Kevin Pajak

The contextual visuals relate to the overall structure dynamic across the spectrum of displacement. In as such as the connective linear forces draw across the temperament of the inverse properties to give the overall structure a dynamic modality that results in various forces unifying into a singular plex. It is the plex that allows the system to afford redundancies in the retrograde of affordable inconsistencies. It is redoubtable that these crosscurrents can adapt to the systematic structure. Thus, investiture in a recursive reduction proves vital should we defer to alternatives, then an overall capture of essential currents can be had.

Thus, the overall structure tends towards stasis only if the quantum levels of structure can be unified. Indeed gentlemen, manufacturing of the node can progress if the structures hold firm. I contend that integration of the new system proceeds apace and will continue to do so as long as the fundament holds. The processing plant is in full operation and will be on line upon insertion of the molecular modalities. We have, dare I say it, achieved uni-plex before the moment of disillusionment perfected.

And a great cheer went up across the complex as harbinger of potentialities arrived.

As I work on my fantasy series, I think about the central nature of the protagonist and how the story pivots around the pole of his being. Can a story have more than one pole, one essence, one essential nature? If not, then does that mean that each book/novel/story is a singular entity with the cast of characters and events playing out across the spectrum of his being? If we look at the novel as a living entity what do we see. Words at play with themselves as an unfolding. But they do more. These words, in their arrangement, enter into the reader in ways that encounter The Other [sic] as an extending out toward. Unlike human to human interaction, in this case, it is words’ textualness extending out toward the reader/being/entity who is open. It is this openness that comports the reader as The Other toward himself. He can only see these words as a reflecting back upon himself. It is this recursive nature of reading that brings us to ourselves. However, it is an uncanniness that we encounter because the murmur of the author is also at play in the language of the story.

This is why one author is prized while another is not.

When it is a recursive reflecting splayed out across our being, we get a delving into ourselves that is not possible in any other fashion. This is the gift that the writer writes to us. We are given a piece of ourselves by the author in a timelessness (that is here the novel resides–outside of time) that ripples ever outward in the liquid play of language.

So, I return to the protagonist. Can stories have a multiplicity of protagonists? Can there be chaos? OR does it/the novel have to always have a focus of individuality? It seems to me that in the current accepted structure there can only be one protagonist. It is his/her/their/our/we/us story. Individualized and compartmentalized – the story is a singular being living out its days in the multiplicity of interpretations.

It is this oneness that allows it to become many to us as we change and grow. We re-read it again and again, seeing facets gone unnoticed until now…now..now. The now of the re-read. If there were multiple or a multiplicity of protagonists where would the agent and agency be?

I think I agree that each story can/should/may only have one protagonist with a panoply of others as supporting identities (Ref: Carl Jung archetypes in the psyche) of the singular being. Is it then the case that the totality of all things occurring in the novel are in fact merely facets of one person? That even the antagonist is merely another identity of the protagonist? Is Moriarty merely Holmes as an emergence of a different facet of the self?

Possibly,

Still, we do crave texts that sing to us across the distance of language at play. That is good writing.

Here is a great blog for the Heroine’s Journey

https://heroinejourneys.com/

I recently had a chance at FenCon 2023 to talk to an independent publisher who crafted his own covers. There is something to be said for saving money on art. He does because he creates them himself. We all know that the publishing world has to watch costs if it is going to make a profit. This goes for the big boys too. Everyone in the publishing field, which also includes authors, understands profit margins are tight. There is not a lot of extra cash just flowing out of a spigot. We get it. My take away from meeting and discussing cover art with this publisher is that publishers believe art is one place where cuts can be made. Hell, artists are expensive. Who can afford that?! The better question is, “Should we?”

The answer is forth coming, but first I will return to a discussion of this publisher’s line of books. Taking a look at a series, sure they should and indeed must have the same or similar look and feel. I get it. The reader wants to pick up a book in that series and see that the cover is cousin to the last book. I want that as well. Well friends, this publisher understood that when he crafted a series. Each book in that series has the same look and feel that the other do. This is called… wait for it… unity. That is right. If there is a unity to the whole series, the way the characters act, the situations that occur, the evil-doers’ (borrowing a phrase from ole Bushie) actions, basically everything must contain a unity that unifies the series. This includes the cover art. Dark drafty castle with bold colors does not match child like art with bright sky and fluffy clouds. Thus, each cover should feed off the last cover for inspiration and design.

