It’s dangerous to be attached to possessions but I have one thing in my life that means more than most others. It’s not my camera, nor my computer. It’s a mug.
I bought it in a small shop in Smith Falls Ontario in the summer of 1992. I was working at Murphy’s Point Provincial Park at the time; it was my first job in a park. I had just finished my first of two years at Sir Sandford Fleming Collage’s School of Natural Resources and I thought I knew what I was doing. I had no idea. Later I worked in Banff and Grand Canyon National Parks, and while I still didn’t know what I was doing, I’d gotten better at faking it by then.
What I learned that summer at Murphy’s Point was that I wanted a life lived close to nature.
And I wanted to drink a lot of tea.
The mug I bought wasn’t thrown on a wheel by an aging hippie back-to-the-lander working out of a cedar wood shed in the hills of the Frontenac Axis; it was manufactured in China. It’s like ten – maybe a hundred – thousand other mugs emblazed with stylized drawings of wolves, bears and orcas; to me it is singular in every way.
My mug has a loon on it. I love its weight, and shape, and I love the small lip around the rim. It feels good to drink out of it. But that’s not why I love it. That summer I lived in an old Junior Forest Ranger camp on the shores of Loon Lake. Every morning I got up at 5 am and made a cup of tea and walked down a trail through the pines to a granite outcrop that jutted a dozen feet into the lake. I sat there, drank my tea, watched the park awake and fell head over heels in love with the world.
From my perch on “The Rock” I watched small mouthed bass nibble of insects along the short; saw red fox hunt mice in the tall grass; learned the habits of a family of beaver who had a lodge just a few hundred feet from my morning roust; witnessed osprey circling overhead, fish struggling in their talons; learned the language of a mob of turkey vultures that nested in a dead pine; became friends with Ralph the Heron who still-hunted on a small submerged island in the middle of the lake; and gave a wide birth to Igor the snapping turtle whose head was as big as my fist and who would prop himself up on The Rock to watch me watching him.
And I met Herald and Maude and Summer.
Herald and Maude were common loons who resided on Loon Lake and built their low nest three or four hundred meters from The Rock. I had just watched the movie Herald and Maude that past winter and was enamored with the life affirming message, so named these birds after the protagonists. From my position I watched them mate and watched Maude lay her eggs and a month or so later saw their single chick emerge from beneath Maude to climb on its mother’s back for the first time. Born on June 21st, my friend Laurie Belfour and I named the chick Summer.
I bought the mug soon after and drank tea out of it every day for the rest of that season.
I have moved it two dozen times since, and still drink tea from it at least once or twice a week. I have other favourite mugs now, but my loon mug has more meaning than all the other possessions in my house combined.
Someday it will break. It’s 21 years old, and has far exceeded its life expectancy.
So important is this mug that when I was separating from my partner in 2007 and we encountered a particularly rough patch, the one thing she thought to do that might hurt me was to break my mug. She knew that more than anything else this might cause me the kind of pain that I had caused her. Later she told me and we laughed – me a little nervously – about it.
But here’s the thing: the mug is already broken.
My loon mug is symbolic of a period in my life when I lived simply, deeply, passionately, and fully. I was very much in tune with nature, rising early, sleeping outside most of that summer. I paddled a canoe almost every morning and again late at night, slipping around the coves and bays of Loon Lake in complete silence, my paddle slicing the water as barred owls called back and forth across the water. Sometimes I paddled to work.
I thought, that summer, that I had found my own Walden, and that for a short while I was living as Henry David Thoreau had advised: deliberately. I did not want to discover when I came to die, that I had not lived.
The mug is symbolic of one of my first “awakenings.” I woke up a little that summer and discovered how much the world had to offer someone who had his eyes open.
Now the mug represents another such awakening: that nothing lasts forever, and that attachment to anything, especially something material, is foolhardy.
The thing does not contain the experiences it represents; when it’s gone, they won’t be. But even attachment to those experiences can keep us from living fully in the present, and so while I enjoy the memories, I’ve labored to let them go too.
When I look at the mug now I regard it as already broken.
Each of us is born with the absolute incontestable certainty that we will die. Everything in our lives is temporary; even the things we love most of all. Someday I will leave my children, or they will leave me, forever. My wife and I will be parted. My parent’s time will come. All of the things, the people, the places and the experiences we are attached to are ephemeral. They are already gone.
