“Orphan Black” is Mind Blowingly, Jaw Droppingly Satisfying

Kerplow!

That’s the sound of my mind being blown.

“Orphan Black” does it again with this week’s episode, “Knowledge of Causes, and Secret Motion of Things.”

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If you aren’t watching “Orphan Black”, you should be, so let me catch you up. Street thug Sarah Manning discovers she’s a clone after watching her “identical twin” commit suicide by train. She joins forces with her clone-mates, suburban housewife and mother, Alison Hendrix, scientist Cosima Niehaus, and her actual twin, the wild Helena, to figure out the story behind the clones’ origin.

This week, sick Cosima can be cured using Sarah’s daughter Kira’s stem cells; both Sarah and Kira are on board with sharing a little of Kira’s DNA. Dr. Aldous Leekie (love that name) is given a chance to live by evil clone Rachel provided he run and never look back. And Alison blabs about her role in her neighbour’s death to Vic (Sarah’s ex) who is selling her out to cop Angela Deangelis (Angel the angel – another great, if not redundant, name).

On to the mind blowing. Fuse Number One: the reunion of Sarah, Felix, Vic and Alison in a clever moment of comic relief.

The last time these four got together Vic lost a finger. Since then, he’s enrolled in rehab where he meets Alison. The two strike up an unlikely friendship which is understandable once we realize Vic plans to sell Alison out to Deangelis. This week was Family Day. Vic won’t send Alison up the creek if she arranges a meeting with Sarah so he can atone for his sins. Sarah and Felix arrive at the facility. Sarah is confused for Alison and forced to role play with Alison’s husband, Donny, with laugh out loud results. Poor Vic is drugged by Felix and everyone in the facility thinks he’s relapsed.

Donny is the key to Fuse Number Two.

Alison has always suspected Donny was her watcher. This week we learned he thought he was involved in a sociology experiment, like they did in university. Turns out he had no idea who he was actually working for or that Alison was a clone. When Alison accuses him of ruining their marriage, Donny seeks out Leekie, forces him into his car at gunpoint and Leekie confesses. Donny accuses Leekie of ruining his marriage. Leekie berates him. Donny gets angry and bangs his hand–and the gun–against the steering wheel. The gun goes off. Leekie’s brains are splattered all over the inside of the car.

My jaw dropped and stayed unhinged for several moments thereafter.

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Then I laughed.

Then I cursed. How dare “Orphan Black” keep me hanging as to what comes next for an entire week?

I don’t know about you, but I can’t wait to see what happens next!

 

What is a Story Cartel?

dinghy

…when it’s done, we’d connect our dinghies in an everlasting virtual cartel…

I’ve just entered Joe Bunting’s contest to win one of three memberships in his next Story Cartel group.

Here is my entry:

The writer’s group I belonged to disbanded a number of years ago. Since then, I’ve been afloat without a paddle in a small rubber dinghy with room enough for one. There is a teeny tiny hole in the bottom of the boat. Most of the time I am able to plug it with my finger and forge on with my writing. Sometimes the waters of self-doubt seep in and no matter how quickly I paddle, I cannot stave the flow. Belonging to a writer’s cartel would help connect me to a group of passionate, like-minded individuals. We would listen to each other’s tales and offer support, advice, and encouragement, patching each others’ dinghies. We would teach each other what we’ve learned about the world of publishing, make connections with fellow cartelistas, and build our readership. Then, when it’s done, we’d connect our dinghies in an everlasting virtual cartel and sail off to apply what we’ve learned, posting the occasional tweet about a fellow cartelista that reads “I knew him or her when.”

Wish me luck!

Overcoming Writer’s Doubt

This blog post represents my entry in the “Overcoming Writer’s Doubt” Writing Contest held by The Positive Writer.

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“I wish I could write like that,” I said to my husband. We were in the car heading home from the theatre having just seen “The Mummy Returns.”

“You can,” he told me, and for the first time, I shared the story that had been tumbling around in my head for the twenty or so years prior.

