I'm Going To Talk To You About Women.

(Originally Titled - The Male Feminine.)

A friend of mine once made the observation of my writing that I am able to grasp female protagonists really well. It hadn't actually occurred to me that there was anything especially remarkable about this but on reflection, it is clear that as an author, I have gravitated towards strong women characters in my work.

In my first novel, The Hambledown Dream (2010), I conceived a grieving young lawyer, Sonya Llewellyn, a fiercely independent woman who is left to pick up the pieces after the death of her true love. Hers was a character study in grief based, in part on my observations of my paternal grandmother, who lost her husband to cancer after 48 years of marriage. In Gifts of the Peramangk (2012), I portrayed a complex Aboriginal matriarch in Virginia Delfey whose secret gift may or may not hold the key to her family's redemption. Here, I was influenced by my experiences as a community nurse, working with many Aboriginal families in the suburban fringes of Adelaide and noting how central and authoritative matriarchal figures are.

Casey Schillinge as portrayed by a stock photo.

In my 2016 psychological thriller, The Recipient, Casey Schillinge is a young heart transplant recipient who is introduced to us as her life hangs by a thread. At the eleventh hour, she is given a second chance of a donor heart. In the subsequent story, she is remade as a troubled young woman who sees her gift of this life saving heart as a curse that holds a dark secret. In this instance, there isn't so much a template for this particular character as there is an instinctual drive on my part to create a compelling female protagonist who, in the tradition of strong pop culture heroines like Ellen Ripley, Lisbeth Salander and, more recently, Imperator Furiosa, gets to kick some serious butt.

Australian actress Sophie Bloom was the inspiration for Isabelle Sampi in The Artisan Heart.

in my 2018 novel, The Artisan Heart, I returned to my romantic roots with a gentle tome about a brilliant paediatrician, Hayden Luschcombe, who - having lost everything after a tragic event - returns to his home town in the mountain country of Southern Australia. There he encounters Isabelle Sampi, a struggling single mother who is trying to resurrect a moribund bakery in the town of Walhalla whilst raising her hearing impaired daughter. Isabelle is introduced as another independent, no nonsense woman who is driven to succeed as a business woman and mother and has no time for matters of the heart. Her secret past makes her wary of men in particular, until the handsome and damaged young doctor arrives in town and gradually dismantles her defenses. The story starts out with Hayden as the protagonist, but I like to think that Isabelle becomes the protagonist by the end of it. 

Where does predilection to write female characters come from? As a male writer, I have tended to occupy a space that many would argue is not suited to me. Well, I can say that it was never a conscious "thing" where I said to myself - 'I'm going to break through a gender wall and shake things up'. 

It kinda just happened.

I simply enjoy writing women and, as my many readers have fed back to me over the years, they very much enjoy reading them, noting how fully realised, dynamic and believable they are.

The fact that I am a male writer who chooses to portray strong female characters doesn't make me unique but, I realise that it does place me into a fairly niche group - one that has been regarded with some antipathy in literary circles. 

In a 2013 article for The Hairpin, blogger Ester Bloom bemoaned the apparent inability of male writers to accurately portray female characters. "Far too often...when you open up a book by a male writer—even a good male writer, and occasionally even a great male writer—you encounter ladies who are a variation on one or more of four themes: virgin, whore, mother, bitch."

Ellen Ripley *is* Woman.

Bloom goes on to deride the mysoginistic tendencies of male authors in their depictions of women based on these four themes. Though, she does acknowledge some works where men have, sometimes, gotten it  right...almost.

Putting aside the healthy dose of snark contained in the article, it illustrates the kind of antipathy I hinted at; the suggestion that men can't possibly hope to accurately portray women in fiction.

I say bollocks.

I recounted to Australian romance author Georgina Penney on the Bookish Tarts Podcast, that in drawing my protagonists - regardless of who they are -  I am,first and foremost, drawn to their humanity and how that humanity serves the story I'm telling. What are their goals? What are their motivations for achieving those goals? How do those goals serve the story? These things happen regardless of gender. 

When it came to sketching the characters, having decided they were going to be women, I'm certainly not bound by arbitrary themes such those mentioned by Bloom - nor am I writing with an agenda. It comes down to observation.

