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Why Didn’t She Say Something?

“Why didn’t she say something?” That’s what a reader asked me back in 2013, angered that Wendy suffered in silence after an assault. My YA novel, How Wendy Redbird Dancing Survived the Dark Ages of Nought, grapples with a survivor’s dilemma: speak up and risk not being believed—or worse, being destroyed by the perp and the public.

And listen to the same chorus ringing out today.

When a woman speaks out shouldn’t be the point, but watch it become the subject. Trust that Wendy’s silence is complicated, as is her eventual speaking out.

The simple truth is what Jessica Goldstein said so well recently in McSweeney’s: “As young girls, we feel like maybe now is a good time to just throw something out there. See if it sticks. A PSA to all grown men on the face of the Earth: We do not want to have sex with you.”

Let’s try this again: Why didn’t she say something?

Because what happened is too horrible to put into words.

Because reliving it might make you faint or vomit. Or kill yourself.

Because he’s older.

Because Mom is overwhelmed by her life and always upset about something.

Because he’s Mom’s boyfriend.

Because he knows a ton of people in this town.

Because you won’t be believed.

Because everyone will talk about you.

Because now you’ll be That Girl.

Because everyone else is living a simpler, happier life and your trauma will interrupt theirs.

Because you’ll be asked why–about the outfit, about the time, about the situation. About the relationship.

Because you must have done something to encourage him.

Because smart girls should know better.

Because the candy store at the mall uses girl bodies to sell sugar.

Because someone near you just made a joke about sluts.

Because you’re busy looking over your shoulder in the parking lot.

Because close to 50% of Alabama electorate just voted for a pedophile.

 

 

 

Minerva with Too Much to Say

Us writers, we have wa-a-a-a-a-y too much to say. Just like teachers, just like teens. All of whom I’ll find a way to mention in this post.

One time when I was teaching English, I took a group of 10th graders on a walk. We were reading Jon Krakauer’s book, Into the Wild, about Chris McCandless, who risked his life in the wilderness of Alaska instead of embracing a mainstream lifestyle. We took a meditative walk on a trail through the woods in a local park and preserve. “15 minutes of quiet,” I told my class. “That’s all you have to do. Walk. Breathe. Think.”

But Jeremy couldn’t stop talking.Minerda hides in the girls' bathroom after being bullied by other girls in school.

“Jeremy!” I called as gently as I could. “Please, be quiet!”

“Okay, Ms. Fairchild.”  And yet he kept talking.

“Jeremy!” I raised my voice. “I mean it!”

“Okay, okay!”

We had quiet for a brief respite. Then: more chatter.

“Jeremy!” I’d had it. “Why can’t you meditate for a minute? Close. Your. Mouth!!!”

“But Ms. Fairchild!” he called back. “I just have so much to say!”

He’s a musician now. I’m so glad I couldn’t shut him up.

I was that talkative kid, and am that kid still. Many people who become teachers are the highly verbal souls, storytellers enamored of narrative and lovers of wordplay. We love the stage, the drama, the moment when the right words fall into the right order.

Minerva Mae Christopoulos is that girl brimming with opinion, and synonym, and late-breaking tickers of news. She wants to be Christine Amanpour. She wants to expose corruption and be a journalist in a world where people are a bit fuzzy on what constitutes honest news. Her hashtag? #truthwillout.

Robin Follet found a way to bring her character to visual life in our collaboration, Minerda, and visualize the writerly kid who keeps jabbering when one no one wants to listen. Robin’s amazing illustrations do the talking, in a way my novel couldn’t. I tried a prologue. I tried weaving in back story, so people could empathize with Minerva and understand why she’s so angry at certain girls when she hits high school. The solution was a prequel in the form of a graphic novella–and it became a rewarding collaboration.

If you know my work, you know that bullying threads through all my books: How Wendy Redbird Dancing Survived the Dark Ages of Nought; in my forthcoming novel, How Minerva Mae Christopoulos Set the Record Straight; and in my short-story collection, The Flat and Weightless Tang-Filled Future. Wherever people indulge what Dr. King called “the drum major instinct,” dividing us up by race, religion, sexual orientation, and every other label, there’s a story to tell about the power plays. I want to explore how we can rise above the meanness.

Bullying is a case of “too much to say” in all the wrong ways. It’s viral now because the Internet lets us wag our tongues all day and night. Anonymously. And what’s the most fascinating thing to wag your tongue about? Conflict. Fear. Hate. We love drama. Our culture is obsessed with spectating pain. We’ve got Twitter wars, we’ve got trolls, and all kinds of new phrases for today’s ways of hating on one another.

As a person with so much to say, and as fallible as anyone else, I have to ask: How can I expose what’s happening? How can I help change the dialogue?

