I had an adventure today. I visited the Meow Wolf Collective in Santa Fe, NM. I knew it was a huge experiential art installation but I had no idea what to expect. It was like a mad mashup of Disneyland, something Tim Burton might have done, Rivendell, a children’s museum, Harry Potter, the Twilight Zone, Salvadore Dali, and a Ray Bradbury story. And yet, I have fallen woefully short of describing it with any accuracy.
The centerpiece of the experience is a recreation of a Victorian house, but it isn’t made to look like a haunted house or anything. It’s a full-sized, two-story house contained in what used to be a bowling alley. It is surrounded by many other exhibits, but let’s start here. Inside the house, each room appears fairly normal, bar the dim lighting. But there is always something odd, weird or just strange about every room. Open the closet door in an upstairs bedroom and there is a corridor leading to a cavern adorned with stalactites and crystals with a glowing mammoth skeleton seemingly embedded in the rock. The medicine cabinet in the bathroom has glass vials full of herbs, while the prescription bottles have hilarious instructions for use. The floor tiles wave underfoot.
In one room, an artist is painting a canvas. In the kitchen, open the refrigerator door to find a passage to made-up destinations, directions to which are provided by a hologram. (Yes, you can go to these destinations.) The art on the walls is sometimes mundane, and sometimes seriously strange or even disturbing.
Surrounding the house are ramps and Rivendell-like vines, flowers, and glowing…things. You can walk across a bridge from the balcony of the house to a recreation of Baba Yaga’s chicken-footed cottage. There is a tunnel of video screens, a room full of crustaceans, tree fungi that glow and make drum noises when you pat them. There’s a light harp made of laser beams that plays notes when the beams are interrupted. There’s a room with a 15-foot-high rabbit with glowing eyes that reminded me of “Donny Darko.” Every surface is textured, painted, glowing, or interesting in some way.
One of the things I most appreciated about Meow Wolf was its complete lack of the sneering negativity so often expressed by modern art. The experience was positive, exciting, surprising, intriguing, and sometimes puzzling, and it made me extremely happy. Meow Wolf received seed funding from G.R.R. Martin, author of “Game of Thrones'” who lives in Santa Fe. I would love to see other such experiential art installations in other cities that have an innovative and creative spirit.
By the way, Meow Wolf is fantastic for kids. They can touch and explore and discover to their hearts’ content. There is also an art exploration area exclusively for children.
After all this specific description, I feel I have completely failed to describe Meow Wolf. Here’s some pictures–I’m sure they’ll give you a better idea. Maybe. Go there. You will not be disappointed.
Recently I finished editing the first draft of “Fire in the Ocean,” the sequel to “The Obsidian Mirror.” I sent it off to my alpha readers and editor, and I can finally relax and think about something else for a while.
Such as promoting “The Obsidian Mirror.” While I was in the throes of writing the sequel, I did next to nothing about promoting my published work. A writer’s work is never done, I guess.
Why should you read “The Obsidian Mirror”? Short answer: because it’s a fun read. I read largely for entertainment. I like books that take you away and let you live someone else’s life for a while. I wrote “Obsidian” to be that kind of book: a diversion, a book I would love reading myself. It’s probably not a coincidence that the second publisher of the book is Diversion Books—they specialize in just that kind of novel.
Another reason to read “Obsidian” is because it is based on the mythologies and folklore of the Americas, which makes it a bit different. The idea occurred to me after finishing one of Robert Jordan’s “Wheel of Time” novels. I loved the book, but started wondering why so much fantasy is based on proto-European, pre-Industrial Age tropes such as elves, faeries, dragons, and caped adventurers. The Americas have thousands of mythologies, folk tales and traditions that are largely ignored by fantasy writers.
I began writing “The Obsidian Mirror” as a kind of personal experiment. Meso-American gods and Coyote the Trickster, an Inuit ice demon and a mannegishi named Fred are some of the characters. What I did not anticipate is that I would fall in love with my characters and be driven to finish the book. Having done that, I felt compelled to get it published.
I don’t have much to brag about. I’m not a best-selling author. I have won no prestigious awards for my fiction writing. But I do have one thing that gives me modest bragging rights.
I have heard authors talk about receiving hundreds of rejection slips. One writer said he had a drawer filled with 450 rejection slips for his novel. That didn’t happen with “The Obsidian Mirror.” I approached perhaps 10 publishers and/or agents before AEC Stellar agreed to publish the book. When AEC Stellar bit the dust, I approached about five publishers before Diversion Books picked it up, re-published it and agreed to publish the sequel.
