“A Spark of Heavenly Fire” Embodies the Essence of Christmas

Washington Irving wrote: “There is in every true woman’s heart a spark of heavenly fire, which lies dormant in the broad daylight of prosperity; but which kindles up, and beams and blazes in the dark hour of adversity.” As I read these words several years ago, I could see her, a drab woman, defeated by life, dragging herself through her days in the normal world, but in an abnormal world of strife and danger, she would come alive and inspire others. And so Kate Cummings, the hero of my novel A Spark of Heavenly Fire was born. But born into what world?

I didn’t want to write a book about war, which is a common setting for such a character-driven story, so I created the red death, an unstoppable, bio-engineered disease that ravages Colorado. Martial law is declared, rationing is put into effect, and the entire state is quarantined. During this time when so many are dying, Kate comes alive and gradually pulls others into her sphere of kindness and generosity. First enters Dee Allenby, another woman defeated by normal life, then enter the homeless — the group hardest hit by the militated restrictions. Finally, enters Greg Pullman, a movie-star-handsome reporter who is determined to find out who created the red death and why they did it.

Kate and her friends build a new world, a new normal, to help one another survive, but other characters, such as Jeremy King, a world-class actor who gets caught in the quarantine, and Pippi O’Brien, a local weather girl, think of only of their own survival, and they are determined to leave the state even if it kills them.

The world of the red death brings out the worst in some characters while bringing out the best in others. Most of all, the prism of death and survival reflects what each values most. Kate values love. Dee values purpose. Greg values truth. Jeremy values freedom. Pippi, who values nothing, learns to value herself.

Though this book has been classified by some readers as a thriller — and there are plenty of thrills and lots of danger — A Spark of Heavenly Fire is fundamentally a Christmas book. The story begins on December 2, builds to a climax on Christmas, and ends with renewal in the Spring. There are no Santas, no elves, no shopping malls or presents, nothing that resembles a Christmas card holiday, but the story — especially Kate’s story — embodies the essence of Christmas: generosity of spirit.

(Why does A Spark of Heavenly Fire begin on December 2 instead of December 1? Glad you asked that. All through the writing of the book, I kept thinking: if only people could get through the first fifty pages, I know they will like this book. So finally came my duh moment. Get rid of the first fifty pages!! With all the deletions and rewriting, I couldn’t make the story start on December 1 as I’d originally intended, but that’s okay since it didn’t end on December 25 as I had hoped. The story overgrew it’s bounds, but the symbolism still held since it ends around Easter.)

Amazon: http://www.amazon.com/Spark-Heavenly-Fire-Pat-Bertram/dp/1935171232/ref=ntt_at_ep_dpt_4

Smashwords: http://www.smashwords.com/books/view/1842 (You can download the book in any ebook format, including a format for palm held reading devices!! Even better, you can download 30% absolutely free to see if you like the story.)

Barnes and Noble: http://www.barnesandnoble.com/w/spark-of-heavenly-fire-pat-bertram/1100632312?ean=9781935171232&itm=2&usri=pat+bertram

Action Scene from “A Spark of Heavenly Fire”

Here is an action sequence from A Spark of Heavenly Fire. I worked hard on this particular scene. Rewrote it about a dozen times. Took out all extraneous words. Removed most of the character’s thoughts. Condensed the descriptions. Shortened the sentences. I wanted the action to zing! And maybe I accomplished my goal. Today a woman told me that A Spark of Heavenly Fire was so intensely emotional and so tightly written that she had to pause to rest while reading it. She said was glad of the breaks because it stretched the book out longer. Made me feel good to know the book meant that much to her.

Pippi watched the two boys come nearer. With their eyes alit with laughter, they looked young and innocent, like children playing a game.

The larger boy stopped, raised his rifle to shoulder height. All at the same time, she felt something whizzing by her face, heard the crack of the rifle, and saw a piece of bark flying off the tree next to where she stood.

She stayed rooted to the spot. She knew she should run, wanted desperately to run, but her body refused to cooperate.

Jeremy grabbed her coat and yanked her behind a thicket of bushes, where they stood ankle-deep in leaves.

“Listen,” he said urgently. He tugged at her coat. “Are you listening?”

With robotic jerkiness, she turned her head to look at him.

“Yes,” she answered, marveling at how far away her voice sounded.

He lay face down on the ground. “Cover me with leaves.”

