This week, both theme-wise and visually, is a follow up to last week's card, Arthritis. As I've been doing physical therapy on my hand, I've also been thinking a lot about the aging of my body in general. My foot has been hurting, where I broke my toe and had arthritis flare last summer. My joints in general feel stiff and tight, and I KNOW I should be doing weight-lifting. Frankly, I hate it, and it's hard to make myself do it.
As the same time, work is going through a weird time. We have a new bishop-elect, but she hasn't started yet. A couple of my coworkers have already found new jobs and it is very probable that more will follow. We had lunch with the bishop-elect, and to our relief, she said she isn't going to be making staff changes immediately. But I know changes are coming. I have to think about what I want (and will learn what is possible) with the knowledge that my 65th birthday is coming up next year. What about retirement? I have to research Social Security, which is extra complicated by the fact that my work situation could unexpectedly change, and I'm already drawing social security benefits. Figuring this all out, with factors outside my control, will be tricky. But I can't ignore the situation. My life is going to change, whether I like it or not, and that will be uncomfortable.
In the middle of thinking about all of this, I ran across a video by a motivational speaker that I'm been pondering ever since. He was saying that discomfort is something that you need to learn to tolerate and even embrace, because when you are uncomfortable, that is when you make the most life-satisfying changes.
I've been thinking about that, and I've realized it is true. I got a black belt in karate because I was willing to go to class and do a million slow kicks and sweat and work hard. I even got a concussion from sparring. At our final black belt exam, our instructor told us, "Think back to your first white belt class, and how many other people were there. Think of how many of them have fallen away for one reason or another. You are the few, the very few, who stuck it out. And you are the ones who will be getting a black belt today."
Writing a novel is like that, too. I am not one of the ones for whom writing is effortless. I have to tolerate discomfort of the uncertainty, the blundering about trying to figure out a plot, the hours spent in front of a keyboard. But I have two novels published, and I'm about to pass 40,000 words on my third.
I will have to ramp up the exercise program again. Do the mobility stuff, do the weight lifting stuff. I have to figure out what my work life will be like under all of these changes, and if that isn't meant to be, what my retirement will be like. It is ironic that as a species, we are wired to seek comfort. We want to be warm, and fed, and to cuddle with our mates and to have no troubles or worries. But that is not what is best for us.
Boats are safest anchored in sheltered harbors. But that is not what boats are for.
I initially thought to start the image with a bed of nails, but I couldn't find an image like that in the public domain, and so I decided to make it a bed of brambles instead.
Image description: Bottom of the card: dry, cracked earth overlaid with brambles with sharp thorns. Card center: a bronze statue of a woman lying on her side. Behind and above her is a lush flower garden.
Uncomfortable

Click on the links to see the 2024, 2023, 2022 and 2021 52 Card Project galleries.
As the same time, work is going through a weird time. We have a new bishop-elect, but she hasn't started yet. A couple of my coworkers have already found new jobs and it is very probable that more will follow. We had lunch with the bishop-elect, and to our relief, she said she isn't going to be making staff changes immediately. But I know changes are coming. I have to think about what I want (and will learn what is possible) with the knowledge that my 65th birthday is coming up next year. What about retirement? I have to research Social Security, which is extra complicated by the fact that my work situation could unexpectedly change, and I'm already drawing social security benefits. Figuring this all out, with factors outside my control, will be tricky. But I can't ignore the situation. My life is going to change, whether I like it or not, and that will be uncomfortable.
In the middle of thinking about all of this, I ran across a video by a motivational speaker that I'm been pondering ever since. He was saying that discomfort is something that you need to learn to tolerate and even embrace, because when you are uncomfortable, that is when you make the most life-satisfying changes.
I've been thinking about that, and I've realized it is true. I got a black belt in karate because I was willing to go to class and do a million slow kicks and sweat and work hard. I even got a concussion from sparring. At our final black belt exam, our instructor told us, "Think back to your first white belt class, and how many other people were there. Think of how many of them have fallen away for one reason or another. You are the few, the very few, who stuck it out. And you are the ones who will be getting a black belt today."
Writing a novel is like that, too. I am not one of the ones for whom writing is effortless. I have to tolerate discomfort of the uncertainty, the blundering about trying to figure out a plot, the hours spent in front of a keyboard. But I have two novels published, and I'm about to pass 40,000 words on my third.
I will have to ramp up the exercise program again. Do the mobility stuff, do the weight lifting stuff. I have to figure out what my work life will be like under all of these changes, and if that isn't meant to be, what my retirement will be like. It is ironic that as a species, we are wired to seek comfort. We want to be warm, and fed, and to cuddle with our mates and to have no troubles or worries. But that is not what is best for us.
Boats are safest anchored in sheltered harbors. But that is not what boats are for.
I initially thought to start the image with a bed of nails, but I couldn't find an image like that in the public domain, and so I decided to make it a bed of brambles instead.
Image description: Bottom of the card: dry, cracked earth overlaid with brambles with sharp thorns. Card center: a bronze statue of a woman lying on her side. Behind and above her is a lush flower garden.