The rest of that summer was spent in the eye of a perfect storm of creative fury, spurred on by my love for science fiction, the abundant resources of the Internet, and the fact that I had been tasked to teach Writer’s Craft that coming September. As I researched the finer points of structuring plot, character, imagery and theme while preparing my lessons, the trickle of words I’d only ever been able to muster soon became a deluge. In my dreams I saw my novel on the shelves of bookstores and on bestsellers’ lists worldwide.

Nearly ten years passed before my masterpiece was complete and I was ready to shop for the perfect venue for my book. Back then, few publishers and agents were accepting submissions via email. Printing out my novel and mailing it was cumbersome, not to mention expensive. I soon succumbed to doubt and gave up on my writing career before it had even begun.

Then the next idea took root.

I ignored it at first, reluctant to take another ride on the writing roller coaster. Before long, the incessant chatter of the characters could not be silenced by anything other than my transcribing their story.

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Five years later Phase Shift was finished. A few more publishers and agents were accepting unsolicited manuscripts than before, but not many. After a year of fighting the good fight, and another twenty or so rejections added to my pile, I realized my submissions had amounted to nothing more than expensive lottery tickets. Actually, I’d convinced myself, I probably had a better chance of winning the lottery than getting published.

I took time to lick my wounds, wallow in writer’s doubt and decide if the writing life truly was for me.

I was teaching grade ten English at the time. Over a period of about three years, I’d listened to near a thousand student presentations on young adult novels. Every semester my awe at the torture YA novelists foisted on their characters grew; global apocalypse, false accusation, abuse, addiction, pregnancy, murder–no topic was sacred.

In my discussions with them, the librarians at my school encouraged me to write YA. At first, I had no clue where to begin. I’d always wanted to write a vampire story, I thought, so I began where I’d begun almost every project I’d ever tackled–doing research. It was during the  research phase I discovered revenants, kissing cousins to vampires in traditional lore. I soon realized I’d stumbled upon an untilled field of possibility. As little was known about revenants, I could shape them into almost anything I wanted.

Coincidentally, Nanowrimo was not far off that year. If I could force myself to stick to the regimen the contest demanded, I could bang out most if not all of my first draft in as little as thirty days. In spite of the demands of my job and my family, I “won” Nanowrimo and spent most of the next six months finishing and polishing my manuscript.

I felt good. I’d written my best work yet. I was going to be published by a traditional publishing house, but not before a knock-down drag-out bidding war between publishing bigwigs for the rights to my book. I was going to be the next Stephanie Meyer! The next J.K. Rowling! Bigger!

And then I began to send out queries.

When the responses started to roll in, elation was replaced with the first buds of writer’s doubt.

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“Your book doesn’t seem right for us.” I could deal with this kind of rejection;  the problem wasn’t me, it was them. I soldiered on, but with each successive rejection I started to realize maybe the problem was me. What if It was worse than me? What if it was my writing? I could always change a plot or write a new story, but if my writing was the problem…?

With each new rejection it became harder to navigate the waters of the river of writer’s doubt without slipping under.

I decided to focus on my next novel (which I tentatively titled I Am, Was, Will Be Alice), allowing The Revenant to stew on the back burner for a while. I liked my Alice novel. I liked The Revenant, too, but if it wasn’t meant to be then I’d have to write another magnum opus and try again. I believed in The Revenant, even if no one else did. I took a course on how to market a book, resolving to self-publish and run with it myself if no one had picked it up by the summer.

Then the gloriously unthinkable happened: one of the publishers I’d contacted was interested in publishing my book. A week after I’d heard the news I’d signed the contract. The stormy waters of self-doubt settled, the clouds parted, the sun came out. I might have heard harp music and choral angels sing.

I was going to be published!

I’m not going to lie and say I’ve managed to permanently banish writer’s doubt from my life. As long as my success hinges on how well others receive my work those thin tendrils of writer’s doubt, the ones that threaten to take root and sprout buds will always be there.

Let’s just say I’ve managed to prune back the branches for the time being.

The Revenant, a YA paranormal adventure novel by Elise Abram is set for a 10 July 14 release by Black Rose Writing.