She gazed at him, not comprehending.

“Cover me with leaves,” he said harshly. “Now! Do it now.”

She dropped to her knees.

As she scooped the wet, soggy leaves over him, he said, “As soon as you’re done, I want you to start running. Zigzag through the trees. Make a lot of noise so they think we’re both running away. And whatever you do, don’t look back.” He turned his head and looked up at her. “Got it?”

Pippi nodded, but refused to meet his eyes. How could he talk to her like that? Blinded by tears, she finished covering him with leaves, then took off running.

The binoculars banged against her chest, branches tore at her hair, rocks tripped her, and still she ran.

She stopped for a moment to massage a stitch in her side. To her horror, she saw the boys up ahead, coming straight at her.

She looked around in confusion. Seeing the thicket of bushes and the mound of leaves covering Jeremy, she realized she had come full circle.

She glanced at the boys; they leered at her and licked their lips.

Her skin prickled.

The smaller boy, whose hair had been dyed a deep crayon blue, thrust his pelvis forward and cupped his crotch with his hand. The larger boy, blond ponytail swinging, flailed his arms and legs in a gross burlesque of a woman running.

The boys convulsed with laughter.

Still laughing, the blond boy raised his rifle. With his finger crooked on the trigger, he aimed it at her.

Suddenly the mound of leaves at the base of the bushes erupted. A creature—barely recognizable as Jeremy, with his tensed body and his rage-distorted face—sprang toward the young blond rifleman.

The boy didn’t even have time to turn his head.

Dressed in camouflage clothes as Jeremy was, it looked as if the very leaves reached out, grabbed the blond ponytail, pulled the boy close, and made three rapid sawing motions across his throat.

Blood spurted in a bright red arc from the boy’s neck.

It happened so fast that when Jeremy tossed the blond aside, the blue-haired boy was still cupping his crotch and laughing.

Jeremy turned to confront him. The grin slid off the boy’s face. He dropped his rifle and raised his hands. His eyes, the irises rimmed with white, were riveted on the bloody knife.

Read 30% free at Smashwords: http://www.smashwords.com/books/view/1842

Kindle Edition $4.99 http://www.amazon.com/Spark-Heavenly-Fire-Pat-Bertram/dp/1935171232/ref=cm_cr_pr_product_top

Can Characters Really Change?

A couple of days ago I wrote a blog postulating that Without Changes, You Have No Story, and I stick to that premise. Characters need to change, the relationships of the characters to each other need to change, story expectations need to change, the direction of the story (and each scene) needs to change. But there was a discussion on that blog post centered on what degree it is possible for characters to change, and if they truly do change, and that made me think.

Some psychologists say we never change in any basic way, that our characters and essential personalities are our foundation, that we can only change in small ways, such as changing our habits or changing our focus. This is at odds with books about writing, which claim characters must do a complete about face, a 180° turnaround to show how the events of the story affected the characters. I thought I’d created strong character arcs for each of my characters, with my characters ending up different from the way they began, but now that I consider it, I don’t see that my characters change in any fundamental way. They become more of who they were, perhaps, but not recognizably different.

In More Deaths Than One, we see a gradual change in Bob Stark, the hero, see his current concept of himself eroded until he becomes what he once was and now will always be. (A bit cryptic, I know, but since this is the crux of the story, I don’t want to spoil it in case you haven’t yet read the book.) But he didn’t really change. He only seemed to change.

In A Spark of Heavenly Fire — which was inspired by a Washington Irving quote: “There is in every true woman’s heart, a spark of heavenly fire, which lies dormant in the broad daylight of prosperity, but which kindles up and beams and blazes in the dark hour of adversity.” — Kate Cummings seems to change in response to the red death and the resulting martial law that is destroying Colorado, seems to kindle up and beam and blaze in the dark hour of adversity, but there are hints in the story that she was always like that. Her spark of heavenly fire — her generosity — was merely hidden from herself and from us until a life-altering event stripped her to the core.

In Daughter Am IMary Stuart never truly changes, though she also seems to change. She was unsure of herself, unsure of what she wanted, unwilling to make a commitment of any kind even to a job, until she set out to discover who her grandparents were, who wanted them dead, and why her parents lied about their existence. It wasn’t out of character, perhaps, for her to drive halfway across the country in search of the truth because she only went along with what others wanted. At least in the beginning. As the journey progressed, she learned the truth she was seeking, and an even greater truth — who she is. She is granddaughter, daughter, and herself. Mostly herself. But that isn’t a change. It’s a discovery. A coming home.