My own observational skills are keen. I am inspired by human behaviour and interaction and I reflect on the people who have influenced and inspired me. It happens to be the case that a lot of those people are women.

Central among these are my partner, my mother and my two grandmothers. These are women who have nurtured me and guided me in life, who I have communicated with and learned from. There are the colleagues I have worked along side as an Intensive Care Nurse - often in high pressure situations requiring a special kind of resolve. And there are my writing colleagues - my publisher and editor, fellow writers and artisans with whom I collaborate with and learn from.  All of them are strong and independent women, filled with wonderful complexity and dynamism -from which I have mined enthusiastically for material.

Jean was as tough as Ellen Ripley...possibly tougher.

I admire and respect these women and they have enhanced my appreciation of what makes a strong, well drawn female character. It is perhaps, no accident that their character traits find their way into my fictional creations.

There isn't any great secret to writing character - be it male or female. The key ingredient to any character is an ability to imbue them with and convey genuine humanity, one that invests the reader in the protagonist's journey. As a writer, I see it as essential to be able to observe and accurately reflect that humanity.

Oh, and women are really great.

DFA.

A Parasitic Relationship - A Schwannoma Diary (#3).

I think I'm entering a phase of being angry now. 

I met with my neurosurgeon this afternoon to review the MRI scans that were captured over the weekend. 

They established the geography of the space occupying lesion at the base of my spinal cord. Even on the scans, it is a parasitic looking little shit. In fact, it's not so little. It's something in the order of an inch to an inch and a half in size - a dark, lobulated mass that is being fed by a rudimentary blood supply and, most likely, my cerebrospinal fluid - the fluid that bathes my spinal cord.

My little parasite - not the circle, the thing in the circle.

The theory goes that this tumour is one that has degraded over time. It started out as a healthy (???) schwannoma but some where along the way it degenerated into this cystic lesion. There's still a lot that is unknown about it. An MRI will give you good images and you can make certain assumptions about the make up of the structure and tissues featured in them. But they're assumptions. Guess work. Estimations.

We won't really know the composition of this thing until it's removed from me and it can be examined. 

I want to anthropomorphize it - to give it an evil agency so I can justify being angry and hateful towards it. 

But it's not evil. 

It has no agenda. I mean, it couldn't even grow properly, like a normal tumour would. It's a pathetic reject - a retarded tumour. It's just there. A stupid genetic abberation of my own making.

I can't sustain my anger. I end up feeling empty, perhaps a little bit guilty.

My retarded tumour.

The surgery has been set for next Tuesday, the 18th of December. I will undergo a laminectomy whereby the surgeon will re-enter my spine through the incision that was made 29 years ago. There's a lot of old scar tissue from that original operation that may or may not cause some problems. Scar tissue is not forgiving. I'll be under an anaesthetic for 3 - 4 hours. It could be less if my surgeon can get in there without too much trouble. Then, I'll stay in the hospital for 5 - 7 days.

That's where my stomach drops. Having to tell my children was crushing this evening. Christmas Day won't be the same. I won't even be home for it. We won't be able to observe our little traditions. Worse still, our planned interstate vacation looks unlikely to proceed. This is particularly upsetting. I haven't seen my parents or my brother for 8 months. There are old friends I haven't seen who I was looking forward to seeing. I haven't reconnected with home in all that time and it hurts. Some people don't understand how much it hurts.

I've noticed something about hospital forms - they never allow enough space to write your email address. I always end up squashing up my writing to make it fit. I'll have to bring that up with someone I reckon. 

DFA.

Why It Is Important To Be Creative.

I'm back with a post as part of my writers' group August blog chain challenge and, this month, the topic put to us was a question - Why is it important to be creative?

At first glance, the question appears fairly easy to answer doesn't it. 

However, I struggled to come up with an adequate answer and, for the longest time, I couldn't figure out why. It eventually struck me that I was trying to answer the question by looking outward - as though trying to impart reasons why anyone should be creative. But, that's the wrong way to tackle it. Creativity is a very personal thing and it can take so many different forms. The relationship one has with creativity is unique. It goes then, that any consideration of its importance requires that one look inward, rather than outward. So why is creativity important to me?