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Literary Devices from A to Z – Brought to you by the letter Z

 

 

 

is for Zoomorphism

 

 

 

 

According to The Free Dictionary, zoomorphism is the use”of animal forms in symbolism, literature, or graphic representation.” When using zoomorphism, animal traits are given to a human or inanimate object (Literary Terms and Definitions).

The morning after Malchus awakes in The Revenant, the weather is described as follows:

The air was chilled and damp, wind whistling as it pranced through the leaves of the tree-lined street. Sheila linked her arm through Malchus’s and shivered. A snowflake lit on the tip of her nose and then another.

In this passage, the wind prances, something we usually attribute to horses during a show. The snowflakes light on her nose, something we usually attribute to bugs or birds.

Pop quiz: Zoomorphism is closely linked to two other literary devices described in this blog through the challenge. What are they? Post your answers in the comments below.

Afterword:

The A to Z Blog Challenge 2014 was a blast! I hope you had as much fun reading my posts and writing your own as I did. 

Best wishes, everyone. I’ll catch up with you during Challenge 2015!

Literary Devices from A to Z – Brought to you by the letter Y

 

 

 

is for Young Adult

 

 

 

Young adult (YA) novels are novels that appeal to adolescents and teenagers. In YA the main character is usually a pre-teen or teen and theme is often emphasized over the more traditional elements of storytelling such as plot and character. I’ve recently begun my foray into YA novel writing, with the soon to be released The Revenant and next year’s release (hopefully) of I am, Was, Will be Alice.

YA novels are usually subdivided into 3 genres, middle-grade (10 – 13ish), true YA (14ish to 18 or so) and new adult (19+). Most of the time the main character is the same age as the target audience.

The actual target audience of YA is hard to gauge as, quite often, adults enjoy these novels, too. This accounts for the popularity of such blockbuster series as Twilight or Harry Potter.

Do you read YA? Do you purposely seek out YA or do you read a book if it appeals to you regardless of it’s intended audience. Post your opinion of YA novels in the comments below.

 

 

Literary Devices from A to Z – Brought to you by the letter X

 

 

 

is for Xenophobia

 

 

 

 

Xenophobia is a fear of strangers or of the unknown. It is frequently used as a device in literature, especially science fiction literature.

My theory is that, in times of war, the stranger is the enemy, be they German, Russian, or Mid-Eastern. During times of war there is an upswing in the number of books, movies and television shows where the stranger is the enemy. In World War I and II, most people had no idea what the typical German was like, except that s/he was different from typical Americans (or Canadians or Britains). Ditto Russians during the Cold War or people from the Mid-East since 9-11. It makes sense to cast the stranger with the unknown culture, the object of fear, in the position of the enemy in the media.

In times of so-called “peace”, there is an upswing in the number of popular culture projects in which the alien–as in from another planet–is the enemy. This is because with the advent of the Internet, the world has gotten smaller and we pretty much know about every culture there is. But a stranger from another planet? Now that is something to fear.

Most works simply assume aliens are out to annihilate the human race. Aliens speak a foreign language, they look different than us, and their culture–if it exists–would be different than ours as well. The truth is, most aliens would probably look more like Star Trek‘s Horta than its Klingons. Does a steaming mass of lava  or a shimmering plasma field have a culture? Can it/he/she/schlee have a culture?

I’m not sure what is more frightening to me, the likes of  Hannibal Lechter and Joe Carroll, or Lrrr and Ndnd from Omicron Persei 8. What’s scarier to you–an ordinary human psychopath or an alien from another planet? Would you fall prey to xenophobia and automatically assume the alien is your enemy? Post your opinions in the comments below.

 

 

Literary Devices from A to Z – Brought to you by the letter W

 

 

 

is for Weather

 

 

 

Pathetic fallacy is when inanimate objects of nature–specifically the weather–mimic human emotion. The distinction between pathetic fallacy and personification is as follows: personification “gives human attributes to abstract ideas, animate objects of nature or inanimate non-natural objects” (Literary Devices).