What publishers do not seem to understand is that this can also be used to great benefit. If the story takes a drastic turn, let’s say the author has written himself into a corner and he needs to reorient the story to get out of it, well… that is easy. Change the cover of the series to reflect that this particular tale veers off the beaten path. The cover is the first line of defense in ensuring that the readers will be willing to still take that journey down the series path. I do not see publishers taking advantage of this aspect of the publishing industry. Maybe they are scared. Regardless, most always we see a series maintain unity by keeping a similar feel to the cover art. I reference Stephen R. Donaldson’s “Covenant Series”. Have you see the paper backs? A-May-Zing! Each one is a different color but they still maintain the same style. Perfection on paper. Great job big publishing house whose name I don’t know. I think it was Bantam-Del-Double Day-Person-Prentice Hall or some such name. You know how they love to gobble up companies but still keep the names. Maybe call them Bloat and be done with it. Pha! Anyway, back to it. Where was I? Oh, yes—Art.

So, I started analyzing the other covers that the publisher had. There were a few series but there were also some one offs. The startling thing I came to realize is that ALL and I mean ALL the covers had the same look and feel. The overall experience of looking at them made them feel as if they were in fact the same series, which they were not. So, how does a reader react?

If the tale is good, it is good regardless of the cover, yes? If that is true, then why doesn’t the publishing world simply publish books with white covers and black letters with the title of the book and the author’s name? Why? I will tell you why. The art on the cover sparks the imagination. It is the beginning of the journey that the reader takes. I myself will dump a book because the art sucks. Tolkien? Yeah, I’ve heard of him, but he’s not worth reading. Have you seen that crappy cover? Yuck! Okay, maybe not, but you get the idea. It could be the best tale ever told in the last ten years (notice how I limited it to ten years? Wink.), but if the cover sucks, I won’t be purchasing it. Sure, others might tell me all the great stuff going on in the book. I might even purchase it on a lark when I find it at a garage sale or at half price books, if there is enough hype about it. This fact does nothing to help the publishing world. It does not thrive off garage sales. It needs sales. Are we starting to see how important the cover is? Oh sure, there are some great greats out there that ignore cover art. I will mention that insanely awesome cover for Catcher in the Rye. That cover purple/magenta/whatever with simple yellow letters. That is a great cover for that novel. I wouldn’t have any other one. The latest space opera novel needs a great cover. Don’t you agree?

I return to my publisher. I didn’t want to bag on him at the Con either directly or to others attending the Con, but I will here. Sure, he is proud of his books. Even better, he is making sales. A hearty high five for him. I also point out that everything matters. So, if you have all these same styles pumping out, what kind of authors will you attract? I know that I would NOT approach him to see if he would publish my book. Heck no. He didn’t get it that the authors he attracts are authors who are either desperate or who are attracted to the covers.

I took a look around at other publishers. They have variety. Literary Fiction, Fantasy, Sci-Fi, Mystery… they all have a different feel. I am not one to demand that Mystery novels have murder covers or that Fantasy should have nothing but dragons on the cover. What a publisher needs to consider is what will each genre’s feel be for that publisher? Will the same artist be used for that genre? I think that making your genre have the same feel as EVERY OTHER PUBLISHER is also stupid. Sure, murder mystery authors want XYZ, but that does not mean we should accommodate them.

If we can take two things away from this crazy discussion we will see that one, and this is a major number one so I will repeat it, one! Artists do matter and they should be hired, and try to hire one not because he or she is famous, but because you like that style or feel or whatever makes you attracted to that artist. Hiring them just because they are famous is stupid. I would argue even more stupid than having every cover similar. Two, and this is almost as important as one, two..do not get trapped into thinking that your genre has to match a certain style or feel just because other publishers are doing the same thing. This is the United States of America. We invented individuality. We should adhere to that simple lesson and create a uniqueness about all that we as Americans do. This includes the covers we make. Sure, it might be scary, but think of the amazing covers we will have if we take the plunge and give a measure of freedom to the artist and the author. Wow!

The literary fiction short story anthology that our writing group has been working on for fifteen years is finally published.

You can find it on Amazon by clicking this link. https://www.amazon.com/Man-Window-Kevin-Pajak/dp/1737430509

I would love to hear feedback after reading it. Let me know what you think. If anyone wants to do a book review of it, I would love it — good or bad.