My love of writing began at an early age. I've often said my Grade 3 primary school teacher, Mrs. Furnell, was the individual who unlocked my creative streak during the creative writing sessions she used to run in class. Ever since then, my desire to create, to tell stories has been insatiable. It has become as much a part of me as breathing or walking.
  

As a Registered Nurse, having practiced for over 20 years in many clinical areas, I have been witness to the extremes of the human condition. A lot of these experiences have been positive - like Nursing newborns who need just a little bit of help at the beginning of their lives or Nursing various bumps and scrapes children have sustained on the sporting field or in the back yard. Things that can be fixed relatively easily. Through the tears and the worry of the patient and their family, there are often smiles and laughter and comradeship. Plenty can be fixed with a Zooper Dooper icy pole.

There have been a lot of other experiences though - like being present at traumatic presentations in the ED, like motor vehicle accidents, violent assaults - sometimes involving weapons, drug overdoses. Or in the ICU - Nursing complex disease processes, the extension of those ED presentations, children who have acquired virulent illnesses like meningococcal sespsis or have been diagnosed with cancer. Many of these cases survive and recover. Many of them do not. There have been catastrophic outcomes. There has been death. 

These experiences imprint on you and they do affect you.

Creativity in the form of writing has been a means to decompress, to escape the accumulated muck of that side of my life and engage with an art that is completely separate. Sometimes, I have written down vestiges of those clinical experiences simply as a means of trying to make sense of them, to remove their subjective effects from my mind and see them as objective experiences, which I can address, deconstruct and move on from. Sometimes, those experiences have found their way into my writing, which has been therapeutic in itself.

It's ironic isn't it. I've credited my Nursing as being an influence on my writing for this reason, but also because of the structure Nursing requires to practice effectively. Nursing involves an adherence to inquiry, to diagnosing, problem solving and crafting solutions. These tools are invaluable to me as writer as I sculpt stories using them in much the same way. So, while I write and create as a way to separate myself from my Nursing, my Nursing inevitably creeps across the fence.

Creativity is an antidote for a restless mind. I have a mind that is constantly working. I find it difficult to switch off. The world around me is such a vivid place and I often take in everything. I work it over, consider objects, smells, tastes, experiences. I ask myself questions, analyze, ponder. The noise in my head can, sometimes be deafening and it can be distressing. 

Writing is a means for me to unpack my mind and get things out so that I can become an observer of ideas, rather than a participant in them - does that make sense? Having a creative process, a method if you will, that is structured and coherent allows me to work ideas into a pre-existing project or catalog them for a future one. I've come to regard even the most disparate ideas as valuable. They are as tangible to me as a flower or a leaf, a Star Wars figurine or a piece of fruit.

Creativity, for me, is a means of maintaining mental well being as much as it is a satisfying pursuit of story telling. 

I'm sure I could explore other reasons why it is important, for me, to be creative but I think these two top the list. They represent the two greatest influences on me as a writer and also as a person. 

So, what about you? Why is it important for you to be creative? Let me know in the comments.

DFA. 

Trailer Park.

One thing I've done in support of marketing my books is to put together a book trailer. It's not a new concept and plenty of authors are doing it. With a little bit of imagination, and some patience, book trailers can come out looking pretty good.

Of course, You Tube is the best avenue for uploading and promoting your book trailers, but Facebook, Amazon and Goodreads all offer a similar facility for uploading video trailers.

Here are three trailers I've put together for my three books so far.

One of the best pieces of advice I've received in creating book trailers is that no trailer should be more than roughly a minute long. Attention spans for an unknown or obscure quantity are only good for about a minute, after which, you can be guaranteed they'll switch off. 

I think I've broken that minute rule with every one of these trailers. Did you last? Let me know in the comments. 

DFA.

2016 International Teaser Trailer for "The Recipient" by Dean Mayes.

2012 International Teaser trailer for "Gifts of The Peramangk" by Dean Mayes.

2010 International Teaser Trailer for "The Hambledown Dream" by Dean Mayes.

My Strange Addiction - Bad Reviews & Where To Find Them.