So I may not have sold a million copies, but I never had any problem finding a publisher. As a matter of fact, years after I originally submitted the manuscript to their slush pile, Baen Books got back to me and said they were interested in it. The early bird gets the book, Baen.
So why am I proud of this? Because I have some independent assessments that people will enjoy reading my novel. Add to that, the several four- and five-star reviews on Amazon, and you might conclude that you would enjoy it, too. To make it super-easy for you to find the book, here it is: http://amzn.to/1MQBvkd
I did warn you.
It’s been a while since I have shared what I am working on. I blogged extensively about my research visit to Hawai‘i in January of 2015, but I’ve been on radio silence about work ever since.
Part of that is because if I say too much about the story, why would you want to read it when it is published? Another issue is providing detail about a story that might very well change so drastically in the writing process that it becomes unrecognizable.
I did mention that it has been much easier writing with a plot outline than without one. And that was certainly true until I wrote up to the intended climax of the story—and discovered that it wasn’t actually the climax after all and I needed to extend the story (for which no plot outline yet existed).
Part of the problem was that I hit the putative climax at about 65,000 words into the story. That means that I would have wrapped it up in about 75,000 words, which is a bit light for a novel like this. “The Obsidian Mirror” was about 100,000 words, and I am aiming for a similar length for this novel.
So I hit a rough patch as I floundered around trying to figure out what comes next in the story. I hesitate to call it “writer’s block” because I wasn’t blocked. I knew where the story was going, I was just missing a piece. Sort of like Indiana Jones crawling across a rope bridge across a steep chasm and there’s ten or fifteen planks missing in the middle. And crocodiles (my publishing contract and deadline) waiting below.
And then there was getting sick. Then the holidays. El Niño came for a visit last week and flooded the basement, soaking our family photos, my oil paintings, family historiana, and a lot of other stuff. I spent this past week gently prying apart photographs and arranging them on every available surface to dry, turning them over, grouping them, and tossing the ruined ones away. I did no writing at all.
Among the things I found was a packet of letters, all dated around 1879. They were written by someone named Carrie to her cousin, William Smith of Roxbury, NY. (Mr. Smith was one of my ancestors, which is how I came by the letters, but I haven’t looked him up to determine exactly what the relationship is.) They were written in a delicate copperplate hand, very legible, the India ink still clear and sharp despite their age and the complete saturation of the paper.
I reluctantly decided I would have to throw them out. There were so many of them, and my priority was rescuing my thousands of family photos before they stuck irretrievably together. I read a few of the letters and they were fairly mundane, though written with clear affection for the recipient. I felt guilty. They had been kept perfectly for 110 years, and I was the one who trashed them.
However, I found a poignant little poem in Carrie’s spidery copperplate. Here it is:
You I will remember
And in this heart of mine
A cherished spot remains for you
Untill (sic) the end of time.
When this you spy
And think of me that is very shy.
When this you see
And think of me that thinks of thee.
Where ‘ere you tarry.
And think of me
That will never marry.
The last stanza was enclosed in brackets. What do you think? I don’t mean Carrie’s gifts as a poet, which are slight, but the heart of it. I think Carrie was in love with William. I have at least saved her poem, which must have cost this shy woman a great deal to share with her adored cousin.
That much of Carrie I am keeping, safe for now.
Getting back to my current book, I am firm on the title of “Fire in the Ocean.” It is set in Hawai‘i, which was built—and is still being built—by fire in the ocean: volcanoes. It also touches on the Great Pacific Garbage Patch, where billions of tons of particulate plastic are swirling around out there like peas and carrots in alphabet soup. Hawai‘i is smack dab in the middle of it. The slow dissolution of chemicals from the plastics is another form of “fire in the ocean,” poisoning sea life. And, of course, Pele, the goddess of volcanic fire, is a featured character in the book. Those of you who followed my blog from Hawai‘i know why I couldn’t leave Pele out of the story.
I am back on the job writing. El Niño is paying another visit, but we have pumps going and sandbags. All my rescued photos are safe and dry now and my oil paintings are drying out in the bathtub. Good time to write!
FOR IMMEDIATE RELEASE
DIVERSION BOOKS RESCUES THE OBSIDIAN MIRROR, RELEASES NEW VERSION OF FANTASY NOVEL
May 15, 2015—Diversion Books today released The Obsidian Mirror, an inventive high tech-meets-Aztec fantasy novel by Silicon Valley public relations veteran K.D. Keenan, marking the second time the novel has been issued in less than a year.
Diversion Books, which publishes a number of classic fantasy authors—including Ursula K. Le Guin, M.K. Wren and Henry Kuttner—scooped up the title after its original publisher, AEC Stellar Publishing, went out of business. “The Obsidian Mirror is a terrifically fun read,” said acquiring editor Laura Duane. “It recalls the wit and invention of Douglas Adams, and fits perfectly with many of our other fantasy titles.”