I don’t enjoy the cups of tea I drink from my loon mug any less because I know it’s already broken. I enjoy them more. Every cup of tea is savoured, the rich tapestry of my past and present congealing as if clay spinning into a vessel to be held in the hand. Knowing that at any time the mug might slip from my soapy grip and shatter on the kitchen’s hardwood floor, or be knocked onto the flagstone walk while I sit on the patio steps and enjoy afternoon tea makes me aware of the preciousness of the present moment experience.
Nothing lasts forever; only in the present moment can we celebrate what a thing, a person, a place or an experience brings, and feel the blessing to have been granted another day to live and love life.
And so the mug is at once already gone, and still so much a part of each day, and I am grateful for what a simple possession has taught me.
Recently I had the opportunity to take a whole day and concentrate on photography. Here’s a chronology of the experience.
4:30am: Alarm goes off. Leap from bed. Big day. I get to shoot dawn to dusk.
4:31am: Remember that when I say shoot to my American friends they think I’m talking about something different.
4:32: Turn on kettle. I was so excited about this day that the night before I actually put the tea bag in my mug so I could save time.
4:34: Make tea. Drink it. Make more.
4:40: Car loaded the night before, I kiss Jenn goodbye and drive east on the Trans Canada towards Mount Yamnuska Natural Area.
4:50: The right lens falls out of my glasses. Foresee (pun intended) complications to my day.
4:51: Fix glasses while driving 110km/hour in the dark towards foothills.
5:05: Arrive at Mount Yamnuska Natural Area and begin hiking. My goal is sunrise photos from the ridge above the Bow Valley. After 25 years of shooting film, and more recently rearranging electrons (which sounds way less glamorous) I’ve got a contract with RMB | Rocky Mountain Books for Earth and Sky: A Foothills Journey to be published in 2015. I already have more than 2000 half decent images (and another 5 or 6,000 crappy shots) from the foothills shot over the last 18 years of exploration, but I want this book to be a perfect expression of my passion for this landscape, so I half run-half walk up the trail; I’m so excited to have this opportunity.
5:20: My first location yields little of value; I must climb higher. So I do.
5:45: I find the perfect location, so I set up again. Perfect location = something interesting in the foreground, in this case some lovely limestone, a great panorama of the Bow Valley and foothills, and the cresting sun. I get the image I came for. (Click images to enlarge)
6:30: In early July, with the forecast for 37 degrees C temperatures, the light is pretty much done for the day. The golden glow of sunrise has already turned harsh white. I start back down. More tea awaits in a thermos in the car.
7:30: Drive back into Canmore. My hope had been to head south towards the Porcupine Hills, but I’m holding my glasses together with gravity and the muscles of my nose, and that’s not going to work for long.
9:00: Get glasses fixed. Buy some groceries and when the liquor store opens, some beer.
11:00: After more delays, I’m on the road again.
1:30: Longview, Alberta. I forgot to call my publisher – the one who produces my fiction – and talk through some final edits for another book, so I do.
2:30: Porcupine Hills. The heat is intense and the light harsh, but I spend four hours driving around, taking different roads at random, finding dead ends, and stopping from time to time to take a few shots. I get one good image of an abandoned house (see below); the other 200 plus images are for posterity.
5:30: I drive the Skyline Road, the highest point in the Southern Porcupine Hills. The light is getting better so I stop more often and shoot.
6:30: I find a place to camp with a great view, and even better prospects for panorama’s from a crest above my tent site. Dinner and a beer.
7:30: Drive around until I get 1 bar of cell signal and call Jenn, who I miss already. Sniff. More beer.
8:30: The Show. I climb the hill above my camp, shooting rosy light on aspens as I go (see below) and then set up for some evening splendor. I’m not disappointed. I’ve been doing this since I was in grade 10, and all my life I’ve wanted to be a professional photographer, and here I am. I’m not going to waste this amazing opportunity. Every single time I press the shutter release I consider myself blessed.
10:15: The light gone, I make my way back to my campsite, stow my gear and crawl into bed, setting the alarm for 4:30. I’ve shot nearly 500 frames in one day.
4:30 am: Alarm goes off. Leap from bed. Big day. I don’t get to shoot from dawn to dusk straight through; I’ve got meetings and obligations, but I get from now until just after sunrise, and that too is a gift. I am blessed.
I’ve never read anything by David Rakoff but I guess I’ll have to start.
The trouble is, I suspect I’ll fall in love, and it’s going to be bitter sweet because as just about everybody knows, David died of cancer last year.
On the weekend The Globe and Mail published a story on David’s last book, Love, Dishonor, Marry, Die, Cherish, Perish. The story was part eulogy and part biography and part review, and it made me want to go out and read everything Rakoff has written.