Bad reviews.

They're nothing new. They are part and parcel of being a published author and, if there is one thing I've learned after seven years of writing and being published, you are bound to get one - or two.

You know something?

They still hurt.

Even with all of the advice I've received about bad reviews and the knowledge that you can't please everyone all of the time, there are occasions when the bad review cuts - and cuts deep.

(image credit: Goodreads.)

Of course, one nexus where authors can almost be guaranteed of seeing bad reviews of their work is Goodreads. The Amazon owned, global hub of just about any book that has ever been published is either a blessing or a curse for the working author.

I still haven't decided which.

Sure, it's a platform that gives exposure to an author's work, allows discussion and interaction about that work and literature more broadly. 

In the past couple of weeks, some reviews have appeared on the Goodreads entry for The Recipient that are less than kind. In a word  - they suck. I won't relay the details of them for you here. You can visit the entry for yourself and check them out. Suffice to say, there are no positive take aways in them. There is nothing in them that I could use to apply to better myself as a writer. Over the course of several hundred words, their basic take-home is, 'This is shit. Move on.'

You maybe asking, why would you do this to yourself Dean? Why would you visit a site like Goodreads, if you know that the reviews may not all be good?

Well - because reviews matter. Reviews are still the pre-dominant indicator of an individuals decision to purchase or not to purchase. If the reviews are bad, and they come from a reviewer of influence, that is quite a powerful position to be in.

I've had plenty of advice, saying to avoid reviews - good and bad - and I know, intellectually, that is the right thing to do. 

But sometimes, I have moments of weakness. I've had a few moments of weakness recently.

I'm close to a stage of burn out. I've recently had two patients at my work pass who I were really close to and I think they affected me more than I am willing to admit. There has a constant pressure associated with the daily grind. Work, the school run, the weekend sports, juggling the house hold budget, my health. Not to mention the challenges of trying to remain creative and finish a story that I've committed quite a lot to emotionally over the past year.

I missed a pressure release valve somewhere along the way.

In those moments, I find myself indulging in a crazy little game of self flagellation. There is something about bad reviews that is strangely attractive. It's almost like, seeing a bad review acts as a sort of leveler. That, even after multiple titles, you're not actually top stuff at all. You're not even decent. You're a fraud.

(image credit: REUTERS/Mohammad Ismail.)

The best place, it seems, to do that is by visiting Goodreads and checking up on your reviews. Ignore the good reviews and go straight for bad ones and bask in them like some strung out drug addict. 

Feels good, don't it. 

I've endeavored to adhere to the idea that all reviews are valuable. All reviews offer something that an author can use to better themselves. Truth is, not all reviews are helpful. In fact, there are actually bad, bad reviews. 

And it still hurts.

DFA. 

When The End Is Just The Beginning - Journey To Walhalla Entry 1.

It never ceases to feel special to me, whenever I type the words "The End" on a writing project. 

For my latest work in progress, a romantic fiction novel that carries the working title "Walhalla", I reached that milestone yesterday - and I almost couldn't believe it.

I've spent just short of a year working on this one, if you include the time that I spent *not* working on it because of some health challenges, and it was because of those health challenges that this milestone feels all the more sweeter. 

When I lost my voice after I had surgery on my throat and vocal cords, I mistakenly believed that I would actually throw myself into the project during my enforced convalescence at home. In truth, I lost all motivation for writing. My writer's voice had become just as silent as my physical one and there were times when I thought I would abandon "Walhalla" completely. I grew to hate writing and I grew to hate myself because I hated writing. 

What pulled me out of the hole I found myself in?

She... (image credit Lucasfilm Ltd.)

Carrie Fisher's death in December of last year had an impact on me. Apart from the fact that she was my most favorite "bad-ass princess" throughout the now 40 years of Star Wars, Fisher was widely regarded as a brilliant writer and script doctor - able to weave complex narrative tapestries and turn the most parlous of screenplays into something special. And she did all this while waging a none to secret battle with mental illness. In the ensuing obituaries and reflections on her life, I guess I received something akin to a kick in the pants from her. 