Click on the links to see the 2024, 2023, 2022 and 2021 52 Card Project galleries.
I honestly thought I would never get out of Chapter 8 alive. I have been trying to fight my way through it for MONTHS.
With each book, I have had at least one chapter where everything screeched to a stop, and I had no idea why. The odd thing was that looking back at those chapters now, there doesn't seem to be anything wrong with them, nor is there any hint of whatever-it-was that made everything grind to a halt.
But this collage celebrates that I finally finished the fricking chapter (it ended, literally, with a spectacular explosion of magical fireworks) and sent it off to my writing group.
They judged it a breathtaking success and are gratifyingly agog to find out what happens next.
This was a fun collage to make. It has four separate layers, and I'm pleased that I continue to improve my technical skills.
Image description: A woman (Peg) faces the camera, seated in a wing chair in a living room, looking at the screen of her open laptop. Fireworks shooting out of the laptop screen wash over her face, but rather than looking perturbed, she looks rather pleased with herself.
New Chapter

Click on the links to see the 2024, 2023, 2022 and 2021 52 Card Project galleries.
With each book, I have had at least one chapter where everything screeched to a stop, and I had no idea why. The odd thing was that looking back at those chapters now, there doesn't seem to be anything wrong with them, nor is there any hint of whatever-it-was that made everything grind to a halt.
But this collage celebrates that I finally finished the fricking chapter (it ended, literally, with a spectacular explosion of magical fireworks) and sent it off to my writing group.
They judged it a breathtaking success and are gratifyingly agog to find out what happens next.
This was a fun collage to make. It has four separate layers, and I'm pleased that I continue to improve my technical skills.
Image description: A woman (Peg) faces the camera, seated in a wing chair in a living room, looking at the screen of her open laptop. Fireworks shooting out of the laptop screen wash over her face, but rather than looking perturbed, she looks rather pleased with herself.

Click on the links to see the 2024, 2023, 2022 and 2021 52 Card Project galleries.
I took a vacation this week, but I didn't go anywhere in particular. Last week at this time, I also took a staycation and spent it through boxes from Rob. This year, I did not put much in the way of demands on myself. This was partly due to the fact that I am facing fewer boxes, and partly due to the heat. It hit 100° and I don't have central air.
(Jane Austen: "What dreadful hot weather we have been having! It keeps one in a constant state of inelegance").
I did knock off a few gardening tasks, cooked, puttered around, and read. And I met Patricia C. Wrede, one of my writing mentors, for a story conference on the new book, which was gratifyingly successful. I mentioned the mental breakthrough I'd had last week. This conference with Pat was another one. Pat and I had worked together in a novel writing group a couple of decades ago, and she's the midwife for my first book, the one who led me through a series of questions that helped me figure out the plot of Emerald House Rising.
I've often said that for the decade or so that I was writing short stories, the way that story creation worked for me was that I would get one idea, and it would be like dropping a seed crystal into a supersaturated solution: with that one idea, an entire story idea would bloom in my mind, and I would write it down. That was the reason I had such a difficult time switching from short stories to novels: I just had no experience at working the story idea out. Pat helped me/showed me how to do that, asking me leading questions that helped me grope my way to uncovering the plot. We did it again at the Good Earth restaurant this past Wednesday, and I'm sure the waitress was baffled by a series of excited exclamations coming from our table as pieces of the plot started falling into place:
"That's who wrote the letter!"
"Ooo! Ooo! The Aquamarine's consort--turns out, she's a dear friend of Lady Claudella!"
"But of course, THEY ALL WENT TO TERGOLIA!"
I've worked out critical details of one character's family tree, and what happened to the various members is a lot of the engine for the plot. The story, in part, is about inheritance, and about actions taken in the hopes that a certain consequence will happen--and then something else, entirely unexpected, takes people off in different directions.
I love these moments in the creative process of writing a book--call it synergy or illumination or inspiration or...I just wish they happened more often.
Thanks, Pat!
Image description: The background is a (very faint) image of a cave, illuminated by an opening through which sunlight pours. Overlaid over that image is a tree with fantastically shaped roots, with sunlight shining through its branches. Over the patch of sunlight a hand hovers, holding a golden puzzle piece. At the foot of the tree branches is a crystalline gemstone structure.
Illumination