I always joke when people say to me, “I just read your last book.” I smile or laugh and say “do you know something I don’t?” Then they correct themselves, or I do it for them as some king of a grammatical service and say “my most recent book, you mean.”
But who knows?
That’s the trouble with writing; it’s never over until it’s over. It’s not like there’s an allotment of ideas for each writer and you use them up and then that’s it. It’s that way when I’m behind my camera too. I bet it’s that way for artists of all mediums.
Edward Abbey, one of my favourite non-fiction writers, always mused about writing The Fat Masterpiece and then retiring on the exorbitant royalties he would receive, smoke evil cigars and contemplate his own genius. But pretty much to the moment of his death he was writing, in his case the sequel to The Monkey Wrench Gang called Hayduke Lives (which sort of spoils the first book’s suspense). Abbey admitted it wasn’t a very good book, and it wasn’t, and that he did it for the money; not for him – he knew he was dying when he wrote it – but for his family.
I wonder how that feels? As I read the Globe piece on David Kakoff’s final book, and then the NY Times essay on the same, I wondered how it must have felt for someone so dedicated to literature to know, as he did, that the words he was writing would be his last.
As I’ve said elsewhere, I have a lot of ideas. The truth is I have a lot of ideas but really I’m just trying to find different ways of getting to the main point. The thought that any one book might be the last is deeply unsettling. I guess if that one book, the last one, is truly outstanding, and conveys what the writer hopes to impart his or her readers with, then they could retire or expire knowing they had left the world having done their best work.
But creativity doesn’t seem to work that way. It seems to me that the writer, the photographer, the artist, is always trying to find the perfect words, the perfect light, the perfect shape that expresses how she or he feels about this life, the world, and one another. So we write another book, shoot another sunset, sing another song, paint another canvas or throw another bowl on the wheel because maybe, with each renewed effort, we will create something beautiful or hilarious, touching or disconcerting that says “this is what I wanted to tell you about how I feel.”
And then we do it again.
Knowing that something – a book, a photograph, a play, a sculpture – is going to be the last one could be heartbreaking. It could be overwhelming. It could be a relief too, but a bitter sweet one at best.
I’ll pick up David Rakoff’s new book, and for me it won’t be his last.
Today is a momentous day for the Métis people of Canada, and for all Canadians. After 128 years the bell from the local church in the town of Batoche is coming home.
Stolen by soldiers from the Northwest Field Force on the final day of the battle that put Batoche on the map of Canadian history, the Bell ended up in the town of Millbrooke, Ontario, where it was housed in the local fire hall, until that building burned to the ground. Cracked in the fire, it was then put on display in the local Legion Hall. In 1991 the Legion was broken into and the bell ‘removed.’ It hasn’t been seen in public since.
Today (Saturday July 20) is the day of the Bell’s repatriation.
In May of this year I visited Batoche for a second time. I was on a book tour for the Third Riel Conspiracy, a mystery novel set during the four day battle that was the climax of the 1885 Northwest Resistance. I had an event scheduled for Saskatoon that night, but wanted to see once again the landscape the Métis fought to defend.
Like too many Canadians, I didn’t learn about Batoche while I was in school. I learned more about the American Civil War than I did the events that indelibly shaped my own country. The Durrant Wallace series of historically themed mysteries are as much an excuse for me to dive deeply into my countries own past as it is a chance to tell compelling tales of intrigue and adventure.
While walking over the golden fields along the Mission Ridge, watching the Saskatchewan River bend between high bluffs where Métis sharpshooters kept the much more substantial Field Force at bay for four days, I thought that this was one of those places that every Canadian should step foot. Reading about the events that lead up to the Resistance is fine – the destruction of the buffalo, the deplorable starvation of the Cree, Sioux and Métis, the stolen land, the effort to force the Métis to accept land away from the River, lifeblood of the prairie, and of course religion – but walking the same pathways that Louis Riel and Gabriel Dumont did makes it real.
At the center of the battle was the church. On the first and final day of the conflict, the fighting engulfed that building. That building creates a focal point for any visit to Batoche, and it was from there that the Bell was stolen, the spoils of war.
As Canadians we still live in a nation divided. I’ve never condoned the tactics employed by Dumont and Riel in the spring of 1885, but I understand why a people, on the verge of starvation, their voices lost in the relentless crush of progress during that formative decade, would resort to any means necessary to get the attention of political Canada. Walking the trails at Batoche there is a feeling that Canada lost something important when both sides resorted to open warfare that spring.