Somehow, I clawed my way out of the hole and I recommitted to this story. I realized that I actually loved it. For this is a story that I think will likely be my most personal one.

"Walhalla" is set in a little mountain town in Victoria, Australia - a place I have known and loved my entire life. Steeped in history and the site of one of the biggest gold rushes in 19th century Australia, Walhalla has refused to die - even though it was thought many times that it would. Somehow it has endured and is undergoing something of a renaissance, thanks to a renewed interest in its history and the opportunities afforded to it by tourism. 

For me, Walhalla serves as the setting for what I hope will be an engaging love story between a Doctor who has returned to his home town after the failure of his marriage and a Baker whose tragic past has instilled her with a steely determination to succeed with her nascent business. Walhalla - the story, like the town - is filled with a cast of quirky characters, all of whom are derived from people who have been a fixture in my life and I hope their presence will leap off the page as I develop the story further.

Because, even though I have typed the words "The End" on this first draft - it is really just beginning. 

Editing is a process that I love. It is challenging, frustrating and rewarding all at the same time. Once I have completed my first pass over the manuscript, I'll have a team of people to whom I will pass a second draft onto to get their insights, advice, criticisms and recommendations. I will incorporate all of those into a third draft - and then I'll be at a stage where I hope to submit it to my publisher.

I hope you might like to join me on this journey. I'll keep you updated - not too frequently - about my progress and I'd like to share a little bit of ephemera about the actual town Walhalla and how it has influenced me over all these years. 

DFA.

Dragons Rising - A Look At Fyrebyrne Island by Ashleigh Oldfield.

Among the small community of independently published authors I've come to know here in Australia in recent years, Melbourne based fantasy scribe Ashleigh Oldfield has stood out to me as an individual of immense talent. Bursting with imagination, enthusiasm and commitment, Ashleigh has worked studiously over the past few years to hone her craft, producing literature across a number of genres that showcase her abilities. I'm proud to say that I have sought out Ashleigh's keen eye on my own books, contributing important ideas to both Gifts of the Peramangk and The Recipient. Now, Ashleigh has achieved that most special of milestones with the arrival of her first major release, Fyrebyrne Island.

Here of course, is the guff first and foremost;

With a thunderous roar it fell from the sky, all gleaming yellow scales, talons the size of broad swords with fanged teeth to match, wings held out from its sides like sails, magnificent and glorious. The time has come for thirteen-year-old Rachaya to embrace her dragon heritage. Not everyone is pleased by her arrival on the dragon sanctuary, Fyrebyrne Island, however, and her mother's enemies may well have become her own. Will Rachaya live long enough to take on the mantle of Queen of the Dragons or will her enemies prevail?

I had the opportunity to beta read an early draft of Fyrebyrne Island and, even its early stages, it was clear that Ashleigh Oldfield had crafted an exciting opening salvo in a projected three book cycle, bristling with a kind of old world literally magic that is essential to the fantasy genre. Central to this coming of age story is 13 year old Rachaya a human girl with trans-formative abilities that conceal a dragon persona - a key trait of most of the cast in Oldfield's meticulously constructed world. Rachaya is plucky, wide eyed and eager to harness the legacy of her kind on the sanctuary island of Fyrebyrne Island but her journey will be tumultuous as she finds herself at the center of an epic struggle that will threaten her future and test her resolve to the extreme.

Featuring vivid characters, sprawling, medieval inspired landscapes and a cinematic narrative that crackles, Fyrebyrne Island: Book 1 promises a thrilling adventure that will keep readers, young and old, on the edge of their seats from the first page to the last.

(image credit: A. de Niese.)

Ashleigh Oldfield is a fantasy fiction and children’s writer from Melbourne, Australia. Always having a love for  the written word, Ash wrote her first stories by moonlight at the tender age of five, long after her parents thought she had gone to bed. To this very day Ash still prefers to write by the light of the moon long after any sensible person has succumbed to sleep. 

When she is not working on her latest piece of fiction, Ash enjoys drinking good coffee, taking her dog for walks on the beach and hanging out with her two cats. In 2012 she took the plunge, quit her day job and has been writing full time ever since.

Fyrebyrne Island is out now. 