Click here to see the 2022 52 Card Project gallery.
Click here to see the 2021 gallery.
(Jane Austen: "What dreadful hot weather we have been having! It keeps one in a constant state of inelegance").
I did knock off a few gardening tasks, cooked, puttered around, and read. And I met Patricia C. Wrede, one of my writing mentors, for a story conference on the new book, which was gratifyingly successful. I mentioned the mental breakthrough I'd had last week. This conference with Pat was another one. Pat and I had worked together in a novel writing group a couple of decades ago, and she's the midwife for my first book, the one who led me through a series of questions that helped me figure out the plot of Emerald House Rising.
I've often said that for the decade or so that I was writing short stories, the way that story creation worked for me was that I would get one idea, and it would be like dropping a seed crystal into a supersaturated solution: with that one idea, an entire story idea would bloom in my mind, and I would write it down. That was the reason I had such a difficult time switching from short stories to novels: I just had no experience at working the story idea out. Pat helped me/showed me how to do that, asking me leading questions that helped me grope my way to uncovering the plot. We did it again at the Good Earth restaurant this past Wednesday, and I'm sure the waitress was baffled by a series of excited exclamations coming from our table as pieces of the plot started falling into place:
"That's who wrote the letter!"
"Ooo! Ooo! The Aquamarine's consort--turns out, she's a dear friend of Lady Claudella!"
"But of course, THEY ALL WENT TO TERGOLIA!"
I've worked out critical details of one character's family tree, and what happened to the various members is a lot of the engine for the plot. The story, in part, is about inheritance, and about actions taken in the hopes that a certain consequence will happen--and then something else, entirely unexpected, takes people off in different directions.
I love these moments in the creative process of writing a book--call it synergy or illumination or inspiration or...I just wish they happened more often.
Thanks, Pat!
Image description: The background is a (very faint) image of a cave, illuminated by an opening through which sunlight pours. Overlaid over that image is a tree with fantastically shaped roots, with sunlight shining through its branches. Over the patch of sunlight a hand hovers, holding a golden puzzle piece. At the foot of the tree branches is a crystalline gemstone structure.