Maybe, when the Bell rings out in Batoche once more, calling people not to pray but to consider our shared heritage and journey as a country, we can start to write a new chapter in our collective future together.
I finished writing the first draft of The Same River Twice yesterday morning. This will be the third book in the Red Rock Canyon series, featuring Silas Pearson and his journey to find his missing wife, Penelope de Silva.
I finished the first draft of Black Sun Descending in the middle of May. It’s the second book in the series that started with the publication of The Slickrock Paradox last year. The trilogy is set in the American Southwest, around Arches, Canyonlands and Grand Canyon National Parks, and the Escalante-Grand Staircase National Monuments.
In total I wrote about 155,000 words in just over three months. As I’ve said before, first drafts are the literary equivalent of me vomiting words onto a page as if I’d been binge drinking all night. I write as fast as I can just to keep up with the kaleidoscope of images, characters, plot lines and the myriad voices in my head.
I’ve written seven other books in three different mystery series, as well as two books of non-fiction, and a couple of unpublished manuscripts, but I’ve never written two first drafts back-to-back. This was an experiment, and it seemed to work.
Credit for the idea goes to Ruth Linka, at Touchwood Editions for suggesting it. Back in March she and I met and discussed the uncomfortably long list of books that are banging at the side of my head trying to get out. Earlier in the day Don Gorman, with Rocky Mountain Books – who is publishing my upcoming book of essays and photographs Running Toward Stillness – did the same. Both of these publishers work under the umbrella of the Heritage Group. During the course of those two meetings we mapped out my next ten or eleven book projects, which accounted for about a quarter of the books that I’ve got sulking around in the frontal lobe of my cerebellum, vying for attention, insisting on being written IMMEDIATELY.
Ruth suggested that I write the next two books in the Red Rock Canyon series at the same time, and we’d release them together as a sort of concluding salvo in that series sometime next year. This made a lot of sense from a productivity perspective; it turns out it made a lot of sense from a creative perspective as well.
Starting in early April I began working on Black Sun Descending. The process nearly went off the rails early on because I broke one of my cardinal rules and didn’t write a detailed outline. I had a five page summary of all three books I’d used to pitch them to TouchWood back in 2009 but didn’t bother to flesh that out before starting Black Sun. That was a mistake. I was relying on momentum to propel me through sections of the book I wasn’t entirely clear on, but in order to count of such forward motion you actually have to build up a head of steam and that was slow in coming with this novel.
My normal process is to write an outline and just hold on as tight as I can. This means penning about 2,000 words every morning between the hours of five and seven or eight a.m. This slowed to five hundred words during the most difficult sections of the book. I considered, about a third of the way into the book’s 70,000 word first draft, stopping and penning a more detailed outline. I didn’t: I feared I’d lose the one thing I had going for me, which was a routine, and never recover. That was stupid, and the next time I get bogged down like that I hope I’ll remember to take a day or two and just write the damn outline.
I plowed through, slowly, and by the end of May had completed the draft. It sucks of course. Most first drafts do, and that’s alright, because while first drafts are hell, second drafts are pure bliss; they are my favourite part of the writing process. In the first draft I focus on plot and dialog. I’ve found I rarely change either of these in the second draft. As long as I get the story from point A to point B in the first draft I’m happy. I’ve also recently observed that I rarely change dialog in subsequent drafts. I cut a lot, but the general voice of each character usually emerges directly from my head during the first draft and I just write as fast as I can, trying to listen to the story they are telling me.
This is why, during first drafts, that I often seem preoccupied to the outside world. Sometimes while I’m making dinner for my family I’m actually listening to two characters in my novels having a conversation in my head.
I finished the first draft of Black Sun Descending in a hotel room in Saskatoon, Saskatchewan while I was on tour for my most recently published novel The Third Riel Conspiracy.
Where Black Sun Descending was a daily struggle, The Same River Twice was smooth as the tongue of rapid slipping between boulders on a river. (I’m not sure if that metaphor worked.) I wrote the outline while on a plane to New York City for my full time job in conservation, and began writing the novel at 5am the first day I was there. That was late in May. There have been a few other business trips since, and the small matter of the Canmore flood in mid June that pushed me off my writing schedule, but otherwise this second first draft has proceeded quickly. Summer is a pretty easy time to get up early; the ravens are awake and serve as my alarm clock.