We handed our kids something with more computing power than our first rockets into space–the smartphone–and then we walked away, saying, Good luck out there, kids. Godspeed in the biggest and most unsupervised library/public park/cage fight you could ever imagine.

Art helps us stop and ask why. I write because I figure it’s a way to reach a kid who needs the hotline at the end of the book and get her asking for help. It’s a way to help the parent, teacher, or counselor ask a teen how his day was. This book is for any of us haunted by someone’s words, still rattling our bones and shaking our confidence in grown-up situations, reminding us to change the dialogue in our heads. Maybe because of art, we’re sometimes a little softer, gentler with each other, for having walked momentarily in memory or someone else’s shoes.

Art allows exposure. My books out the dark, ugly scrawl of what we text, post, and tweet, unable to see the face of the recipient but still so sure those words need to be said. All my stories are grounded in the technology of the time and show how we and our kids navigate the wilds of things such as Twitter, Tumblr, ask.fm, and Snapchat. Once you see it in black and white, not so ephemeral, it might hit you in the gut and wonder if you should pass this book along to a teen. That’s some ugly stuff Lyn just printed. Then check a teen’s phone and then you might just pass this along. Because my books celebrate the youth who question this, who want the verbal violence to stop, and who will actually take some kind of action to stop it.

A side note about Snapchat, known as the sexting app: it’s now known for “stories.” One blogger recently shared how and why Snapchat is popular with the under-25 set because of the ability to a) share a tale and b) live in the now, just like physical interaction. You send your series of snaps (stories), the in-the-moment life you’re leading. No filters, no edits, no lies. No comments, no likes.

Less scrutiny means less chance for bullying.

If the epidemic of verbal violence today were a viral or bacterial outbreak, we’d take immediate and forceful action. We’d find the sources of transmission and intervene. Quarantine, clean, remove what’s necessary. We’d wash our hands of the ubiquitous technology–i.e., turn it off, monitor better, say it’s time for a break now–and rest in the moment without comments. My generation wasn’t haunted by tormentors during the ABC Afterschool Specials, because we could turn off school when we got home. We didn’t have to pick up the phone or go outside. We silenced the exchange for a time. We got a break, but kids today do not.

Let’s fill the airwaves and the wifi with whatever is pure, good, right. And whenever we can, stop, disconnect from the drama, and tell the truth.

As Minerva might say, fist in the air: #truthwillout.

Me and Minerva Mae

Writers don’t talk about how we’re constantly living with a couple lovers in our heads.

You know I mean characters, right? The figments we create, the protagonists and antagonists, Frankensteins we piece together to make a walking, talking body so readers will believe the very aliveness.

As I’ve slogged through my second novel in the Gifted, Weird, Wise Girl series, I’ve pursued Minerva, my teen narrator, trying to understand her heart and soul.  The obsession is not unlike crushes I had on guys when I was a teen, the ones I only caught glimpses of in the halls.  I’d overhear a conversation, get an accidental glance, then make a feature film out of those details. I crush on every one of my characters, dying to get to know them.paper-pen2

When you fall for someone, you see that person everywhere. Minerva haunts my commute to work and songs on the radio, she comes to mind when I’m reading a seemingly unrelated NPR story, she flickers through the pop culture drivel of the E Channel updates. Minerva, Minerva, Minerva—how can I help people see all your beauty?

Just like a crush out of reach, a character is that unfathomable mystery you hope to crack by the book’s end. And after you paint the glowing portrait, much like a propaganda dance in that first draft, you find good friends to bring you up short with a reality check. Thank God for beta readers. They’ll help you back off the obsession, put your stalkerish needs in perspective, and start editing to make the character more than a Sleeping Beauty or a Prince Charming—a real-life, flawed kid that makes the reader flip a page.

Minerva wants to take over the world as a journalist and be Christine Amanpour. She is disheveled with wild curly hair, and whenever she speaks, abrasive and always spouting big words. She challenges her teachers and her peers. And she wants to exact revenge on her bullies since childhood: girls whom she’s named The Bitches on Behalf of Carli. Minerva adores her best friend, Diana, the one who saved Minerva from lonely misery in seventh grade. Now it’s ninth grade and Minerva is poised to remedy the past by making a mark on the school with her words—and fighting back should the Bitches dare mess with her again.

Because I was so obsessed and somewhat blind while writing the first draft, I missed the fact my girl was too vengeful in the first act, never mind somewhat cold. I forgot to show depth and range of her loyalty and passions. Funny how devotion can look hard as metal and passion, dark and ugly. As I’ve walked with my character through the second phase of life, my love has deepened to something more mature, a relationship where I still adore despite the flaws, and still fight to the end for her rights.

I realized my deep love for Wendy Redbird Dancing when after three years, this hot mess of a girl and I were still friends and she, stronger in fiction than I’ve ever been in real life. She’s made bigger mistakes, taken greater chances, and survived more trauma than I. My heroine, my touchstone, my pal.