In Light Bringer, neither Becka nor Phillip change. Again, they just discover who they are, a truth that had been kept from them their whole lives. In all my books, but Light Bringer especially, what changes is the reader’s perception of who the characters are. The truth is slowly revealed, and each revelation seems to show a change in the characters, but in the end they simply become what they always were.

How very odd to learn this so long after having written the books.

(Click on a title to read the first chapter of the book.)

Here is My Point: There Needs to be a Point When it Comes to Writing

I saw an indie movie yesterday that was so indie it could actually be considered self-produced. Well, truthfully, it was self-produced — and it went straight to video without a big screen debut, which is something you should all be thankful for. The only reason I watched it was that it was filmed near where I am staying, and I had fun trying to figure out where all the scenes had been filmed. There was no other reason to watch it. The actors were terrible. (I’d read once that a good actor was one who acted natural on the screen. These folk were so unnatural as to make paper doll cut-outs seem life-like in comparison.) The plot was derivative. (You know the story — drug dealers, undercover cops, only one cop left alive at the end and you wish he’d died along with all the rest.) The camera work was appalling — looked as if it had been filmed with a cell phone (as one of my fellow movie watchers put it).

So, here’s my question. Why did they make that particular movie? What were they thinking — “Let’s make a movie that’s been made a zillion times before, but let’s see how bad we can make it”? I know they weren’t trying to showcase talent — there wasn’t any. They weren’t trying to have fun with dialogue — it was stilted and silly at best. They didn’t show the drug dealer vs. cop conflict in any new light. So, what was the point? I still don’t know.

This is the same question I ask myself about many of the books I read, and I get the same response — I don’t know what the point is.

But here’s my point — there has to be a point, especially when it comes to books, because if there is no point, why would anyone read it? A writer can write for herself, of course, which might be the point of writing the book, but we readers need a reason to read it. Even if it’s a light romance or a cozy mystery written only to entertain, there still has to be a reason for it. People do read for entertainment, but if a book gives a reader nothing new — no new experience, no new understanding, no interesting character or situation, no wit or humor, just a rehash of what has been written too many times already — there’s not even any entertainment value in it.

I recently read a well-touted book from a debut author, someone I had met on facebook.  I looked forward to the book since this woman posted such interesting and witty remarks that I thought for sure her book would be as interesting. It was, to a certain extent — it was well-written, the dialoque was sort-of snappy (though it often came across as contrived) and the story was okay. But it was only okay, nothing special. There was no spark of originality, no reason to care about the character, nothing that explained why hundreds of people wrote glowing reviews. I might be getting to be a bit of a curmudgeon, since obviously I was one of the few who found the book disappointing, but the truth is, I was disappointed. All the way through, I kept thinking, “Why am I reading this? What’s the point?”

Books don’t need to have a message — in fact, books with messages are often not worth reading — but there has to be a reason for the book to exist beyond an author’s imagination, even if it’s just for us readers to see what happens to a character we care about.

Short Story Contest!!!

Second Wind Publishing invites you to submit an entry to their short story contest.

Stories are to be about spring or renewal, at least, that’s what the contest rules say, though that does not mean the stories have to be upbeat or happy. You can work against the theme — contrasting a disaster that takes place in the spring with the beauty of the season, perhaps. Of course, up beat is good, too, it’s just that most of the writers I know (including me) don’t do upbeat.

My grief book, which will be published early next year, begins: Death came in the spring. And the end of the introduction says: The spring of death gave way to the summer of grief, and grief flowed into the fall and winter of renewal. See? Who says spring has to be about happy upbeat things?

You have until December 31, 2011 to submit an entry.

Go to the Second Wind Contest Blog for rules and how to enter.

Best of luck!!

More Names Than One: Fiction Made Real

The other day I was getting gas when a truck pulled up next to me. It looked familiar in a dream-like way, but I didn’t think anything of it. It wasn’t until I started driving away that it dawned on me what I was seeing. A truck delivering Singha beer. I’d needed a Thai beer for my novel More Deaths Than One and just picked the name out of a guidebook, but somehow it didn’t seem real. At least not until I saw that truck. Here is the excerpt from the novel where I mentioned the beer:

In his short-sleeved shirt imprinted with red, green, and yellow parrots, Bob felt like a tourist. He even found himself gazing around as if he’d never visited the place before.