Both drafts need a lot of work. Both are short by most anybodies standards, and for me they are uncomfortably so. The Same River Twice is only 57,000 words (I can hear by publisher saying Thank God). They need some meat on their bones; that’s what the second draft is for. That starts tomorrow. Today I’m just writing a few blog posts – sport writing – that have also been banging around in my head for the last few months.
Writing two books in the same series back-to-back has been so rewarding that I’m going to do the same with both of my other mystery series. The continuity of working with the same characters, similar plot lines, and landscapes has been so much easier this way that I may continue this practice in the future.
The next two books in the Durrant Wallace series – one set in Vancouver during the great fire of 1886 and the next set in the Kooteney’s of BC’s interior at Fort Steele – will be next. Then I’ll write two books in the Cole Blackwater series – one set in Vancouver’s downtown east side that addresses human smuggling and sex trafficking and another that puts Cole’s daughter Sarah directly into the plot.
And there’s a half dozen other projects – mysteries, a standalone thriller, essays, and a book of photography – to turn my attention too.
My way of summary, here’s what I learned while penning these two first drafts back to back. None of it is really new, but I hope it’s helpful:
- Write an outline and follow it until the story itself makes a compelling case to go in a new direction.
- Don’t get distracted by other writing (which is why this is my second blog post in the last three and a half months).
- Have a routine. Write at the same time every day. Whatever works for you. Mine is early mornings and lots of tea.
- Write in layers: start with plot, ad dialog, character development, setting, etc as you proceed through subsequent drafts.
- Don’t worry if the first draft sucks. That’s its job. That’s why we get second and third and forty-fifth drafts, if that’s what it takes.
The flood of 2013 is now receding. I live at the headwaters of the Bow River, in Canmore, near the border of Banff National Park, and less than 700 meters as the crow flies from the now infamous Cougar Creek. Most days the Bow River along this reach is a swift moving, deep blue vein that pulses between banks of spruce and pine, along aspen meadows and past clutches of willow.
Since Wednesday (June 19) it’s been a wide, brown, and spreading conveyor belt of trees, rock, silt and mud that has enveloped everything in its path. Its feeder streams, like Cougar Creek, are normally ephemeral, rising for a few weeks in the spring to deposit snow melt and spring rain, and a few truck loads of gravel, into the main stem of the river.
Not this spring.
Life is uncertain. This is one of the fundamental tenants of human existence. We don’t know what’s going to happen. We know that someday we’re going to die, but we don’t know when. We know, in our gut, that everything that is important to us – our children, our partners, our parents, our friends and family, and yes, even those material objects that we clutch at with desperation – will one day vanish, before or at the moment of our own demise.
We know that life is change, but our difficulty accepting that truth causes no end to suffering in our day to day lives.
On Thursday morning many of us in Canmore woke up to learn how real that axiom really is as Cougar Creek, dry for 50 weeks of the year, and usually contained between its engineered banks of trap-rock and fill, had carved a new course through the residential community that bares its name. The creek, ten feet wide during a normal spring, surged to more than two hundred feet wide, carving a wide swath through its historic alluvial fan, and tearing away at people’s back yards, sheds, fences, and eventually foundations. That no homes toppled into the creek is a miracle.
Cougar Creek, and dozens of others – Exshaw, Heart, Jura, Three-Sisters, Pigeon – all amassed their unprecedented flows into the Bow, and meeting with the Kananaskis, Ghost and Elbow Rivers, it flooded a vast area of downtown Calgary. It is the largest flood ever recorded in Alberta.
And on it went: Turner Valley, Black Diamond, Bragg Creek, Morley; maybe the hardest hit was High River, where the entire town was evacuated and under water. Lives were lost, the financial cost of the damage yet to be calculated.
During the height of the flood we were evacuated from our east-Cougar Creek neighborhood. The flood has given us this new name for where we live. As crews worked valiantly to save the bridge over the Creek, the nine hundred or so residents who live on the eastern bank of the Creek’s alluvial fan were loaded on buses and shipped out over the fragile structure. We watched as all that water, the colour of chocolate pudding pounded against the road, the embankment, and the seemingly too narrow culvert that went under them.
Years ago I hiked up Exshaw Creek, into the South Ghost River, and down Cougar Creek from its headwaters with author and geologist Ben Gadd. Ben lived in Jasper then, and upon seeing the multimillion dollar homes built on the outside bank of Cougar Creek, and the culvert under the road, said something to the effect that they wouldn’t last.
Works crews laboured around the clock to save that bridge. They did. How remains a mystery; and one of the greatest success stories of that first day of the deluge, but on Thursday it looked very much in doubt.