Such effort, all those years, phew! I don’t know how it affects other authors when they finish their books, but it left a gap or hole in me. I turn and turn and look for The Man in the Window, but then realize it is done. After reorienting myself, I realize I have to learn how to write novel length stories. A whole new way of thinking. The three thousand word limit became… comfortable. It was like a broken-in housecoat that you wrap around yourself while sitting in your favorite chair. <Click> the gentle light from a reading lamp turns on and you sit with your steaming cup of tea and a good book. Ahhhh… all is good. BAM! the world you lived in for fifteen years explodes in all directions and you are floating in a void. Really, a void? Yep. How do I go about changing how I write so novels come into being? One keystroke at a time? Sure, they tell that to recovering alcoholics. What about me? In a way, I too was addicted. Addicted to the length and rhythm of the short — very short — story. How long is a chapter? Should I take time to do a lengthy description? Oh yes, character development. Oh hell, here comes dialogue.

As I sit here in the aftershocks of the completion of our fifteen year project, I float and think about what comes next. It will be groovy to go on this new journey that expands my story world to 120,000 words instead of a mere 3,000. What awaits?

Well, I am working on a fantasy series. Twelve books. Unlike those who live by writing, I write so I can live. I will finish at least three of the books before I seek publication if not the whole series. It should become easier with practice. I should have a handle on it by the end of book three. I hope I can pick up the pace and finish it before the next Mayan calendar runs out.

I hate it when authors start a series and then die before they finish. You know who I mean. I don’t want to do that to my readers. So… here is to writing faster.

I hope you enjoy The Man in the Window. I love the preface to the authors’ notes. The rest is pretty good, too. Thank you, Kevin.

Here is a website that allows you to visually compare sizes of things. This could come in handy for many things. One person could stand in for a building size and the other would be your actual person. “Hey, Maude, how tall was that mountain?” Well, friends, now you can check. Try it out.

https://www.heightcomparison.com/

I recently re-read one of our writing group’s author’s story. It is called “Coda Redux.” James, the author, discusses in his author’s notes about trust, which made me want to discuss this concept in my blog, as I did not see him cover it to my satisfaction. So, let us turn to a discussion of trust.

How does an author construct a character’s trust that is believable? What is trust and what comprises it? Psychological construction of trust in a character contains ordered indicators that lead to a conclusion in the character that trust is warranted. In other words, for a character to believably trust someone who should not automatically be given trust, there are a number of indicators which are arranged in order. When these indicators pass the test as being true, then a piece of trust is earned or given. At some point, the character will give trust. However, the less likely it is that a person should be trusted, then the more indicators will need to be proven true (or passed) before that trust is given.

Here is an example

The Principle:

Say a mother goes to an elementary school and goes to the principle’s office. A woman enters (indicator 1 = yes) Note: a woman principle is more likely to be trusted than a man principle. If it were a man, then the answer would equal “maybe.” The woman, who this mother has never met, is clean, smells good, and is pleasant looking. (indicator 2 = yes). The “principle” (I put it in quotes because we do not REALLY know if this is the principle.) asks the mother to sit down. After a pleasant greeting, the principle says that she is worried about her son. (indicator 3 = yes). The mother will more likely trust someone in authority if that someone seems to be attempting to help her son. If on the other hand, the principle says, “Your son is a trouble maker,” then the mother will become defensive. In this case, (indicator 3 = maybe). Such a simple concept. What if we move it over to a less simple concept?

The Detective:

A mother opens the door to her house and two detectives are standing there. (Note: having only one detective will make it more difficult for the mother to trust) She shows a badge which seems real. (indicator 1= yes). The detective is shown into the living room and sits down. The detective immediately starts attacking her son. (indicator 2 = No). Instead, the detective starts asking questions about the mother, then switches to the son. (indicator 2 = yes)

Remember: these are “most likely” scenarios. I cannot craft them properly without an actual story to analyze. All these things will have to be built by the author. Subtle details will help perfect in a “yes”. Clean clothes, smells nice, combed hair. But the dirty bum living in a cardboard box will not ring with truth if his hair is combed and washed. So, some factors will automatically be against you when trying to craft an unbelievable person for a character to trust. Likewise, remember that you can craft a totally trustworthy person and insert odd or unsettling indicators in that person so that trust is less likely. This helps throw the reader off. Example: the detective who was acting odd, fidgeting when I said my husband’s name. The scientist who laughed maniacally when she talked about children being safe. The colonel who requires inappropriate actions be taken.

In the end, this topic is so broad that it becomes needful to write a whole book on trust. Needless to say, most authors have enough life experience that they can craft most of the characters properly. We just need to remember to check each indicator box along the way. If further research is needed, there are many psychology books written on the subject. This post stands mostly as a reminder that believable trust needs to be earned by verifying “yes” along the way. Of course, you trust me? don’t you?