He saw a couple of the other regulars, a German and an American—both mercenaries—but most of the people were strangers to him, including the four men sitting at the next table. They seemed to be Americans of the right age to have fought in Vietnam. A man in a Yankees baseball cap waved his arms for emphasis.

“I did my job,” Bob heard him say. “Then I got out and continued on with my life. Everything’s great. My life is full. It happened so long ago. I don’t understand what the big deal is.”

The haunting strains of “Hey Jude” filtered through the room.

“What are you going to have?” Kerry asked.

“A Singha in honor of Harrison. It’s a local beer he liked. Also a hamburger with fries.”

When a giggling young waitress approached, Kerry ordered hamburgers, fries, and Singhas for both of them.

Hamburger Dan brought their drinks.

Setting them on the table, he gave Bob a penetrating glance. “It is you. I wasn’t sure at first. How’ve you been—”

Before Hamburger Dan could speak his name, Bob said quickly, “Gandy. I’m Rick Gandy and this is Julie Walsh.”

Hamburger Dan’s eyebrows rose. “I see. Does this have anything to do with the two men sitting in the booth across the room?”

Bob lifted his drink to his lips and gazed over the top of the mug. The men in question leaned back in their seats with studied nonchalance, but their eyes were hard and way too alert—cop’s eyes.

“My supposed friends?” Bob asked.

“Right. They’ve been in and out for the past six weeks or so, but after you called they started spending a lot of time here.”

“Something you should know. Your phone is tapped.”

Hamburger Dan stiffened. “What’s going on? What are you involved with?”

“I have no idea, but I’m looking into it.”

“You?” Hamburger Dan had the grace not to smile, but Bob could sense his incredulity.

Seeing the light of battle in Kerry’s eyes and her mouth opening to come to his defense, Bob laid a hand on her knee. She closed her mouth, but her jaw remained set.

The waitress brought their hamburgers. The delicious aroma of grilled meat made Bob’s stomach growl with hunger.

“I’ll leave you to your food,” Hamburger Dan said. “I shouldn’t stay here too long anyway, don’t want to draw the attention of your friends.”

Kerry’s gaze followed him as he moved off, then it shifted to Bob.

“How come he talked to you like that? Doesn’t he know you’re the Bob Noone character in Dark Side of Heroes?”

“I doubt it. Now that Harrison’s gone, you’re probably the only one who knows. And if by chance Hamburger Dan does know, he still wouldn’t be impressed. He’d think Noone was a wimp.”

“Oh.” She took a big bite of her hamburger and ate it slowly. “How did you come up with the names Rick Gandy and Julie Walsh?”

“They slipped out. I decided we shouldn’t advertise the names we’re traveling under.”

“Good thinking.” She chewed on a French fry. “I’m beginning to have as many identities as you. It’s confusing.”

Bob nodded. Munching on his own hamburger, he let his glance fall on the other bar patrons.

“Mike seemed like a brother to me,” the man in the Yankee baseball cap said, tears brimming over. “I tried to save him, but there was nothing I could do.”

The men with the cop’s eyes stood, took a final look around, then sauntered out of the bar, still main-taining their casual air.

Bob felt his shoulders sag with relief.

As he continued to eat, he could hear the gaunt man playing “Let It Be.”

More Deaths Than One is available at Amazon, Smashwords, and Second Wind Publishing.

Inviting You to Enter a Short Story Contest

Second Wind Publishing invites you to submit an entry to their short story contest.

Stories are to be about spring or renewal.

Contest entries must be your own original work. Plagiarism will not be tolerated. Self-published stories are acceptable, but the story must not exist in print form or in any other anthology. The story must be no longer than 5,000 words.

The contest is open to anyone in the world, 18 or older, though the entry must be written in English. All entries will be posted on the Second Wind Contest Blog for everyone to read and comment. The authors and management of Second Wind Publishing will choose the three finalists, but reader comments will be taken into consideration. Entries will be judged on originality, readability, writing skills, characterization, and plot. Spelling and grammar count. The decision of the judges is final.

Everyone is welcome to vote for the winner, which is to be chosen from the three finalists.