As the water rose that afternoon we shut off the gas, power and water to our house, packed a few bags with everything from our marriage certificate to sleeping bags and left.
Life is uncertain. We had no idea what would happen if officials, as it was rmoured they might, diverted Cougar Creek down Elk Run Boulevard to prevent the creek from breached the bridge. Elk run is long, straight and steep and the velocity of water rushing down it would have been uncontrollable. Our home is just a hundred feet from that spill-way.
Nor did we know when we’d be able to return home, if we had a home to return to, or what condition it might be in if it was still standing. We put everything of value on the third floor, closed the door and walked away.
We spent three days and two nights at Gareth Thomson’s home, ironically just a hundred feet from the flood waters behind the dyke along the banks of the Bow River. We stocked up on groceries, put aside a lot of water, bought beer, wine and Tequila (the latter is listed as a critical item on the list of supplies to have on hand in case of any emergency) and settled in.
Through all of this my mother, who arrived on Wednesday night, and noted as we drove into town that the creek looked awfully wide, and wondered what all the fire trucks and police cars were doing on the Cougar Creek bridge – remained stoic. Sure, she had a few minutes here and there, as we all did, spent in frustration, but in general she went with the flow. So to speak.
Gareth, Jenn and I spent Friday driving around town, offering to help people in need, carrying their stuff (and holy crap do people have a lot of crap, but that’s another story) out of basements and garages at risk of flooding.
Friday afternoon I took a panicked call from someone just a few streets away saying that “a dam had breached and that we had to evacuate immediately.” We threw our gear into the back of Gareth’s car: whatever we had already packed, along with some valuables, computers, my camera, my mom. Someone grabbed a box of granola bars, and I grabbed the beer. We abandoned the tequila to the expected deluge.
Five minutes later we got another call: No dam had breached (more realistic concerns have arisen about the Lake Minniwanka dam since); it was only some rising water along the street. We noted the children still frolicked in the puddles; a surreal scene. We unpacked the beer and set about drinking it.
Saturday we were allowed to return home. Not a drop of water got into our house, the bridge over Cougar Creek remained standing, through the landscape around it will be forever changed, as will the lives of all those who lived along its banks.
Life is uncertain; we don’t know what will happen, or when we will die, and what will happen when we do. But there are foundations on which we build our existence, and for millennia humankind has based how we live on certain assumptions. One assumption is that nature has patterns that can be predicted and that we can shape our lives around.
That is no longer the case.
Climate change literally changes the game; all the assumptions we have made about where we live and how we carry out our lives must be thrown into the flood and a new set of assumptions created. The problem for humanity is that we like predictability, even if it is myth. Climate change reveals the hoax of this way of life.
Hurricane Katrina, the floods in Pakistan, Super Storm Sandy, two-kilometer wide tornados; these and a thousand other instances of bizarre, destructive, random and seemingly unpredictable weather events are the new norm, and from the perspective of people trying to live as we always have – where we crave certainty – they are anathema to our sense of security.
In the wake of the floods of 2013 Canmore, Calgary, and every other community affected has come together to work as a family to clean up and rebuild. I’ve got my tools in the back of my car and when I see someone posting they need help, I drop what I’m doing and head out the door. In Calgary a posting for 300 volunteers nets 5,000. That’s how we we’re going to get through the next year or two; working together. We use our hearts and our heads and our skills.
We’re going to need a whole new set of skills, and reinvent some old ones, to cope with that is coming. We’ll need to learn how to build bridges, fortify river banks, build on higher ground, store food, use less, love more, and remember that we’re all living downstream, in nature, surrounded by both the causes and consequences of our actions.
Maybe the most important skill we’ll need to face the Great Uncertainty that climate change presents is to sit with the knowledge that we simply won’t know what’s going to happen next.
A few days ago I finished the first draft of what will be my tenth novel. I took a few hours off and the next morning began work on the story edits of what will be book number nine. Next week I’m going to be reviewing the galleys for book number eight. This is a dream come true; it’s what I’ve spent the last twenty-five years practicing for; to be an author with a steady stream of books being published and people finding enjoyment reading them.
The challenge for me is that all of this writing takes place not in the fictional world where authors retreat to the woods, or to a sea side resort in the Bahamas’ to pen their masterpiece, but amid the chaos and distracts of everyday life.