Purchase Fyrebyrne Island from The Book Depository.

Purchase Fyrebyrne Island from Amazon.

Connect with Ashleigh Oldfield here. 

Tweet with Ashleigh Oldfield here.

  

The Involuntary Pause - Misadventures In Writing & Other Things.

I wasn't feeling it today.

Maybe it was because I'd indulged a little more than I'd planned to last night at the Pub when I was catching up with family. Maybe it was because it was such a lovely morning this morning and I found myself tending to my garden and lawns while listening to an ever enlightening episode of the Osher Günsberg podcast.

Whatever it was - I just couldn't engage my creative impulse today and, despite the eventual two hours I spent at my computer, my output wasn't good. I think I stared at my screen more than I did input anything of value. I'm struggling with the challenge of bringing two people together in a way that is gentle and convincing - and not soppy. So far, it has involved my protagonist, Hayden Luschcombe, helping my co-protagonist, Isabelle Sampi, with a blocked fuel line in her car and her showing him her bakehouse that she pretty much built herself. There's gotta be romance in there somewhere right.

It's a long story...

...And it's not easy.

Traditionally, I've been really hard on myself and overly criticized myself for not being productive. It's sonething that has caused me considerable distress - unnecessary distress. But I've slowly learned to accept that, sometimes, I'm simply not going to be able to tap into whatever it is that allows me to write freely and easily. When that happens, I've given myself permission to step away and disengage and it actually helps a lot. Of course, as with any learned behaviour - particularly those that have been learned over a long period of time - it's not easy to shake the anxiety and the tendency to be self critical. It takes effort to deprogram yourself and that can be pretty tiring. As I sit and I type this however, I'm okay...

...I think.

To contrast this with something completely opposite, something ratrathgroynd shaking has happened with The Recipient in the past couple of weeks. Back at the beginning of this month, my publisher wrote to advise me that The Recipient had been accepted for a Goodreads promotion that would see it be featured prominently at Goodreads as well as being included in a subscriber email mail-out.

Well, as the result of this promotion, The Recipient embarked on a rapid climb up the Amazon charts, peaking at a ranking of 735 a couple of weeks ago (out of several million titles) and it entered in the Top 100 across several fiction categories. It's since settled back into the mid 10,000 range as I write this but, it's selling at least a half dozen copies daily rather than say one or two copies a week. It's safe to say that I've never experienced anything like this and I'm kind of unsure how to see this. Further, I've just been informed that Amazon itself has selected The Recipient for its Kindle Monthly Deal mailout for November which has the potential to continue this run of high sales through its high visibility promotion. This includes prominent placement across the Amazon site as well as its social network.

In a word, I'm flabbergasted.

In the six years since my first novel, The Hambledown Dream, was published, I haven't had this level of exposure nor sales and it's a little hard to believe it's actually happening.

It's all a little bit of yin and yang today (is that right?)

Have you experienced something similar this past week? Let me know in the comments section below.

DFA.

The Writer's Emotional Investment.

I've somehow worked myself up into an emotional state this afternoon. 

In my continuing development of my latest work in progress, I've been working on the back story of my central character, Hayden Luschcombe, that involves a falling out with his father Russell that remains unresolved at the beginning of the story. 

See, Hayden's mother Lavinia died around four years before the events in the story, having suffered from ovarian cancer. His father Russell, who devoted himself to being her sole carer, died about a year later - ostensibly from a broken heart. During his mother's illness, Hayden made many trips over to Walhalla from Adelaide but often had difficulties in getting away from his demanding job in a hospital's emergency department to be with his parents and help with his mother's care.

When Lavinia's illness took a turn for the worse and Russell warned Hayden that there was much time left, Hayden tried to get a flight over but, due to circumstances at work and, possibly, some intransigence from his unsympathetic wife, he didn't make it in time. Lavinia died before Hayden got to her bedside.

Russell, in his grief, turned on Hayden and, I guess, blamed him for not being there at the last moments of his mother's life. This developed into a rift between father and son that went unresolved. When Russell died a year later, father and son never reconciled and so Hayden is left to live with guilt and regret. This is part of the reason why Hayden appears as something of an introvert at the beginning of the story and doesn't find it easy to mix with others.