There are many strategies out there to get to know your character, and I’m a fan of list-making brainstorms and also Elizabeth George’s methods of character building (see her book Write Away). I think one truism that writers don’t want to admit when starting a novel is, It takes time. Lots of it. Just as you don’t really know a friend or a a spouse until it’s been a year or so—and even then, that’s truly just the beginning!—you don’t know your character till you’ve wandered in the woods with this person a good nine months. Of course I chose that symbolic gestation time; we can now switch to metaphors of birth and such.

Sorry, Relentless Era of Instant Gratification: you can’t know a character till you take that time. We may wish we could author books just like machines, but the laws of writing physics don’t move. There must be the ups and downs as there always are in the relationship rollercoaster, and ugly truth must surface as much as pretty epiphany.

The fact is, I’m in a relationship, and I’ve committed to this girl for life.

 

 

 

The Haunts with Substance: A Guest Post by C. Hope Clark

Do you believe in spirits? I do, and Wendy Redbird Dancing does. Someday soon Minerva Mae, my next gifted, weird, wise girl in progress, will realize that there are more things in heaven and earth than are dreamt of in her facts-only philosophy. I’m thrilled to have mystery author C. Hope Clark pay a visit to my blog to talk spirits and some of life’s mysteries.

Halloween was a candy holiday for me as a child. Few tricks made me jump. I never was one much for haunted houses or graveyard treks, either, except for the time I volunteered to be Frankenstein for the school’s fundraiser, and a scared boy almost broke my hand kicking me.

Gooey eyeballs and dismembered hands could be cool. Bubble gum fangs. But it wasn’t until The Exorcist came to the theater did I start thinking: what if spirits do exist?Hope Clark

I don’t mean the macabre sort of being that scares people then hacks their heads off. I’m talking about the essence of humans who have died but not moved on. I choose to believe their presence can be true. It makes a sort of sense. That energy has to go somewhere; why not amongst us?

We all have our What If stories, where we aren’t sure if something we heard, saw or felt was a ghost. Most of us are too afraid to mention them for fear of being taunted, but in close circles of friends we trust, we bring them up.

For instance, the year after my grandmother died, she appeared to me in a dream, led me through the sky to a church on a hill, and pointed to a cross. The message I read was that she now knows that religion is real. I recall my mother turning pale when I described the experience.

Fast forward to my adulthood. I built my current home on the site of a small, hand-built house we had torn down. The owners, Mr. and Mrs. Christmus, died in their eighties. He loved the place, having done most of the building. It faced the lake, and even when he couldn’t walk much, he rode a riding lawnmower to check out his garden and get the mail. He died there. She left a year later to an assisted living facility and died shortly thereafter. Before we tore down the house, I spent many days in it trying to envision how this family lived, wondering how I could respect their memories. I could sense them unlike anything I’d ever felt before. Picking through the personal items, I saved doilies, a Depression glass platter, a butterbean bowl, a velvet rocking chair, and several other mementos that seemed too precious to dispose of. That was nine years ago.

Almost every night now when I’m in my recliner, watching my token mystery show, I smell cigarette smoke between ten and eleven P.M. Some evenings it can make me cough. Keep in mind that nobody has ever smoked in my home. However, Mr. Christmus smoked. I often wonder if he’s making himself at home, and if he approves of his new digs. If he ever appeared, I don’t know what I’d do. Thus far, he honors my wishes of keeping things aromatic.

Some late night evenings, my dachshunds walk to the doorway and look into the next room, toward where we used to keep a dog bed that belonged to two other dogs that are passed on. Those two older dogs were precious to us, and I often wonder if they stroll around enjoying their old lives as my current puppies study those that occupied this home before them. My husband used to jest. It’s happened enough now that he no longer laughs.

Sometimes he smells the cigarette smoke, too.

I run all my experiences by a close friend of mine on Edisto Beach who is visited by spirits on auspicious days like birth and death days. She can name which relative appears on which day. Her jewelry gets moved, water comes on, lights flip off, the usual. Occasionally a waft of cologne blows across the air. A tissue flutters when there is no air. I used to chuckle at her stories. Today I grab a drink and listen.

I no longer discount the presence of spirits. While I have no proof they are there, I also have no proof they aren’t. To me, there’s something comforting about the idea we will be able to see people left behind once we pass on to the next life.

I’m a Southern author, and a couple of my books hint about haunts, or haints as they’re called in many places in the South. That’s what my grandfather called them. Ain’t with an H.

In my first mystery series, Tidewater Murder incorporated the Gullah culture that exists on St. Helena Island, South Carolina. They practice a voodoo of sorts, deeply entrenched in the actions of spirits. In addition to hexes and conjure bags, my protagonist also talks about the ghost of an old man who used to live in the house torn down near a lake. Imagine that.

