would die, and she wanted my last moments to be filled, not with fear and dread, but with awe, wonder, and magic.

She told of The Turquoise Woman, whose touch was icy but whose heart was warm. My shivers were from her embrace.

And that hulking shadow at the foot of my bed? Why, that was Hibbs, the bear with two shadows, protector of all hurting children.

He was there for me.

And a world of wonder and magic opened up in my feverish mind, birthing a happy moment for my mother : despite the odds, I grew better. I lived.

Have you heard about the bear? He saved a little boy once. A bit of that little boy still lives ... in my heart.
***

I WANT THE SAME THING ... BUT DIFFERENT

Schumel Gelbfisz was born in Warsaw, Poland. As a very young man, he left that city on foot and penniless.

After an epic journey, he made his way to Birmingham, England where he stayed for a few hard years, using the Vonnegut-like name Samuel Goldfish.

In 1898, he emigrated to the U.S {in steerage.} But fearing refusal of entry due to his quick-silver identity changes, he got off the boat in Nova Scotia, Canada.

He finally made it to New York where he soared in success as a salesman in the garment industry. He was a Jewish Ulysses, living by his wits.

He became a naturalized citizen in 1902. Scanning the landscape for financial opportunities, Gelbfisz found one in his beloved past-time, going to the movies.

He went into the movie business with a vaudeville performer and a theater owner, using an unknown director, Cecil B. DeMille.

As it usually does, business got nasty.

And he left ... the company not the dream. He partnered with the Broadway producers, the brothers Selwyn. They named their studio in a meld of their names : the Goldwyn Pictures Corporation.

Wily as ever, Gelbfisz changed his name to Samuel Goldwyn.

He got forced out of the business, never becoming part of Metro-Goldwyn-Mayer. But he never gave up on his dream.

He created the Samuel Goldwyn Studio and for 35 years made classics that people like me still enjoy :

WUTHERING HEIGHTS, THE LITTLE FOXES, THE BEST YEARS OF OUR LIVES, GUYS & DOLLS, PORKY & BESS, THE SECRET LIFE OF WALTER MITTY, THE WESTERNER {Gary Cooper}, and the fascinating but utterly silly, THE ADVENTURES OF MARCO POLO {Gary Cooper.}

Samuel Goldwyn was a dreamer that refused to quit.

And sadly, most of what he is remembered for is his misuse of the language that was not his first. How many of us who laugh at his words know a second language?

And his sharp wit was what enabled him to survive a trek clear across Europe, a journey over the seas, and battles in the shark-infested waters of Hollywood.

Often his wit is mistaken for a verbal flub as in : "I don't think anybody should write their autobiography until after they're dead. A hospital is no place to be sick. {And if you've ever been ill in the hospital, you know that statement is oddly true.}

I was thinking of two of his "Goldwynism's" : "What we need are some new, fresh cliches." and "I want the same thing ... only different."

I was thinking of them as I was contemplating our uphill struggle to get agents to consider our novels.

On one hand, they universally complain of being submitted the same kind of "handsome vampire/angst-ridden teenage girl" fantasy or the young wizard in today's world fantasy.

On the other hand, stroll down the fantasy aisle of the bookstore, and those kinds of novels are the only ones you see.

Before TWILIGHT, the vampire novel was considered old-hat. Before HARRY POTTER, mixing magic with young, impressionable children was considered taboo. Think of your novel.

How is it the same thing but different? Looking for a new road to walk in writing your next novel? Try looking at "Where The Mountain Meets The Moon." It is a coming of age novel, mixing common teenage angst and questions with Chinese myth.

Strive to keep your fantasy from being the same old "cookie-cutter" fantasy that blurs from one title to another. Give your fantasy, or whatever genre you choose, a unique magical allure all its own. Like Schumel Gelbfisz, I will not give up on my dream. Don't give up on yours.

And when I think of never giving up in life, I see the image of an eagle flying high in the sky, being lifted by the currents of the winds, invisible but powerful ... as our dreams are invisible yet capable of lifting us further than we believed possible :
***

I WANT THE SAME THING ... BUT DIFFERENT

Schumel Gelbfisz was born in Warsaw, Poland. As a very young man, he left that city on foot and penniless. After an epic journey, he made his way to Birmingham, England where he stayed for a few hard years, using the Vonnegut-like name Samuel Goldfish. In 1898, he emigrated to the U.S {in steerage.} But fearing refusal of entry due to his quick-silver identity changes, he got off the boat in Nova Scotia, Canada.

He finally made it to New York where he soared in success as a salesman in the garment industry. He was a Jewish Ulysses, living by his wits. He became a naturalized citizen in 1902. Scanning the landscape for financial opportunities, Gelbfisz found one in his beloved past-time, going to the movies. He went into the movie business with a vaudeville performer and a theater owner, using an unknown director, Cecil B. DeMille. As it usually does, business got nasty. And he left ... the company not the dream. He partnered with the Broadway producers, the brothers Selwyn. They named their studio in a meld of their names : the Goldwyn Pictures Corporation. Wily as ever, Gelbfisz changed his name to Samuel Goldwyn.

He got forced out of the business, never becoming part of Metro-Goldwyn-Mayer. But he never gave up on his dream. He created the Samuel Goldwyn Studio and for 35 years made classics that people like me still enjoy : WUTHERING HEIGHTS, THE LITTLE FOXES, THE BEST YEARS OF OUR LIVES, GUYS & DOLLS, PORKY & BESS, THE SECRET LIFE OF WALTER MITTY, THE WESTERNER {Gary Cooper}, and the fascinating but utterly silly, THE ADVENTURES OF MARCO POLO {Gary Cooper.} Samuel Goldwyn was a dreamer that refused to quit.

And sadly, most of what he is remembered for is his misuse of the language that was not his first. How many of us who laugh at his words know a second language? And his sharp wit was what enabled him to survive a trek clear across Europe, a journey over the seas, and battles in the shark-infested waters of Hollywood. Often his wit is mistaken for a verbal flub as in : "I don't think anybody should write their autobiography until after they're dead. A hospital is no place to be sick. {And if you've ever been ill in the hospital, you know that statement is oddly true.}

I was thinking of two of his "Goldwynism's" : "What we need are some new, fresh cliches." and "I want the same thing ... only different."

I was thinking of them as I was contemplating my uphill struggle to get agents to consider THE BEAR WITH TWO SHADOWS. On one hand, they universally complain of being submitted the same kind of "handsome vampire/angst-ridden teenage girl" fantasy or the young wizard in today's world fantasy. But then, they reply to my Native American/Celtic fantasy that publishers only want teenage vampire love or wizardry novels.

Before TWILIGHT, the vampire novel was considered old-hat. Before HARRY POTTER, mixing magic with young, impressionable children was considered taboo. THE BEAR WITH TWO SHADOWS is a bit of "The Wind In The Willows," a bit "Lord of the Rings," a bit of "The Last Unicorn, and a bit of "Where The Mountain Meets The Moon."

My fantasy is not the same old "cookie-cutter" fantasy that blurs from one title to another. THE BEAR WITH 2 SHADOWS has a unique magical allure all its own. Like Schumel Gelbfisz, I will not give up on my dream. Don't give up on yours.

And when I think of never giving up in life, I see the image of an eagle flying high in the sky, being lifted by the currents of the winds, invisible but powerful ... as our dreams are invisible yet capable of lifting us further than we believed possible :