The Obsidian Mirror tells the story of Sierra Carter, an out-of-work PR executive who receives a call from Quetzalcoatl, the plumed serpent god of the Aztecs, and discovers that her former firm’s semiconductors are a means of spreading a deadly evil around the world. Powering these nasty vibes is Necocyaotl, Aztec god of death and destruction, who has placed his essence in every device, causing people to place their self-interest and selfish desires above all else.
Carter, with the help of some paranormal pals—Chaco, a handsome young man when he isn’t being a coyote; Fred, the mannegishi with the ability to disappear at will; and Rose, a Native American shaman—learns how to develop her inner powers. She’ll need them, because Necocyaotl’s team is playing for keeps, and the evil god brings an ice demon, dark spirits, and assorted monsters into the game to bolster his more human henchmen.
ABOUT DIVERSION BOOKS:
Founded in 2010, Diversion Books has emerged as a premier digital publishing house, partnering with top literary agencies, media companies, and authors to build a rapidly -growing catalog across a range of genres. With its cutting-edge marketing and versatility in the changing landscape, Diversion proudly publishes top-tier authors old and new, building the next generation publishing company, one great book at a time.
FOR MEDIA QUESTIONS, PLEASE CONTACT:
Seth Kaufman, Sales & Media Strategist
When I first started this blog, the subtitle was “A Blog about Writing a Novel.” I thought of it as a journal documenting the process of writing my first novel and trying to get it published. Of course, at the time, I had no idea whether I would get it published (or even finished).
Well, “The Obsidian Mirror” was finished and published, and now will be republished by Diversion Books. (They are giving it a new cover as well, which should be interesting. I can’t wait.) I have a contract for the sequel from Diversion, and I have written about 20% of the first draft.
So it’s no longer a blog about writing a novel. It’s about the journey I am on as an author. I have changed the subtitle to “The Journey to Authorship.”
Now, that sounds like I will be forever journeying toward a goal, but never reaching it. That would be exactly right.
I learned a huge amount about writing a novel when I wrote “The Obsidian Mirror.” I revised it eight times. I had many people read it and comment on it, including the wonderful Gail Z. Martin, who has authored numerous fantasy novels herself.
Now I am trying to put those lessons to good use in the sequel. I am also trying out new things. For example, the antagonist in “Fire in the Ocean” (working title) is not an evil god. He’s not even evil. As a reader, I am much more interested in complex characters than cardboard cutouts, but as a writer, it’s really easy to fall into the mistake of making evil characters 100% evil, twiddling their mustachios and laughing, “BWAHAHAHAH!” (Okay, maybe not that bad, but you get the idea.) So I am trying to create a more complex character, one who is human, with human strengths and weaknesses, whose actions are not motivated by pure nastiness.
I have to admit, this is a bit scary for me, and I am proceeding with this character in baby steps. But, as in “The Obsidian Mirror,” I am still trying to understand why perfectly normal people do massively destructive things to the environment—even though they have to live the consequences along with the rest of us.
Another challenge is the setting in Hawai’i. “The Obsidian Mirror” was set in Silicon Valley, where I lived and worked for more than 30 years, so I knew it very well. I have visited Hawai’i many times and love it, but I am not as intimately familiar with it as I am with Silicon Valley. I spent eight days on Moloka’i, where much of the novel takes place, but eight days doesn’t make me an expert. Fortunately, I made some friends in Moloka’i while I was there, and I am hoping they will help to correct any inaccuracies or general idiocies I may commit.
So I am still learning and stretching my authorial wings. I am on a journey I suspect I will never complete, because I hope always to be learning more about my craft and growing as a writer. If I stop doing that, I will stop writing.
Today, I was going to write about some good news, but then the sad news arrived: Terry Pratchett died.
I have written about Pratchett before in these pages because he is one of my best-loved authors. He was a fantasy writer who was also a brilliant satirist and humorist of the highest order. Reading a new Pratchett book was for me as richly satisfying as artisan chocolate, and it lasted a good deal longer. (Plus I can go back and re-experience the books, which is hard, not to say disgusting, when chocolate is involved.)
Pratchett used his fantasy creation, the Discworld, to satirize our absurdities in this world. Nothing was off-limits for him. Personally, I think one of his finest pieces was “Monstrous Regiment,” which satirized bias against women and the absurdity of religion, which are deeply interconnected. Unlike fellow satirist and countryman Evelyn Waugh, Pratchett never indulged in invective; instead he made you laugh. And when you laugh, you become more open. And becoming open to new perspectives is how hearts and minds get changed.