In my second mystery series, Murder on Edisto takes place on gorgeous, secluded Edisto Island. A secondary character I created happens to look like my friend who happens to sage her home to rid it of bad spirits, and she takes time to entertain the good.

????????????????????????????????????????????????????????????????????????????????For future Edisto books, I’m researching the abundance of ghost stories in the region. The island owns a wealth of tales to include a love lost in a stormy sea, a bride murdered on her wedding day, and a child buried alive in a mausoleum. My spirit-loving character will have a chance to move front and center in those tales, and we’ll see just how much the spirits really love her. I can’t wait.

No, I’m not a fan of Halloween and all its silliness. Dracula, werewolves, zombies, they’re not real. But when it comes to spirits of people who’ve once been on this earth, people who had a story and seem to still want to relive it, I sit up and take notice. They receive a nod from me, and maybe a place in my next book. Hopefully that will give them something to take back to Spirit Central, on the days they aren’t kicking up their heels on Earth.

Hope Clark still smells cigarettes at night and gives her spirit his distance. She’s written the award-winning Carolina Slade Mysteries and the newly-released Murder on Edisto, the first in The Edisto Island Mysteries. She lives on the banks of Lake Murray most of the time, with frequent trips to Edisto Beach. Learn more at www.chopeclark.com.

 

 

 

 

How Much Reality Can I Take?

Note: Some of this post is adapted from “How Much Reality Can I Take,” posted originally on April 16, 2011.

“Time for another sweeping generalization: YA novels will end with more connections (new ones or healed ones) than disconnections. And most certainly, the book’s major relationships will not be left disconnected.….that teen reader is delivered to an emotionally safe landing place. The assurance that there will be such a landing place represents the line between YA and adult literary fiction.”

– Marsha Qualey, “Real or Imagined: The Line between Young Adult, Crossover, and Adult Fiction”

By page 24 of the YA novel Rage: A Love Story by Julie Anne Peters, we learn that the protagonist, Johanna, has lost her mother, has been abandoned by her sister, has been assaulted by a mentally disabled boy at school, and has a crush on a decidedly violent girl named Reeve. Oh, and did I mention that Johanna works for hospice?

On page 24, I had to put the book down. And ask myself: In my fiction, how much reality can I take?HWRDSTDAON 300x200

When I pick up novels, I need a coherent story woven to produce meaning. I don’t turn to narrative for a “here’s what’s happening” reflection of reality, the fact that life is terrible sometimes or all the time. There is plenty of hell on earth to go around–disconnection, as Qualey calls it, abandonment, and abuse. Johanna of Rage connects with no one, really, in these first pages and is pretty much abandoned or ignored by everyone. She also shows no signs of conscience or love. Her actions are based on either fear and lust.

This doesn’t mean Johanna won’t find parts of her best self beyond page 24. I just wasn’t willing to wait around for a sign.

By page 24 of my YA novel, How Wendy Redbird Dancing Survived the Dark Ages of Nought, we’ve seen Wendy at age 15 ripped from her home to a new state, furious with her narcissistic mother, and bullied by a Mean Girl. Enough bad things happen that a writing partner told me at one point during the drafting process, “I just want to see Wendy happy.”

I understood what she meant. I answered this concern by showing Wendy passionate about something, which led to new chapter where Wendy struts down a school hallway with her life soundtrack blaring, Michael Jackson’s “Wanna Be Startin’ Somethin’.” Wendy’s not doing cartwheels of delight, but she’s empowered and she’s inspired, enough to take on the Mean Girl.  I also revised to introduce two other teens, Tanay and Andrew, who reach out to Wendy and show an interest. It’s not happy-happy-joy-joy portrayal of life, but, there’s some hope for real relationship.

Is that enough light to balance the darkness? I like to think so.

I’m a huge fan of The Wire, The Killing, The Sopranos, Six Feet Under, and House of Cards. I willingly follow gruesome mafia killings, sociopathic politicians, and desperate drug deals. I do avert my eyes, I do gasp in horror, and I do think about these situations long after the credits roll. Why? In each of these stories, someone has hope, faith, or ambition to change something. The characters grow, they face consequences of their actions, and they struggle to find meaning. Even the sociopaths get their due; no one escapes unscathed. 

Officer McNulty of The Wire strives to be “natural police,” and Bunk and other cops rise to the occasion alongside him. In Episode 4 of Season 1, McNulty and Bunk return to an old murder scene, and while cussing colorfully with gruesome images of the murder victim splayed out on kitchen linoleum, garner enough evidence that sloppy police work didn’t recover before. They go back to do a job right, and amidst the graphic horror of things, there is renewal and hope.

Weeds, on the other hand, I had to stop watching. Tell me if you love it and found a moment of redemption; I couldn’t stick around with the careless, flippant, and nihilist lifestyles.

