September 30, 2013
Almost ten years ago I put my three kids to bed, told Jamie for the millionth time about my desire to write a novel, and with her blessing dug out my sketch pad to draw the first map of Aerwiar. I turned off the television (this is key) and sat in the recliner with my high school art supplies, eager to tell a story. As with any adventure, had I known how much work and time it would have taken, I might not have had the guts to start. I drew the coastline of Skree on the left, then for some reason on the right I drew another coastline and named the continent Dang. The expanse between was named the Dark Sea of Darkness. I grinned like the geek I was, sharpened my pencil, and began the work of filling in the details. Eventually, Glipwood sprang out of the map, and the Wingfeather children sprang out of Glipwood. But who were they? And why did their story need to be told?
It took a few years of “research,” which when it comes to fantasy novels means “making stuff up.” Orson Scott Card’s book How to Write Science Fiction & Fantasy was a tremendous help, mainly because it reminded me that, because I was inventing a world from the ground up, I had to answer a zillion questions about the history of the world, the political situation, the currency used, the presence (or absence) of magic, the presence (or absence) of religion, and what the flora, fauna, and fangishness of this new world might be. At some point in the writing of the history of Aerwiar, a nameless evil (named Gnag the Nameless) demanded my attention, and soon I had the beginnings of the Wingfeather Saga. After a laborious first draft, then a second, third, and fourth draft, I managed to fool the good people at Random House/Waterbrook into giving a singer/songwriter a shot at publication. On the Edge of the Dark Sea of Darkness was published in 2008. North! Or Be Eaten came in 2009, and with the help of Rabbit Room Press The Monster in the Hollows arrived in 2011.
In case you haven’t noticed, it’s 2013. That means it’s time to finish the story. Janner, Kalmar, and Leeli are weary and homesick, and I need to bring them home (in one way or another). And you can help them. As of the writing of this post, I’m at 124,758 words. According to my Word document, that’s 417 double-spaced pages. I’m on chapter 79. There are quite a few chapters remaining, but not too many. Things are winding down, slowly but surely, and it won’t be long before I know how this whole thing ends. Since this book (and the previous one) were published by Rabbit Room Press and not a major publishing company, there’s a great deal of freedom. That’s a good thing. It means I can choose my editors, I’m intimately involved in the look and feel of the book, and I get to work with the illustrators. But there’s another side to the coin, and that’s this: there’s no big, fat monetary advance, and we need you, dear readers, to help us make this book happen.
September 24, 2013
If you’ve been hanging around the Rabbit Room for any length of time, you’ve read about two of our favorite things: Hutchmoot and Laity Lodge. If you don’t know what Hutchmoot is, I encourage you to click this link. If you don’t know what Laity Lodge is, click this one. If you’re not all that into clicking links and want the quick summary, here it is:
Hutchmoot is a yearly gathering in Nashville for people who like good stories, good music, good food, and community. Laity Lodge is a beautiful retreat center in the Hill Country of Texas where many in our community have experienced life-changing rest. Well, thanks to our friends at Laity Lodge, and in response to quite a few emails from those of you who are frustrated that Hutchmoot (capped at 135 registrants) sells out too quickly, we’ve cooked up the mashup of the century, and we’re calling it the Hutchmoot Retreat. It’s happening at Laity Lodge, February 20-23, 2014.
September 11, 2013
(Photos by Mark Bell)
On the north coast of Ireland there’s a town called Castlerock, where I left a bit of my heart. I’ve thought about it every day since our return to Nashville. In fact, if ever go missing from the States for a few years and you need to find me, it should be the first place you look. You may see me happily repairing an old boat on the beach, just like Andy Dufresne. The town rests on the white shores of the North Atlantic between crags and green fields. It’s flanked by the mouth of the River Bann on the right and an old castle ruin called Downhill Estate on the left. After a few days there my geek bells rang when I discovered that dear old C.S. Lewis came there regularly as a boy on holiday.
Since Northern Ireland is proud (and rightly so) of its connection to C.S.L. many places there claim to be the inspiration for Narnia, but none have as strong a claim as quiet little Castlerock, where a train pulls into the station every two hours then disappears into a deep tunnel at the edge of town; or where you can still see the window where as little boys he and Warnie likely watched the train steam past; or where you can still walk the path to Downhill and encounter castle ruins, or a tangle of forest called the Black Glen. “This is Narnia,” said my new friend Mark proudly as he talked about his family’s front yard: a field of waving wheat with Downhill castle off in the distance. In fact, here’s a great picture among many that Mark took just a short walk from his house.
August 23, 2013
We walked the streets of Edinburgh, Scotland, one of the most beautiful cities in the world. People told me that of all the places on the island of Britain, Edinburgh was their favorite. I had seen London and Oxford, both of which have their own great beauty, so I was skeptical. But after a week there, I was ready to sell the house and move, even if the thick Scottish brogue was almost impossible for me to understand.