This morning I was working through the edits on The Glacier Gallows; this will be the fourth book in the Cole Blackwater series. The story edit process is a tough one. I have an amazing editor who knows my work well and helps me craft and hone each story. I write the book, but she keeps me from getting bogged down, repeating myself, or from making some egregious procedural mistakes with my crime fiction.
The Glacier Gallows has been a pretty easy edit so far. I have to re-write a few sections, but for the most part things are moving along well. That said, it does require concentration, and when I’m deep into the story, it’s sometimes hard to extricate myself to deal with the world around me.
So it was this morning. The boys needed supervision and there were logistics to be sorted out and all I really wanted to do was stay absorbed in what I was doing. Returning to the real world from the fictional one didn’t go well. I wasn’t at my best.
But that’s the way it’s got to be. I don’t have the luxury of being able to disappear four or five times a year to pen first drafts and do story edits. And I wouldn’t want to miss my real world for anything. Every morning is a blessing; to wake to find I have a healthy, beautiful family, a full-time job making the world a better place, and the ability to venture out into the surrounding mountains to ride, run or ski. Sure, these things require me to parse out my time transfixed by the imaginary world of my characters, my essays, and my photography, but they are what fuels my creativity, and I couldn’t have one without the other.
The bomb blasts that rocked the City of Boston and its annual marathon were not only an assault on the 24,000 people running the race, and the hundreds of thousands of spectators who cheered them on, but on the human spirit as well.
Anybody who has ever participated in such a race knows that the finish line holds almost magical significance in the heart and soul of a runner. I’ve never run a marathon, but I’ve run shorter races, some of which were very hard, and the finish line is a place of both exhaustion and exuberance, and can signify a triumph over both physical pain and the mental barriers that have been repeating, over and over in the runners mind: “Just give up.”
When you cross the finish line – even if you crawl, on hands and knees – you are telling those voices that you are stronger than they are; that you can persevere. In every race I’ve ever run I always return to the finish line after I’ve crossed it and cheer on the few remaining racers who are still on the course after I’ve completed it. These are personal victories over bad knees, gasping lungs, stitched ribs, thirst, hunger, fatigue, and the pantheon of condemning internal voices that every runner rebels against.
The bomb blasts at the finish line of the Boston Marathon were a direct assault on the human spirit that triumphs over all of these obstacles.
Our challenge now is to rise even higher; to lift our hearts and voices above the madness of a few people who care so little for life, for love, for the story of each and every living soul who has struggled and overcome 42.2 kilometers of elation and adversity, and a life time of hindrances both great and small. Fear is the enemy of love and of life. The new finish line that must be crossed is the one that carriers us over the demarcation between fear and hope; between fear and love. In this race too we must quell the voices of doubt and trust in the indomitable nature of our spirit to see us through difficult times.
Sometimes you just can’t stop. Sometimes, despite knowing that slowing down, stopping, regrouping, is the best way to handle a plot challenge, or the slow-as-molasses in January feeling you get while working on a first draft, you just keep going.
That’s what I’m doing with Black Sun Descending. It’s been, by far, the most lethargic first draft I’ve penned as a writer. I’ve been at it for six weeks and I’m just 43,000 words in. Normally I take a month and I’m done. The words just pour out like sewage from a ruptured municipal pipe, all raw and fowl but at least on the page, and ready for the second draft treatment.
Not Black Sun Descending.
Part of it is I’ve been on the road a great deal with my full-time, paid work; part of it is I haven’t outlined this novel as well as I should have. Maybe part of it is I’m distracted by so many other book ideas that Black Sun literally has to compete for neural pathways to get to my fingertips and out onto the computer screen.
I did take a few hours the other morning to stop my manic effort to bulldoze the book into existence and sort out a few plot challenges. Who are all these people, I asked myself? Who are the suspects, the supporting characters, and what are their motivations? Normally I work all of this out ahead of time, but for some reason I just threw myself into this project with considerably less of an outline than I’m accustomed too.
Four years ago I wrote the synopsis for this three-book series, with Black Sun Descending being the second book of the trio. Sitting on the North Rim of the Grand Canyon I mapped the whole Red Rock Canyon Mystery series, and when I returned from that trip, wrote a six-page précis of the novels. That’s what I’m working off of now. Usually I’ll have twenty or thirty pages of a hand written story-board. Now I’ve got two pages of typed material and it’s proving to be insufficient.
Why? Because writing a first draft is no time to stop and wonder what the hell is going to happen next, or who is this character and why do they keep insisting on showing up in my manuscript.
I got some of that sorted out the other day, but I’m still flying a little blind. And I suspect there is a canyon wall somewhere there in the fog.