I write about sexual abuse and recovery. I write about racism and adultery and envy and isolation. There are sociopaths, and there are pedophiles. But as I present shades of various hells on earth, I need to know there is love and redemption somewhere in this mess. I need my Wendys to find a reason to keep dancing. 

Nihilism supposes that no one’s looking out for us. No one cares now or later. If the world you write about has no journey towards Good or Right, just photographic rendering of actions, habits, and tendencies, then those readers like me who believe there’s a purpose to our lives may not stay for the rest of the show.

At the end of the movie Immortal Beloved, the young Beethoven races away from home in the middle of the night, having been beaten horribly by his father–so badly, he will one day lose his hearing. The movie imagines young Ludwig diving into a pond and floating, a smile lighting his face as he suddenly sees the glorious array of stars in the pitch-black night. The soundtrack swells with Symphony No. 9 in D Minor, often called “Ode to Joy.” In the midst of great sorrow is respite and healing peace. While his ears ring with pain, the boy still hears the strains of a melody in his head, beauty he will one day create.

We all seek joy, that “bright spark of divinity” Schiller wrote of in his poem “Ode to Joy” and Beethoven set to music. Literature can give us that safe landing space where happiness thrives. Stories can let us trust for at least a moment, perhaps only in our heads, that all is well. 

 How much reality is too much reality in a young adult novel? Let me know your thoughts. 

  • Do you recall reading a book or seeing a film at a young age that marked you for life? (For me it was the amputations in Gone With the Wind; at age seven I was haunted for days by the scene of a solider screaming, “Don’t cut! Don’t cut!”)
  • If you read my Wendy novel, is it “young adult” or better described as “young adult for adults”? At what age would you introduce it to someone, and why? 
  • What young adult books have you read that ride or cross the line? Which ones are “just right”?

Writing Prompts:

Ask these questions of your favorite YA novel:

  • Is there realism?
  • Do characters act “in character” and follow a code of consistency?
  • Is there an arc, or journey, that transforms a character?
  • Do things “fit” together? Is there coherence among plot, character, setting, image, etc?
  • Is there emotional connection between characters?
  • Is there redemption and hope?
  • Does the story accurately portray young adulthood while allowing an “emotionally safe landing space”?
  • Is there enough resolution balanced with realistic limbo and possibility?

 

Racism Is Over…Right?

What bothered me a bit with the world building was I just felt like the school Wendy attended was racism central. I know that racism is a huge problem is some places, but it just felt a bit over the top in the beginning of the book. Luckily, about a third of the book in, the over the top racism thing stops, and the world building becomes more believable.

— from a review of my novel, How Wendy Redbird Dancing Survived the Dark Ages of Nought.

How well did my novel capture race relations in a North Carolina high school? An author can fail at making a setting real or at making readers care about a character’s situation. The reviewer didn’t buy my portrayal of a world where white girls at Wendy’s school would say:

“This place has gone goth, ghetto, and Mexican.”

“I don’t see race. I think the people who always talk about it are the racists.”

Also unbelievable to the reviewer is an English class that would debate whether the n-word should be censored from a Huck Finn text—or debate whether the school itself is racist.DSCF1143

Perhaps the issue is characters talking about race too much. Maybe the reviewer’s point is that racism can be seen and heard but not necessarily discussed with the frankness or detail my novel uses.

Perhaps the issue is subtlety. The argument this reviewer makes against my fictional school, “racism central,” is that I should have captured the more subtle ways racism plays out.

But is it subtle if it’s your race that feels the discrimination? I’ve had few experiences with prejudice, and 99% of the time, it’s not been because I’m white.

Read Chapter 2 of my novel and see what you think.

Then ask yourself: What was the racial, ethnic, and socioeconomic composition of honors classes at your high school? What happened in your class when you talked about any literature where race relations were depicted? Which authors did you read in English class?

Who got suspended at your high school? Was it a mix of genders, races, and economic classes, or did it tend to be certain groups?

I wonder where this reviewer grew up and the demographics of the community. I wonder if there are any schools in the area that are desegregated but not integrated, where “separate but equal” lives on in its 2014 manifestation. Many schools are no longer Little Rock’s Central High School of the 1950s, but listen to today’s Central High students speak on the lack of integration:

Nearly Six Decades Later, Integration Remains a Work in Progress

A black side and white side of the cafeteria. If we aren’t truly integrated yet, what is the work left to be done?

When I read a book that touches on race, I might find my critique saying, Dear Author, Racism is still a real issue. Please render it more believably. I’m less likely to say, Racism is over. Please let’s talk about something else.

I see racism every day. Any racism is “over the top” to me. And as easily as we want to wish away a book’s portrayal of social injustice, I also wish it could stop so easily in real life.

