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Tag: hurricane katrina

Writing as Hope

Romans 8:24-25
24 But hope that is seen is no hope at all. Who hopes for what they already have? 25 But if we hope for what we do not yet have, we wait for it patiently.

I am working on a trilogy. The first novel is in the hands of my agent. He’s had it for two years. He hasn’t sold it . . . yet. This novel is THE BONE TRENCH. Here’s the “elevator sentence”: Mother Mary and Jesus are called back to Memphis by a devilish  private prison project. THE BONE TRENCH is funny. And profane. And very, very serious. Along with MM and Jesus, it stars Little c, Mary’s acerbic guardian angel. And Cat Thomas, the son of a sharecropping rape victim on whose shoulders the fate of the world rests. The theme is white folk’s continuing inability to love our Black neighbors as ourselves, which has manifested itself in slavery, convict leasing, sharecropping, and, now, mass incarceration.

That’s novel 1.

Novel 2 in the series is JAZZY AND THE PIRATE. The manuscript is with Beta readers. “Beta readers” are kind souls who agree to read your work when it’s still mostly crap, or at least quite rough. As these readers give you feedback, the manuscript becomes smoother, more polished. JAZZY AND THE PIRATE’s sentence is: Eleven-year-old Jazzy Chandler calls Jean Laffite the pirate king back to New Orleans to save the city from the floodwaters of Katrina . . . and discovers pirates aren’t what she thinks they are. It’s funny and irreverent—how dare anything about Hurricane Katrina  be funny? In addition to Jazzy and Jean Laffite, it stars a house that morphs into a pirate ship. And Jean’s mealy-mouthed brother Pierre. And the swamp. The theme is white folks continuing willingness to economically exploit the world, which has manifested itself in slavery and pirating and, now, the near-destruction of New Orleans.

That’s novel 2.

I’m working on novel 3 in the series. The title is MOSES IN THE GULF. I’m not going to tell you much about it because my brilliant mentor Rebecca McClanahan always said, “Don’t talk about works in process or you’ll talk out the energy and won’t write it.” I can tell you that it has the same elements as the first two novels in the series: fantasy; historical figures called back to address a current day crisis; irreverent humor; alternating points of view along with a third, omniscient POV; the theme of economic exploitation.

Did I mention that I haven’t sold the first novel in the series? Yet.

Romans 8:24-25
24 But hope that is seen is no hope at all. Who hopes for what they already have? 25 But if we hope for what we do not yet have, we wait for it patiently.

And while we wait, we write.

Hope: A double rainbow reaching from horizon to horizon

 

When I was a child, one of my favorite places at my grandparent’s farm was the hill above the big lake. There, a square of concrete hid beneath the pasture grass. In the springtime, yellow and white daffodils pushed through the grass and bloomed in swaying clumps. Someone had planted the flowers; they spilled down the hill. We children played there, skipping across the broken concrete, pretending we were in the kitchen or bedroom or dining room of our very own house. Intrigued, I would squat in my shorts set and part the grass. Planting my palm on the pebbly concrete, I dreamed of what I never knew.

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Death Enters the Story

I just finished mapping out the last fifty pages of the new Katrina novel, Jazzy. I don’t begin writing with an outline; I begin with a character and a situation. As I write, I jot down a bare-bones outline of what I think is coming next. Often this turns out to be untrue. Sometimes I go back and outline what I’ve written, to see what I’ve written. Here, at the end, the outline takes on a more detailed imagining. In these last fifty pages of Jazzy, elements of what I initially thought would happen remain, but they’re all slightly different. The one hard fact of the ending remains the same: if this is to be a Katrina novel, death must enter the story.
I HATE writing death. I like for death to be the emotional triggering event–in the past. Read my novels and short stories and you will see death over and over again. I attribute this to my daddy dying when I was three years old, suddenly, tragically, graphically. Haunted by that, I’ve explored the death of mothers, several cousins, a sister, strangers, an uncle, a grandfather, boyfriend, wife, the near-death of a nephew, and the death of too many fathers to count.
Only once or twice have I written the death of a character who lived and breathed when I began the story. In one novel, I was so averse to having a young cousin die, I had him run off and become a Jesus freak instead.
All of which means the character in Jazzy, of whom I am extremely fond, must not die in vain. The hard part, of course, will be when I return to the beginning of the story for the editing process. Now I will know the character is going to die. Everything I write about him will be tinged with poignancy. It will be hard going. Death always is.

here’s to creative synthesis . . .

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