How may I help you?

Trying something new:
put on receptionist duty in the Editing department at Tate. So far have answered the phone three times, and once it was actually for me! Don't misunderstand that exclamation point, that was more terror than excitement. Plus neither of my bosses are in the office today so I am not getting my questions answered promptly enough! Must needs go now and get back to work.

Shark Teeth.

Today I learned that...
in medieval times people thought shark teeth were fossilized dragon's tongues. Somebody else thought that they fell from the sky during eclipses. They were used in magical potions and worn as good luck charms. Nicolas Steno sadly enlightened the common populace in 1667. Now they're just known as shark teeth.

Summer's in full swing in Mustang

This week's source of entertainment:
Thomas' second draft of the the Last Prince.
Simon and Simon, a recently discovered 80s PI show.
An exciting twist in Les Miserables.
The development of Bracken's character in Into the Flames.
Anticipation of this week's Family Reunion.

And that's not even counting the 45 hrs. I'll be working this week.
btw, Mara, I don't look tanned at all! We should go swimming this weekend A LOT.

I see you.

Today's challenge: trying to weave together the disappearance of Jean and Hawkins with Rahab confronting Bracken about his powers. The two strands are inseparable in the story line, but it's hard to balance Rahab's desire to find her friend with her concern and compassion for Bracken's inner struggle. It's taking too much out of me. I've written a few carefully chosen sentences, but I think I must put off the rest of this scene for tomorrow.
Okay so I know that Avatar is a terrible movie plot- and character-wise, but I *might* have watched it again last night. (To make fun of it, of course!) But today I'm haunted by the phrase "I see you." In Avatar, this greeting sort of means, "My spirit connects with your spirit." (It really has to do with their religion, but that's not important right now.) "I see you" seems so appropriate with this scene of "Into the Flames" that I'm writing. Bracken's power (spoiler alert!) is being able to see through both objects and time. He has spent his whole life trying to hide this behind a rough exterior, but finally, everything is stripped away. Rahab gets to "see" Bracken. He's been trying to see through Rahab the whole novel, trying to figure out what makes her different from others. Maybe now he'll understand? Maybe, when he allows himself to be seen, he can see more fully?

Sol Stein, who's he?

The essence of dramatic conflict lies in the clash of wants. (Sol Stein)

There's so much that I could write about today. The above quote is from "Stein on Writing," a book I picked up during lunch today at Tate. Nothing that he said seemed very revolutionary, and really nothing that I read was any that I didn't already know. But somehow, as I turned the pages, I found thoughts sparking within my head about my novel that had never really appeared there. Mostly they were thoughts that made me realize just how much work I have left on Into the Flames. I've really merely scratched the surface of Rahab's character and I can't believe how quickly I've moved through the plot without showing everything that needs to be said. Needless to say, I've opened Scrivener and started re-organizing the whole plot and each character so that I make sure that no point in the story is left behind. For the past fifteen years (about how long I've been scribbling) I've given little thought to the structure of my novels, letting the characters carry me into and through the plot (or lack of plot). Now I see that if I don't write out exactly where I want each scene to go, Rahab won't let me write exactly her thought process and how she ended up to be the person she is at the end of the book.
Stein writes that everybody wants something, and it is the protagonists' desires that propel the story forward. The protagonist has to want something badly enough to fight for it. This afternoon I asked myself, "What does Rahab want?" She wants to be normal, she wants to be special, she wants to understand Bracken, she wants to be understood. Not only is Rahab clashing with herself and her desires, but her parents, Jean and Hawkins, Bracken, and, ultimately, James. All these people, in turn, have their own desires that they are striving to meet. The simple statement that I quoted above brought to light all the different subplots I have unconsciously woven throughout my novel and the different conflicting desires that have to be resolved before my story can end.
I can't wait to get started!

Tate: Editing Division

Finally! I have been taken "across the street!"

I'm not really sure why I put that in quotes, since it literally is across the street. I'm speaking, of course, about the room full of copy and conceptual editors where I will be working at Tate from now on. I know that my boss, Curtis was much too busy to find things for me to do, and I was getting tired of listening to marketers talking on the phone to book distributors and authors all day. Curtis finally brought me over to the Dark Side, where I will be answering to Lauren and Kalyn,who have more than enough work for me to do.
The editing room is full of desk shoved up against each other and girls (and a couple guys) hunched over laptops reading manuscripts. So far I have met three other girls who recently started here and were previously interns. Not sure if that means there is hope for me, or if it means that they are now fully restaffed and don't need me. I guess we'll see; either way, it's a pleasure to be working here, while Sonic becomes more and more stressful each day.

Also, this office abuts the music department, so we have been assaulted (no, NOT a-salted) with deep bass boomings on and off this morning. I don't mind it at all. This office seems much more vibrant and exciting than the main office. And it's not so cold here, either.