Obama’s election didn’t solve racial hatred or resentment. It didn’t stop the fact that your grandparents survived Jim Crow or your grandparents helped keep it alive. It doesn’t change the fact that some institutions, run by certain cultures and genders, keep certain myths and prejudices alive. I’ve seen racism in my workplaces—white people confusing black people with one another, faces I can’t imagine could ever be confused. I’ve heard patronizing statements or questions asked about the education and competency of people of color, despite an excellent track record of performance. I’ve seen people make decisions–I’ve helped make decisions–that are ignorant of certain constituencies needs because I assume every grew up and thought like middle-class, white me.

Even last night’s playoff footage–the interview between black Richard Sherman and white Erin Andrews–can’t be seen without the racial lens all Americans bring. Why else would Twitter go wild with such racially-laden language that Erin Andrews had to step up and tone things down? Perhaps we could talk about football and sportsmanship only…but we can’t, because this is America, and we have a racial history in all things. I like how blogger Tommy Tomlinson takes a wider, athletic view of the landscape as he discusses the behavior–and context–of Richard Sherman, my fellow Stanford grad.

These small stresses every day—what is the long-term impact of these judgments and barriers on people reminded daily they wake up black or brown or yellow, not white? Does it become “over the top” after years of facing different treatment? I can look at the rate of heart disease in some communities and wonder how those trends happen. Is it purely genetics? 

The point is to ask.

Acknowledging white privilege is not about browbeating whites or white people’s self-flagellation. It’s not about lumping all whites into one box. As a grandchild of immigrants who struggled hard to survive in the United States, who escaped war and privation to reinvent themselves here, I have some opportunity for sympathy, to better understand stories of those families who had fewer choices or life-and-death choices. (You can read about Katherine Schlegel Fuoco, my grandmother, here.) I don’t empathize with enslavement, but I can try to imagine. Acknowledging both the points of commonality and the points of difference is where I can begin. I can face facts of my ancestral privilege and wonder why.

A white person’s job isn’t to sound the gong of how horrible whites are. My job is to resist prejudicial habits and grow sensitivity and empathy. It’s my job to examine the tape of judgment playing in my head when I recoil at something, feel superior to anyone with what King called “the drum major instinct,” or want to separate people into categories. Ask why, right away, and wonder if my judgments are sound. Ask if I would treat someone of a different gender or race or sexual orientation differently in this same case. Ask. Think. That’s a start.

Racism is over, right?

Racism is over? Right on. Thank you, Dr. King, for articulating so well that dream we pray one day shall come to be, this dream that needs time, love, and labor still.

See my other posts on the topic of race relations in America.

Thoughts on Seeing Dr. King’s Memorial

My Grandma is a Racist?

How The Help Helps

 

 

 

 

Help Wendy and Tanay Get to L.A.

Two Girls + A Car, the Passing of a Pop Icon, and a Devil to Dodge…and L.A. Bound….

Will They Make It There?

 How Wendy Redbird Dancing Survived the Dark Ages of Nought

The Book Trailer!

on Blog Tour

More sites to be listed soon!

What is Special? Indie Bookstore Signings

Recently I had the pleasure of reading and signing at two North Carolina independent bookstores–Purple Crow Books and McIntyre’s Books. With fellow author of Skater in a Strange Land, David Frauenfelder, and as part of the writers’ co-operative True North Writers & Publishers, I had a chance to share my YA Manifesto and speak of Doris Betts, our beloved mentor. 

Check out the wonderful film made by my stepson, Henry Darr, who not only captured events at these great stores but also captured who I am as an author. 

 

There’s nothing like the intimacy of a place packed with books and readers. You feel your heart accelerate as you try to read with feeling and bring your book to life for an audience. You sweat through your clothes, but happily, because the place is full and friends are smiling and you are finally in community with the larger world, not just in your own mind with your characters’ voices. You take questions, you shake hands, and you try to keep your hand from trembling as you sign, thinking hard once again of the best thing to write. You say to yourself, What a beautiful thing that people are willing to leave their homes to hear me and be together; how wonderful is it that someone gets up day after day and unlocks a shop full of rich, luminous, colorful books!

I’m all for ebooks, but I love print pages in my hand, too. I love seeing books stacked up on my nightstand. The world feels full of possibility when there are too many books to read. And walking into a place full of stacked shelves, with the papery scent of dust and carpet and bindings…it’s a pleasure that hasn’t changed since childhood. 

When was the last time you strolled a bookstore, browsed, and bought? 

Faith, Hope, and Dad

“And now these three remain: faith, hope and love. But the greatest of these is love.”

St. Paul, 1 Corinthians 13: 13

My dad thinks I’m awesome.Daddy_Lyn_June_2013

Before you question this narcissistic start to a Father’s Day post, bear with me. I believe there are two types of people: those who are successful with the help of their dads, and those who have achieved in spite of their dads. I am blessed to say I’m successful thanks to my father.