Family dynamics can be really complex when cancer visits a loved one and relationships are often strained. Sometimes they can break. I was reminded of this, this afternoon as I sat trying to flesh out this aspect of the story and I couldn't help but feeling an overwhelming sadness as I considered how I am going to incorporate this back story into the main story. Part of Hayden's journey will involve him 'reconciling' with his father in a posthumous sense and I have an idea about how that will play out but getting to that point requires a bit of work. And it's not easy. 

When considering weighty issues such as these, it's inevitable that I become emotionally invested in these characters and these situations. It's a little surprising just how invested one can become. I'm not gonna lie, it's more affecting than I anticipated.

Do you find the same thing happens to you? Do you find yourself being affected by the situations you place you characters in? Tell me in the comments section below.

DFA.

The Tangential Author.

I go off on tangents.

A lot. 

Having the kind of mind that just won't quit is both a blessing and a curse. This past week, it has been a blessing. 

I think.

I began the week strong, in a writing sense, and I found myself advancing the tendrils of my current work in progress forward. It was really satisfying. I tend to work in a linear fashion but often I'll get bursts of inspiration that will have me going back in the time line of a given story in order to add nuance to earlier scenes or help me to clarify things that I was struggling with in those earlier parts of the story. Or, I'll go off on tangents. 

Big tangents.

So, I arrived at a scene in which my protagonist, Hayden Luschcombe, had identified a problem with a motor vehicle owned by my other protagonist, Isabelle Sampi - simply by hearing the sound of the engine. Let's just say that Hayden has savant qualities. He declares that the problem with Isabelle's van (she's a Baker/small business owner by the way) is a blocked fuel line and he offers to help her fix the problem until she can get it properly appraised by a qualified mechanic. They live in the mountains of Victoria, Australia in a town that is far from a mechanic.

(I'm shipping these two.)

This presented two problems for me. One - I am not a mechanic. I know a little bit about cars that will help me out of a jam but that's about it. Two - what homespun, ridiculous-but-effective method could I come up with to unblock a fuel line of a 2011 Holden Combo commercial van.

Here's where the tangents kick off. I started by researching the basics of modern motor vehicle fuel systems. What they comprise of, how they pass fuel from the tank to the engine, what the ingredient of modern fuels contain and what scenarios contribute to the blocking of a fuel system. I learned quite a bit from this exploration although a lot of it went quite over my head.

Once I had the anatomy and physiology of a modern motor vehicle fuel system worked out, I progressed to coming up with a homemade method for unblocking a fuel line. Now, as I write this, I'm still trying to nut this one out. See, a fuel line is essentially, a metal reinforced rubber hose which is capable of getting clogged up with a number of impurities from motor fuel. And there are any number of solvents out there that are capable of unblocking said hose. But, for the purpose of my story, it has to be home made and it has to sound - on the surface at least - totally ridiculous. At the moment, I have three ingredients that could be employed, either singularly or perhaps in combination - bicarb soda, citric acid and vinegar. 

I probably need to sound out an actual mechanic as well but, given I still have major problems with my voice, I'm reluctant to introduce myself to people I've not met before. 

I'll work it out I'm sure but if you have any suggestions or know a motor mechanic who can offer up a suggestion, please do point them in this direction. 

#

On the subject of my voice - I know it's been a while since I've spoken about it here but things aren't really progressing in that regard. It's painful to attempt vocalization and when I do, I have this over sensitive gag reflex that kicks in. On a full stomach, it is not pretty. I've lost a few meals because of it, so I avoid it as much as possible. 

It's depressing. 

As someone who enjoys conversation, to not be able to engage in it is isolating. I recently attended a family party and it was a stark experience. I found myself sitting quietly in a corner, observing others rather than being in amongst them. I mean, contributing a handful of nods here and there isn't really very engaging. And the totally acceptable noise level at a party make broken speech impossible so...yeah...

It's still a work in progress but I fear, at this point, there isn't much work left that I can do.

Here's a lovely piece of irony for you though. 

I returned to work a while back and it has been good, even though I've been essentially mute.