Click here to see the 2022 52 Card Project gallery.
Click here to see the 2021 gallery.
52 Card Project 2022: Week 24: Elements
Jun. 17th, 2022 04:37 pmThis one will seem a little odd, because I am not going to explain it fully. In fact, it won't make a lot of sense to you if you aren't in my critique group and familiar with my novel as I've written it so far.
I'd mentioned that I'm 20,000 words plus into a book I'd started over twenty years ago. One thing I've often remarked about my writing process is that I am the opposite of what is called a "pantser," i.e., someone who writes by the seat of the pants. I have to figure out something/know where it is going before I can write it. Sorry, those of you who are good at writing exploratory drafts; I am just not that way.
Okay, the next is going to be a bit purposely vague:
Through great effort, picking up from where I left off twenty years ago, I had inched forward enough to finish a new chapter five, and then...I was floundering around, trying to come up with an idea for something that would subvert the rules I had set down for magic in my first book, but still not violate the spirit of what I was trying to do. I planned to introduce some cross-cultural experiences and I wanted to introduce, if you will, a new cultural metaphor, a different way of seeing the world, which could apply to the magical system I set up in the last book, but have it work in an entirely different way.
So I started googling cultural metaphors, and I won't rehash the way my thread of thought unspooled, exactly. But it suddenly occurred to me that the four characters I have been thinking about for over two decades embody--in the story, and in their characters--the entities of Fire, Air, Earth, & Water. And this raises aaaaaaalllllll sorts of possibilities about how the magical system will work, with a cross-cultural twist.
It's weird to be overwhelmingly seized by an idea in the creative process that seems so key, so breathtakingly important--but I can't quite explain it, because my thoughts about are still so incoate. But I think it will really work, and it will help, I think, with structuring the book. And since "structuring a book," i.e., plot, is always the area that I feel the weakest, this is very encouraging, and definitely gives me more hope that I will actually manage to someday finish this book.
I've been rather shy about talking about them (I think one reason the Ice Palace book failed was that I made the mistake about talking too much about it online). But this is a big enough step forward, that I think I can take the risk of introducing you to my four main characters. The costumes aren't right, but ignore that: you'll get an idea of my feel for Falco (Fire), Reynardo (Air), Tavia (Earth), and Elodie (Water).
Tavia and Elodie are twin sisters, and I was perplexed about how to find images for them. But then it suddenly occurred to me: Elodie is a bit crispy about being a twin, and she chopped her hair off to distinguish herself from Tavia. So I googled "Haircut makeover long hair to short hair" and came up with these two images. Am rather smug about that.
The symbols over Falco (upper left), Reynardo (upper right--the original character I started with twenty years ago), Tavia (lower left) and Elodie (lower right) are the Hellenic symbols for, respectively, Fire, Air, Earth, and Water.
Elements

Click here to see the 2022 52 Card Project gallery.
Click here to see the 2021 gallery.
I'd mentioned that I'm 20,000 words plus into a book I'd started over twenty years ago. One thing I've often remarked about my writing process is that I am the opposite of what is called a "pantser," i.e., someone who writes by the seat of the pants. I have to figure out something/know where it is going before I can write it. Sorry, those of you who are good at writing exploratory drafts; I am just not that way.
Okay, the next is going to be a bit purposely vague:
Through great effort, picking up from where I left off twenty years ago, I had inched forward enough to finish a new chapter five, and then...I was floundering around, trying to come up with an idea for something that would subvert the rules I had set down for magic in my first book, but still not violate the spirit of what I was trying to do. I planned to introduce some cross-cultural experiences and I wanted to introduce, if you will, a new cultural metaphor, a different way of seeing the world, which could apply to the magical system I set up in the last book, but have it work in an entirely different way.
So I started googling cultural metaphors, and I won't rehash the way my thread of thought unspooled, exactly. But it suddenly occurred to me that the four characters I have been thinking about for over two decades embody--in the story, and in their characters--the entities of Fire, Air, Earth, & Water. And this raises aaaaaaalllllll sorts of possibilities about how the magical system will work, with a cross-cultural twist.
It's weird to be overwhelmingly seized by an idea in the creative process that seems so key, so breathtakingly important--but I can't quite explain it, because my thoughts about are still so incoate. But I think it will really work, and it will help, I think, with structuring the book. And since "structuring a book," i.e., plot, is always the area that I feel the weakest, this is very encouraging, and definitely gives me more hope that I will actually manage to someday finish this book.
I've been rather shy about talking about them (I think one reason the Ice Palace book failed was that I made the mistake about talking too much about it online). But this is a big enough step forward, that I think I can take the risk of introducing you to my four main characters. The costumes aren't right, but ignore that: you'll get an idea of my feel for Falco (Fire), Reynardo (Air), Tavia (Earth), and Elodie (Water).
Tavia and Elodie are twin sisters, and I was perplexed about how to find images for them. But then it suddenly occurred to me: Elodie is a bit crispy about being a twin, and she chopped her hair off to distinguish herself from Tavia. So I googled "Haircut makeover long hair to short hair" and came up with these two images. Am rather smug about that.
The symbols over Falco (upper left), Reynardo (upper right--the original character I started with twenty years ago), Tavia (lower left) and Elodie (lower right) are the Hellenic symbols for, respectively, Fire, Air, Earth, and Water.

Click here to see the 2022 52 Card Project gallery.
Click here to see the 2021 gallery.