A male role model must be many things: forthright and honest, loyal and dependable, driven and persistent, and vigilant and protective. It’s a bonus if he is fun, kind, and excited about life. I got the complete Dad package.

During a self-publishing journey, you need a lot of support. You need a cheerleader with faith and business sense. My dad has been at my side throughout this process, suggesting new ideas and sending me the latest updates from bloggers and industry experts, doing research, building Excel spreadsheets, and asking sales and marketing questions. He has my back in an enterprise that has no clear or “right” trajectory. There are some parents who might say, “Are you really sure you want to do this? Isn’t it a lot of work? Why don’t you wait it out another few years (never mind the three spent querying the industry and working with an agent) because the traditional path seems like a safer bet.” Instead, my dad captures all the confusing Excel data from Amazon, Kobo, Barnes and Noble, and Smashword and brainstorms how a developer needs to create an app to automate such a process. He compliments my writing efforts and sings my praises to friends and family. He loves to see me shine, and with that special Dad pride, he can make me look even brighter.

My father’s actions relay to me that no matter what I attempt, I can do it. A daughter needs that kind of optimism if she is to undertake an artist’s life.

My dad modeled risk-taking to me since my childhood. We moved from Southern California to Northern, to Belgium, back to Northern California to North Carolina as he pursued various opportunities with his work. I learned that new places hold possibility, that people of other states and countries have fascinating histories, and that there are good people and new friends everywhere. I learned that over time, one can adapt to new situations and discover new sides to oneself. My dad thrives on meeting new people, making new friends, and trying new foods. He handed down to me that same zest for experimentation and newness.

In the ed world, one will often here the phrase “lifelong learner” as a descriptor for a teacher’s ideal persona. Ever curious, open, and excited, this kind of teacher inspires his or her students to embark on the learning journey. That phrase fits my father perfectly. This is what he’s taught me: to treat each day as a new opportunity and an ambitious adventure.

My dad is a man of many gifts. He knows people the world over who are grateful for his leadership, mentorship, and business savvy. With all these talents he’s always been extremely humble and does not call attention to himself. He is the kind of worker right in the trenches with everyone else. It wasn’t until I was out of college that I began to appreciate all he had done and was pursuing. And he still thinks my little business enterprise is worth his time and attention.

Love is reliable and shows up every day, just like a good dad. It is consistent, persistent, and trustworthy. A great father’s love is full of faith and hope. I will be forever grateful for my wonderful father who has shaped me, my view of myself, and my happiness.

Writing Prompts:

  • What is a line your father often said to you, and when would he say it? Why do you think you remember it now?
  • How much are you like and unlike your father?
  • Have you been blessed by a good father, or challenged by a non-father? Have you survived a bad father? How do you know what good fatherhood is?
  • What are your paternal instincts, and how do you pursue them?
  • In How Wendy Redbird Dancing Survived the Dark Ages of Nought, Wendy says, “Funny how the potential stepdad gives so much more of a damn than the biological mother, who can’t even remember I’ve got this project, much less any major exams.” Wendy is charmed by one of her mother’s boyfriends, Shaye, who seems to be the first with stepdad potential. She has no compass for what a dad’s behavior should be like, and so she is easily misled by seemingly dadlike behavior. What other charismatic ways does Shaye appear to have Wendy’s best interests in mind?
  • What do we know of any males in the story who might be father figures? What conclusions do you draw about this woman-centric, fatherless world Wendy lives in? Does this world have Wendy’s best interests in mind?

Survivors and Silence

“I’ve lived in silence and denial for 22 years and I can’t spend another moment in that. In order to truly heal I have to speak my truth and I have to speak the whole truth.”

— Wade Robson

Dancer and choreographer Wade Robson has gone public with a claim that for seven years, Michael Jackson sexually abused him. When asked why he is telling this story now, he said:

“All it takes is a little bit of education into child sexual abuse and realizing how unfortunately typical my scenario is. The trauma and the psychological effects of child sexual abuse last for so long. I had no understanding of this until up to just over a year ago. I’m just at the beginning of my healing process. I ‘m sure I’ll be dealing with this for the rest of my life.”

What Robson calls “typical” makes sense to me. As an educator, friend, and girlfriend, I’ve heard many tales of sexual abuse from survivors. People are afraid to come forward, and so they don’t. Children are shaped by the adults, and if an adult who is a constant presence and influence tells you the earth is flat, the sky is fuchsia, and sexual abuse is love, then you believe it. Later, when these same survivors are cutting, isolating, rebelling, or contemplating suicide, many times they don’t call the abuser a predator. They keep silent, feel terrible, and ask themselves, “What’s wrong with me?”HowWendy-lg

As the character of Wendy says in my novel, “I’m bad. Hounded by night creatures. Stamped by the smoothest of criminals.”