One of the highlights of the trip was the bus tour, led by a friend of a friend, a pastor named James (who supposedly was written about in Erwin McManus’s The Barbarian Way. The family and I sat on the open upper story of one of those red tour buses, rolling through the streets of the old city while James told us fascinating bits of history. Being a typical American, I of course asked him his opinion of Braveheart. I’ll save his answer for another, more testosterone-charged post.
After the bus tour, James asked if we wanted to “have a bit of a wander” so he could tell us more of the Christian history of the great city, which I’m glad we did. The stories he told were enlightening and terribly sad. At the end of the tour we stood on the main drag, the Royal Mile, next to a heart-shaped patch on the pavement called the Heart of Midlothian. Here’s what Wikipedia says about it.
Visitors to Edinburgh will often notice people spitting on the Heart. A tolbooth (prison) stood on the site, where executions used to take place. The heart marks its doorway: the point of public execution. Some people spit on the Heart. Although it now said to be done for good luck, it was originally done as a sign of disdain for the former prison. The spot lay directly outside the prison entrance, so the custom may have been begun by debtors on their release.
That may be true, but according to James it isn’t the whole truth. The Heart of Midlothian is now the emblem for a Scottish football (soccer) team, and much of the spitting comes from people loyal to their rival. Either way, in the space of about ten minutes we saw about fifteen people pass and spit on the heart without a thought. There wasn’t even a pause in their conversation or their stride. They spat without a glance, as habitually as if they were genuflecting in church. For luck? Spite? Who knows.
August 16, 2013
[I wrote this to encourage every single person on earth to purchase Beyond the Frame, the new album by Andy Gullahorn. Get it here. There’s also a great review of the album by Jonathan Rogers here.—AP]
“Write it like you would say it.”
I can’t tell you how many times over the years that maxim has snapped me out of whatever florid garbage I was writing. It’s a good idea to emulate your heroes, to ask yourself when you get to the bridge, “What would Paul Simon do?” Or when you happen upon a guitar part which, miracle of miracles, sounds unique enough to try and build a song on upon, to ask, “How does James Taylor get into a part like this?” Steal boldly, I say.
But most often, when I’m scribbling in a notebook the nonsense that I hope will become a not-unbearable song, when it’s late and I’m sleepy and I’m stuck, stuck, stuck, I remember these words: “Write it like you would say it.” It usually opens the door to the lyric I was looking for. It keeps me from putting on airs, which we’re all prone to do. People can spot a fake a mile away. It’s the difference between reading a speech from a podium and looking someone in the eye and telling them “I love you.” It communicates to the listener that you’re not pulling any punches but you’re not blocking any either. “Trust me,” it says. “This might hurt, but if we make it out alive we’ll be better for it.”
August 09, 2013
[Editor’s note: This post was written about a month ago. Do not be led into a space-time paradox by the opening line.]
[All photos by Aedan Peterson.]
Can I tell you about last night?
Part of the reason for this self-indulgent post is that our time in Wales is possible in part to an anonymous donor, and this is the best way I know to show my gratitude. We’ve been gone for more than a month now, and so much has happened that I won’t burden you with the details. The highlights: a wonderful 3.5 weeks in Sweden, during which time I made good progress on The Warden and the Wolf King and visited the ruins of the cottage where my great-grandfather was born. Then I got a kidney infection, an illness that knocked me out of the game for six fevered days and ended in a hospital visit on the island of Gotland. I recovered, and we pushed on to Norway, then hopped across the channel to London, where, like good Americans, we did everything we possibly could between the four concerts last week. That means the Tower of London, Westminster Abbey, St. Paul’s Cathedral, a play on West End, the British Museum, the National Gallery, Platform 9 3/4, and too many London Underground train rides to count. Needless to say, I didn’t get much Wingfeather writing done that week.
(I’m leaving out our visit to Oxford for now, because there’s no time. But trust me: it was magical.)
During the London stay we had a single show in Wales, so we took a train from Paddington Station to Bridgend. When we got off the train we were greeted by two great guys, Phil and Von. Phil is a South African pastor, Von is an American musical missionary. Stepping out of the station in Wales after having spent a hectic-but-awesome week in London was like easing into your favorite chair after a good day’s work. The countryside! It’s impossible to avoid comparing it to the Shire. I even heard that Tolkien may have based the Shire on Wales (and hobbits on Welsh folk, a comment that rankled the one whom I mentioned it to). We spent the day in the ancient town of Llantwit Major, played a blast of a concert in an old church (along with a local folk band called Valhalla), and even paid a visit to a 1,000 year old pub in the country, which was started by monks. It was a lovely day. The next morning we took a deep breath and boarded the train back to London for two more concerts. I SO wish I had the time and energy to tell you everything, and that you had the time and energy to care. We’ll have to save it for Hutchmoot or something.