There are, according to Wikipedia, 41 novels in the Discworld series. Pratchett also wrote several other novels, including “Good Omens” with the luminous Neil Gaiman, a series of children’s books, “The Long Earth” series with Stephen Baxter, and numerous handy guides to Discworld, short stories, and more. There’s a lot more to say about this man. He was awarded an O.B.E. and later knighted, so he is officially Sir Terry Pratchett. He suffered from a particularly vicious form of Alzheimer’s disease for eight years, and bore it with humor and bravery. He was deeply knowledgeable about the folklore of the British Isles, and commented to a meeting of folklorists that he viewed folklore much as a carpenter views trees. Wikipedia has an exhaustive amount of material on Pratchett and also his novels, so I won’t go into a lot of detail here–but he was a man of many parts.
I enjoy everything Pratchett wrote, but Discworld holds a special place in my heart (me and millions of others). He created a world so rich in detail, teeming with fascinating characters and creatures, that a return to Discworld was a richly enjoyable experience every time. I love his witches, especially grumpy and wise old Granny Weatherwax and Nanny Ogg, who had a lively girlhood and likes her pint or two. I love brave Captain Carrot, the 6 foot-plus dwarf who is the unacknowledged King of Ankh-Morpork, Discworld’s largest and (probably) most noisome city. And Lord Vetinari, the ultimate politician who always manages to keep things on course without too much bloodshed. And Death, who always SPEAKS IN CAPITALS (and has the last word). In Discworld, you meet hundreds of characters who are so beautifully drawn that they leave the mark of their personalities with you forever.
But the real reason I cried when I heard he had died is because he was kind to me once. I have related this before, but here it is again:
You see, I met Connie Willis first. I was in the vendors’ hall at Worldcon when it came to San Jose, CA several years ago. I happened to glimpse her nametag. Connie Willis is also a favorite author, so I introduced myself—and proceeded to commit every rabid-fan sin it is possible to commit in attempting to praise her work. Even as I heard the vapid words burbling out of my mouth, I knew I was doomed. The expression of pain on Ms. Willis’ face only confirmed my gauche blundering. I attempted to extricate myself by saying, “Well, I’m starting to drool on you, so I guess I’d better go now.” Ms. Willis nodded mute agreement, and I slunk away with my tail between my legs, feeling like a complete moron.
I was standing at a vendor’s stall wondering if it is possible to actually die of embarrassment when a tidy gentleman with a gray beard and a black fedora walked up. I thought he looked familiar, but when the vendor called him “Mr. Pratchett,” my suspicions were confirmed. He stood right next to me as the vendor handed him a CD, saying, “I’ve been saving this for you, but I was afraid I might come across as a rabid fan.” (Like me, I thought.)
Pratchett took the CD and said, “I adore rabid fans!”
I turned to him and said, “Well, then, would you mind if I drooled on your shoulder?”
Pratchett responded, “Not at all—but would you mind drooling on this shoulder”—he patted his right shoulder—“as the other one is already rather damp?”
Instantly, the oppressive cloud of feeling foolish lifted and disappeared. I will never forget how Terry Pratchett’s humor and kindness brightened my day and turned my embarrassment into laughter. (Not that I mean to say Connie Willis made me feel bad. I made myself feel bad. I should’ve kept my mouth shut.)
And now this kind, brilliant, prolific and amazing writer is gone. There will be no more tales of Discworld to anticipate with glee. His brilliance continues to shine in his work, which will live for a long, long time. He set a high standard for humanity. I only hope that someday we live up to it.
I just finished reading Terry Pratchett’s “Folklore of Discworld,” co-written with folklorist Jacqueline Simpson. (Do people actually get paid for knowing about folklore? What a great job!) Pratchett and Simpson discuss the relationship between the Discworld’s traditions and those of Earth (with the conceit that folklore, tropes and memes are particles of inspiration that drift across the multiverse, so that myths of Discworld wind up here, and vice versa).
While reading (actually listening to) this book, it struck me how deeply I am attracted to the folklore of the British Isles (although this is obviously not a particularly rare trait, as evidenced by libraries full of epic fantasies, tales of witches and warlocks, dragons and cloaked heroes and faeries). Nothing entranced me more as a child than tales of banshees, pookahs, faeries, disappearing gold pieces, leprechauns, elves and pixies. As an adult, I am still entranced by Tolkein, C.S. Lewis, G.R.R. Martin, and many less well known authors who write in that tradition—whether humorous or not. It’s one of the reasons I adore Pratchett, who once remarked that he regarded folklore much as a carpenter regards trees.