Survivors might even protect the perpetrator and return to him. There still can be trust and loyalty in the face of abuse. The relationship between predator and victim is emotionally complex and can be paralyzing static. When ages are dramatically different, the dynamic is not unlike a carnivore with fangs sunk deep in the weaker animal. Imagine hearing when you are seven, You’ll go to jail. I’ll go to jail. This is love. This is right. It’s you and me against the world. We’re soul mates.

Do you easily lose that imprint to trust your abuser, that stamp so deep it forms daily thought and action, automatic as your ABCs? Do you just slough off those routines and habits like a cloak and say, I’m over it? I remember unpleasant incidents from 1978, 1981, and 1983. And those fifth, seventh, and ninth grade moments still impact how I see myself. Sometimes I am still that embarrassing nerd who uses too many big words, that “big palooka,” or that girl in the “dog parade.” If I still recall these little slings and arrows from formative years, I can’t imagine how sexual abuse might have changed my life. I know my self-perception and esteem is shaped by my interpretation of those experiences. We evolve in response to experience; it doesn’t disappear but gets locked into our bones.

So if Robson was indeed abused, to say that Robson should have just outed his story at 14, 24, or even now—like that’s an easy thing—is like me saying I should feel comfortable broadcasting how Carolyn mocked me in front of the fifth grade class and Colleen called me a big palooka in front of two girls in the Parish Hall and Andy called me and my girlfriends “the dog parade” in the freshman hallway. These aren’t trophies from my adolescence I like to brag about; I look weak, ugly, and lame. Again, these are just the little wounds of everyday living; these aren’t sexual violence or trauma. 

Just like coming out of the closet, there is much to lose when you voice your truth. If people know you’ve survived something ugly—never mind your claiming that someone they like has committed evil—you are not only truth-teller but life-changer. You are breaking the rules of the game, stopping the dance, and flipping others’ perceptions. You will be hated for speaking up.

You may wonder, why risk it and speak up now and take up the fight? Robson’s detractors claim he’s a liar who wants money. Perhaps. Perhaps Robson is making this all up, and he’s not experiencing PTSD in his thirties, and he doesn’t need justice. Perhaps he’s only money driven. Perhaps.

But this is not my battle nor me trying to prove Robson right or wrong. I don’t know him personally. This story, to me, is about why survivors don’t tell truth right away, and what the dynamic of abuse creates. Instead of taking sides, we should ask, How does abuse happen, and how do predators work? How long does it take—or should it take (because people ask, “Why’d he wait so long?”)—a survivor to confess the abuse? What does the data say? 

In my book, Wendy nurtures a rarefied Michael Jackson obsession. It’s a point of connection between her and her mother’s new boyfriend, who gains her trust through music and charisma and attention. Her mother ignores her, but he doesn’t. As he gains her trust, her crush ignites, and her hopes for a stable future with him as a potential stepdad soar. Until the day when the flirting goes way past flattery to molestation, and then rape.

At first Wendy thinks it’s her fault, that she somehow brought this on herself. It doesn’t matter that she’s 15 and he’s 45. She still takes full responsibility. She says, “For nights I’ve dreamed of cleavers separating his hand from his arm, his head from his neck. But each dream ends with my hands, arms, head flying into outer space.”

 As I wrote this book, I had in the back of my mind the testimony of several people (friends, former partners, and former students). I read The Courage to Heal: A Guide for Women Survivors of Child Sexual Abuse with its stories of many survivors. I learned about profiles of predators, the patterns of grooming and abuse, and the trauma that persists long after the crimes have stopped. I listened to evangelist Joyce Meyer’s story. But I don’t pretend to be an expert. My fiction bubbles up for many reasons, and no doubt one of them is response to stories told to me, my artistic processing of the tears, fear, and physical and mental breakdowns I was privileged to share. 

Wendy knows one thing for sure: her voice will out. She doesn’t know how or when, but it stays like a chant in her head her when she can’t sleep at night. “Coming soon,” she says, “The Big Reveal. This girl will peel back the glittering glove, and she will doff her mask.”

Wendy Redbird Dancing wants the truth to unfurl. Maybe Wade Robson does, too. But since I’m not his judge, I’ll trust only in my fiction. It attempts to represent the testimony of those I love. And that testimony tells me that sexual abuse happens, it’s hard to tell, and the outing of it can be a lifelong journey.

Writing Prompts:

  • If you have not been sexually assaulted, imagine that you have been, and you are seven years old. Who would or could you tell? How would you tell someone?
  • If you don’t tell anyone, why not? 
  • How might sexual abuse affect your later life? 
  • What evidence tells you that someone is lying about abuse? How do you know a person is a liar?
  • Is it right or wrong to seek damages for child sexual abuse years later?
  • One in three women and one in six men may become victims of sexual abuse or violence. If you are not a victim yourself, what questions do you have about others’ experience with sexual violence? What do you want to learn?