I’ll get through it. If you scroll back through some of the posts in the Deconstructing Draft One section of this blog, you’ll see, as I do, that its always the same. Middle of the book: slow down, complain, question, moan, and keep going. Its the only way to get these things done. Plow through. No matter what.
It’s dumping snow and I’m sitting at my keyboard, rather than hitting the slopes. That must mean I’m working on a first draft. The book is called Black Sun Descending, and it’s the second novel in the Red Rock Canyon mystery series set in the American Southwest.
It’s been ten months since I finished the first draft of The Glacier Gallows. That book, the fourth instalment in the Cole Blackwater mystery series, is now safely at my story editor (safe, that is, until I get it back and all hell breaks loose).
Ten months is a long time for me to go without working on a first draft. My publication schedule with TouchWood Editions has us releasing a book every six months. With three series on the go, that means whenever a new book is released in one series, I start working on the first draft of the next one. That leaves 18 months for the development of a novel, from word one to the final edit, cover design, printing and launch. That’s not much time, and my publisher has suggested that we need to get ahead of the curse and start working 24 months in advance.
That’s a great theory, but it’s proving tough in real life.
It’s not because I don’t want to write, or have ideas; the opposite is true. I have too many ideas. And sometimes life gets in the way.
Shortly after The Slickrock Paradox, the first book in the Red Rock series, was released last September, Jenn and I went to Morocco. The fall had been very busy with my paid work, and I didn’t get a jump on Black Sun for a variety of reasons. We spent three weeks in Northern Africa, and on the last day in Marrakesh we learned that Jenn’s mom, who had been sick with pancreatic cancer for a while, but who had been stable since June, had suddenly fallen into a coma. It took us 48 hours of exhausting travel to get from Morocco to Spain, London, Calgary and finally Nanaimo. We spent a week at her bedside before she passed away without having woken.
Two weeks later my mother’s husband, Ernie, died of cancer too.
I didn’t write a word of Black Sun until early January.
There have been other words in the intervening months. I wrote three new essays for my forthcoming work of non-fiction, Running Toward Stillness, to be published by Rocky Mountain Books in September. I also worked with the amazing editors there on the final story and copy edits, and spent a spellbinding week sorting through some 20,000 of my images to select forty for that collection. That was a highlight of the last few months for me; I’ve dreamed of having my photos published for longer than I’ve dreamed of being a writer.
All that to say, I’m behind. Fortunately, TouchWood made the decision not to publish my next mystery until next year at this time – so I wouldn’t have two books released at the same time – so I’ve caught a break time-line wise. I’m 15,000 words into what I expect will be an 80,000 word first draft, and have started to develop the familiar rhythm to the work. I’m writing a couple thousand words before breakfast most mornings, and on weekends I’m getting in three or four thousand down on paper.
It feels good, and I’m enjoying the characters and the plot and trying not to get hung up on research as I’m writing. I’m keeping a list of big questions that I’ll have to go back too to sort through at the end (such as, how long would it take a body to decompose if it was buried in the toxic tailings of a uranium mine?).
My constant enemy in this process isn’t writers block. I’ve simply never, ever had it; never for more than a few minutes or an hour. I’m simply too bull-headed to stop. My theory about writers block is to just keep writing, no matter what. No, my enemy is ideas. I have too many of them.
In addition to the seven books I’ve had published (The Third Riel Conspiracy has just been released), and the three that I currently have in the works for publication in the next 18 months, I have another twenty-seven book ideas in some form of development. Yes, I am a geek: I keep a chart.
When Jenn and I were in Morocco, a simple event like taking too long in the washroom at the airport spawning a story idea that by the time we returned had developed into a novel called Insha’Allah: The Willingness of God. Last week, in the time to took to walk to the bathroom at 3 a.m. and back, a few decades of thinking about a book set during the French resistance during World War Two became a trilogy mixing sci-fi and hard-boiled noir called Occupied.
You see the problem? I’m writing about 200-250,000 words a year right now, including all this inane blogging. Two books a year is a hell of a pace for a guy with a full time job. Thirty books will take me fifteen years to write. I’ll be fifty-seven. And it’s not like I can turn off the tap. Hell, I’m afraid to go to the john at night for fear of having new ideas.
My challenge is to stay focused. To, as blogger and novelist Chuck Wendig says, finish the shit I start.
So Black Sun Descending is on my morning’s agenda for the next month. Stay tuned to the Deconstructing Draft One section of this blog for updates from the front lines.