Why be so attracted to the folklore of another place? I could put it down to my Scots-Irish ancestry. But I think the real explanation is that the folklore of my own time and place is sparse and rather unimaginative. Perhaps if I had grown up in Louisiana or some place with more history than California, I would have a healthy backlog of swamp critters, ghosts, haunted mansions, and eerie sightings to freshen the imagination. As it is, I am hard put to say exactly what constitutes folklore here.
Sure, we told each other the stories about the guy and girl making out in the car who hear on the radio about the escaped madman with a hook for a hand. And step on a crack, break your mother’s back. (As this never happened, I didn’t believe it for long.) But these things lacked the enchantment I found in fairy stories and old tales from Ireland, England, Wales and Scotland. Witches, warlocks and wizards. Spirit horses. Water nymphs. Faery gold. Selkies. Leaving milk out for the Good Folk. Strange dancing lights on the moors at night. The Wild Hunt. King Arthur.
An incredibly high percentage of American “folklore” has disappointingly mundane origins. Paul Bunyan and his giant blue ox, Babe, appears to have originated in the oral tradition of lumberjacks, but according to Wikipedia, was “later popularized by freelance writer William B. Laughead (1882–1958) in a 1916 promotional pamphlet for the Red River Lumber Company.” Rudolph the Red-Nosed Reindeer was originally a promotional character created for Montgomery Ward. Pecos Bill was a character created by short story writer Edward S. O’Reilly in the early 20th Century. Johnny Appleseed was a real person, John Chapman, but all he did was plant apple trees, not conjure gold and silver apples or something interesting like that. Santa Claus comes closest to having true folkloric origins, but in America, even he was largely shaped by modern forces in the form of Clement Moore, author of “A Visit from St. Nicholas” in 1823:
“His cheeks were like roses, his nose like a cherry;
His droll little mouth was drawn up like a bow,
And the beard of his chin was as white as the snow;
The stump of a pipe he held tight in his teeth,
And the smoke it encircled his head like a wreath.
He had a broad face, and a little round belly
That shook when he laugh’d, like a bowl full of jelly:
He was chubby and plump, a right jolly old elf,
And I laugh’d when I saw him in spite of myself…”
Moore changed the majesty of Father Christmas, a tall, thin gentleman wreathed with holly and robed in green, into a “right jolly old elf,” later immortalized in his modern incarnation by the Coca-Cola Corporation. Moore also invented the eight tiny reindeer, which were not found in the stable of Father Christmas.
Where’s the magic in all this? Sadly lacking, in my opinion. Our modern American monsters are the psychopaths, serial killers, stalkers of children, terrorists real and imagined, and that guy with the hook, who may be folkloric, but he’s not very magical. Our urban legends may technically be folklore, but flashing your headlights getting you in trouble with gangs, or tapeworm eggs in bubble gum, or waking up in a bath of ice with your kidneys missing falls well short of enchantment.
I will admit that we Americans have our share of cryptozoids. Probably the leading examples of this are Sasquatch (Bigfoot) and El Chupacabra (the goatsucker). El Chupa is an import from Mexico, where apparently they are so folklore-rich that some of it is oozing across the border. None of these to my knowledge is actually magic; it’s just that no one has ever proved they exist, so of course, lots of people believe in them. Here’s a map of North American cryptozoology, if you’re interested in more.
And, of course, there’s a lot of flying saucer lore. But I don’t think any of the anal probees would say that there was magic involved.
As I mentioned before, it may depend on where you grew up. In Hawaii it is clear that many ethnic Hawaiians (and also many non-ethnic Hawaiians) believe in the old lore. I met people who believe in ghosts, in Pele and other ancient gods, in Menehune, and in spirits generally, both good and evil.
Magic offers the possibility of the good and brave and clever overcoming evil or at least magical trickery, whereas our monsters are sometimes overcome by the judicial system (and sometimes not). Magic also casts a glamor over folk tales; in fact the word “glamor” used to mean magic or enchantment. Our “folk” heroes are artificially created to make money—although they are still presented to schoolchildren as though they were genuine. I suppose Pratchett would say that when people start to believe in something, it transforms that thing into folklore. But no one really believes in Paul Bunyan or Pecos Bill. Thank heaven, some children still believe in Santa Claus, and around a campfire at night, you can believe anything. But I still think we are a culture that is sorely deprived of a true folkloric element.
Do you agree or disagree? Did you hear a truly magical (and American) story when you were a child? Did you have a haunted house on your street where lights and music could be heard at night? Were tales of helpful pixies or harmful sprites told in your neighborhood?
I would love to hear from you if you have such stories to tell!