sonata scenes

or, structure and emotion: an exploration

1147987_old_maritime_map I’m excited about editing. To be more precise, I’m excited about discovering a new system of editing long manuscripts.

With her usual clarity, Jenna St. Hilaire continues her confessional tutorial in the under-appreciated art of manuscript editing. ‘Confessional’, because, as readers of A Light Inside know, she’s been editing her own novel manuscript over the past months. Tutorial, because she’s using her experience to help others find a way to edit their own manuscripts.

The editorial board at Paradoxes (viz., me) extends their thanks. Because in reading this tutorial confessional, I (viz, Paradoxes’ editorial board) was reminded again how editing is like music.

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organic fantasy

how the genre can be free from chemical pesticides

http://www.flickr.com/photos/54459164@N00/2446782232/in/set-72157604071728368/ It’s difficult to know what to do for Earth Day, usually. Not, let me quickly explain, that there’s any lack of laudable opportunities—community garden days, environmental protests, farmers’ markets. Things of that sort.

But what to do as a fantasist?

All these laudable opportunities involve some extent of nothing whatever to do with fantasy. Which for many reasons makes them healthy activities for any struggling fantasist. But I happen to dislike fracturing what I do from what I do. If we are to celebrate, honor, and sustain the earth, surely there’s a way of doing that as a fantasist—through fantasy?

The occasion for many such morbid fits of ‘what to do, what to do!’ is a secret longing to have thought of Ents first. Around Earth Day,  you’ll see any number of struggling fantasists furtively haunting disaster areas, hoping to hitch a ride on a TARDIS. They want to go back to 1922, and publish a certain story

That, of course, is cheating.

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green writing

There's ents and there's ents...

Or, why the environmental responsibility of fantasy writers has a lot to do with music.

The world began with a song.  Evil entered with dissonance, a rouge-counter melody.  But dissonance only enhanced the beauty of the song, and made possible wonders before unmade.  That was the beginning of sorrow, of loss, of light that flickered and died away.

That, of course, is the creation story of Middle-Earth, when the Valar sang the song of Eru, but Melkor sang a song of his own.

The creation story of our world begins with speech, G-d uttering light and darkness into being, speaking their distinction and calling them good.

Then the Satan spoke his words of deception and destruction, and the garden was destroyed.  The light from the two trees of Eden died like the light of the trees in Valinor.

That’s why we need to think about Bangladesh for a minute.

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