One of the first patients I nursed on my return was a young woman who had a large, malignant brain tumor removed. In the immediate aftermath of her surgery, she was doing okay but she unexpectedly had a bleed that rendered her unconscious and she was in a coma for a long time. Gradually she recovered her consciousness but she was mute - really only able to communicate with her eyes and broken hand gestures. 

I was allocated to her and it became a great partnership because we both developed a method of communication with each other that transcended speech. She made it possible for me to nurse despite my impediment and that gave me a much appreciated boost in confidence.

She can speak now. She's actually doing very well and we now have a kind of running joke that she got her speech back faster than I did. 

It's heart warming you know. 

I can take *something* from this situation. 

DFA.

Walhalla - Immersing Myself into a Setting.

Back in September, I took a much needed trip back to my home town in Gippsland, Victoria to visit family and celebrate my grandmother's 90th birthday. Nana has been a huge influence in my life and has been one of my biggest champions of my writing career, so I was really pleased to be able to share in her birthday celebration. 

While I was in Victoria, I took the opportunity to visit a place that is very special to me. It is also the setting for my new work in progress, a romantic fiction novel that carries the working title "Walhalla". 

Walhalla - the township - is a picturesque little mountain hamlet, situated roughly a 2 hour drive east of Melbourne. It's origins go back to the Victorian gold rush of the 1850's when, in 1862, prospectors exploring the mountains in that region happened upon a natural valley and creek flat that was, not only, suitable for settling, it was also the site of a rich gold deposit. So rich was this deposit that the resulting township became one of the richest mining towns in Australia. By the 1880's, Walhalla supported a population of thousands and was considered a regional center, rivaling that of Ballarat to the west of Melbourne and yielding gold hauls that were unprecedented.

(Walhalla c. 1897)

By the 1910's however, Walhalla's gold rush was in a stark decline and the narrow gauge railway the township had fought for decades to get, arrived just in time to hasten the exodus from the town. However the town itself refused to die, despite dire predictions for it's future. For decades it languished in obscurity, with a permanent population that fluctuated in the dozens. However in the 1990's, a group of locals came together with a dream to resurrect the town's narrow gauge railway in the hopes of kick-starting a tourism renaissance. Their efforts paid off and a section of the line was rebuilt, from Walhalla to the Thomson River a little over 4 kilometers away. 

Today, Walhalla is experiencing something of a tourist boom, with people visiting from all over the world to take in the gorgeous mountain town with its rich mining and railway history, its beautifully preserved architecture and its seductive romance. 

(Walhalla c. 2015)

For me, I have had a life long fascination with this little town which has refused to die and I'm really excited to be setting my next novel there. In the context of the story, Walhalla serves as a place of healing. A young doctor returns there in the aftermath of his wife's infidelity and reconnects with a cast of characters who influenced him during his childhood. At the same time a young mother, escaping a violent past, seeks to resurrect the township's long dormant Bakery in the hope of making a new life for herself and her daughter who is profoundly deaf. 

I spent a morning in Walhalla, taking a series of photographs and video footage as well as talking with some locals, to reacquaint myself with the "feel" of the township so I can translate that faithfully to the page, albeit in a fictional setting. I want to immerse myself, not only in the physical appearance of the township, but the smells of the place, the flora and fauna, the sounds of the mountains, the trickle of the creek that meanders its way through the township. And I also wanted to experience the people in-situ - to get a feel for their daily lives so that I can infuse some of that into the cast I have created for this new story. 

So here's a little sampling of my visit there.

Elliot's Bakery.

Walhalla Lodge Hotel.

Town Center with Post Office & Mechanics Institute Building.

Magnolias in bloom.

Spring in the Mountains.

Windsor House.

Mechanics Institute & Free Library.

Trembath's Corner Stores.

A working breakfast.

Trembath's Corner Stores.

Spring Blooms.

Spring Blooms.

Post Office in frame.

Feel free to hit me up in the comments if you'd like to know more about the specific buildings featured herein. Of course, I'm reluctant to divulge too much about the story I'm writing - for obvious reasons. Know this though - it will be a return to my romantic roots which fans of The Hambledown Dream will enjoy.

DFA.