An example of this occurs in Phase Shift. After Molly finds Stanley’s body, she says,

At the foot of Stanley’s driveway. In the rain.  Police offer me hot drinks and dry blankets. Refuge from the drizzle in a cruiser. They think they’re helping. Won’t help take the chill off. 

On this night, the weather is cold and rainy, the perfect atmosphere for coming to terms with finding a body that appears to have spontaneously combusted and for finding out that you may be under investigation for setting the fire.

Think about the weather during “There’s a Light (Over at the Frankenstein Place)” in “The Rocky Horror Picture Show”, or the lightening gathering as Macbeth meets the witches on the heath. What other notable uses of the weather via pathetic fallacy stick out in your mind? Share your ideas in the comments below.

 

 

Literary Devices from A to Z – Brought to you by the letter V

 

 

 

is for Verisimilitude

 

 

 

Verisimilitude is the appearance of reality in a work of fiction.

I have written before about how all narrative is a construct of reality. This means that it is supposed to seem real, but it’s not really reality, it’s just constructed to appear that way.

My soon to be released novel, The Revenant, is case in point. Revenants as described in my novel do not exist in reality. And though they are believed to exist in certain circles of belief, the jury is still out as to whether seers, aura readers, empaths and possessed spirits actually exist. As a writer, that is none of my concern. As a writer, my job is to make you, the reader, believe my story could be real, that these creatures could–and in fact do–exist.

I recently had a verisimilitude shocker. I set out to travel the downtown core taking pictures of places documented in The Revenant. When I arrived at Yonge-Eglinton Square, I was surprised to see that the square was under construction. By the looks of it, they were extending the shopping plaza there out and into the square! My heart sunk at the thought of the size of the re-write–I’d have to relocate the scenes there to Dundas Square if I wanted to maintain the verisimilitude of the scene. That is, if I wanted people to believe the scene was real based on the scenery I described.

How important is verisimilitude in a piece of literature to you? If you read about a scene and there are errors in the location or the science being described does it spoil the story for you? Post your comments below.

Literary Devices from A to Z – Brought to you by the letter U

 

 

 

is for Understatement

 

 

 

Understatement is when something important is minimized in order to draw attention to it.

In Chicken or Egg: A Love Story, Paula is convinced she must kill Daniel before he kills her. It’s not until the two of them get together and begin to talk that they realize there is more to the story than Nigel is telling either of them. At one point, Nigel squirrels Paula away in a secluded cabin owned by his company. Because the cabin used to be Daniel’s before Nigel used time travel to essentially steal the company and all its holdings, Daniel also decides to hole up at the cabin until he can figure out a way to dodge Paula. The two of them wind up at the cabin together and go for a walk in the woods and Daniel says,

“So, I’m curious…You seem like a nice enough girl; what makes you wake up one day and decide you want to kill someone like me?”

Here, the nonchalance of Daniel’s question is the understatement. That he can so calmly ask a question like that of Paula, that he can find humour in a situation like this, underplays the danger which  serves to underscore the “which came first” element implied by the title of the work.

Do you every use understatement in your conversational day to day speech? In your dialogue when you write? Do you find it a helpful literary device or is understatement the bane of your existence? Weigh in  with your opinion in the comments section below.

Literary Devices from A to Z – Brought to you by the letter T

 

 

 

is for Theme

 

 

 

A theme is a recurring idea that is alluded to throughout a piece of literature. It is almost like a hidden message about people and the human condition buried deep inside a story that you must read between the lines to figure out. Theme may be expressed in the form of a thematic statement as follows:

The novel Phase Shift is about the environment and reveals that if people continue to choose economy over ecology then our planet is doomed.

The novella Throwaway Child is about the injustice of the residential school system and reveals how one’s culture and family are inseparable from one’s identity.

The novella The Mummy Wore Combat Boots is about online video gaming and suggests that too much gaming may cause one to lose reality as a priority of life.

The novel The Revenant is about good vs. evil and reveals that these distinctions are not mutually exclusive.

You try it! Pick a story, decipher the theme of the work and write a thematic statement about it. Post your thematic statements in the comments below.