The winning entry will be published in the upcoming Second Wind anthology, Change is in the Wind. (Title subject to change.) The winner will also receive a coupon from Smashwords.com for an unlimited number of free downloads of the anthology for one month. The coupon can be sent to as many people as you wish during that month. The winner will also be able to purchase an unlimited number of print copies of the anthology at half price plus shipping costs.

All entries will be deleted once the contest is over.

The contest begins today, October 3, 2011 and ends December 31, 2011.

Schedule:
December 31, 2011 at 11:59 pm: Contest ends.
January 1 — January 15, 2012: Judging of entries by 2W (and 2W authors) to pick top three entries
January 15 — January 31, 2012: Judging of the three finalists by blog readers to pick the winner
February 1, 2012: Winner announced
April 1, 2012 Book on Amazon for sale (In an ideal world …)

Please send your entries as a Word .doc or .docx to secondwindpublishing@gmail.com

Best of luck to all of you!!

Introducing Sheila Deeth, Author of Flower Child

Sheila Deeth grew up in the UK and has a Bachelors and Masters in mathematics from Cambridge University, England. Now living in the States with her husband and son, she enjoys reading,writing, drawing, telling stories, running a local writers’ group, and meeting her neighbors’ dogs on the green.

I first encountered Sheila Deeth during a writing contest on gather.com four years ago. I was impressed by the wonderfully encouraging and insightful remarks she made on the various entries, and during these ensuing years, we’ve continued our connection via our blogs, facebook, twitter, gather, and now google+. She is a staunch supporter of small press writers — her reviews are as encouraging and insightful as the comments she leaves on our blogs. I treasure the reviews she did of my books (reviews I did not ask for but were so generously given), and she’s introduced me to many wonderful new novels and novelists.

Today, it’s my turn to introduce a wonderful new novelist: Sheila Deeth. Sheila has mastered various story forms (including the shortest of forms, the 100-word and 50-word drabble), and today she is celebrating the release of her short novel, Flower Child with a blog tour, of which I am pleased to have a small part.

Her stories, book reviews and articles can be found in VoiceCatcher 4, Murder in the Wind (a mystery anthology published by Second Wind Publishing, which includes Sheila’s prize-winning story “Jack”), Poetic Monthly, Nights and Weekends, the Shine Journal and Joyful Online. Besides her Gypsy Shadow ebooks, Sheila has several self-published works available from Amazon and Lulu, and a full-length novel under contract to come out next year.

Today I am interviewing Sheila on my “Pat Bertram Introduces . . .” blog. Please stop by to say hi. If you have not yet met Sheila, please introduce yourself. You’ll be glad you did.

Wishing Sheila all the best — she deserves it.

Click here to find the interview of: Sheila Deeth, Author of “Flower Child”

Click here to read an excerpt of: Flower Child

‘The Top 5 Mistakes I Find as an Editor’ by Smoky Trudeau Zeidel

Please welcome today’s guest. Smoky Trudeau Zeidel is the author of two novels, On the Choptank Shores and The Cabin. She is also author of Observations of an Earth Mage, a photo/essay collection; and two books about writing. You can find Smoky and her three blogs at www.SmokyZeidel.wordpress.com. Smoky writes:

As an editor and as an avid reader, I see a lot of mistakes make their way into print. Many, if not all, of them could be avoided by having a professional edit your manuscript before submitting it to your publisher, or putting it up on Smashwords or Kindle if you ePublish on your own.

You might think you don’t need an editor, because your next door neighbor/best friend/Aunt Thelma offered to do it for free, or because you’ve read and re-read your manuscript a hundred times and just know it’s perfect.

You’d be wrong. First, your neighbor/best friend/Aunt Thelma may spell great, but do they know all the rules of punctuation and style? I doubt it. The Chicago Manual of Style, the go-to book for American publishers for punctuation and style issues, is more than 900 pages long and two inches thick. I doubt your beta readers have that thing memorized. I refer to it frequently, and I am a professional editor.

Second, as the book’s creator, finding your own mistakes is hard. That’s because you see what you thought you wrote, rather than what you actually wrote. Even though I’m an editor, I don’t edit my own stuff. I have my best friend do it—but hold on, before you protest, let me say that my best friend is a professional editor, so she is exempt from the best friend rule.

That said, I know a lot of writers won’t hire an editor. And this really isn’t a pitch to get your business (although, of course, I am always open to that). So since you probably won’t hire me or any of my editor cohorts, I’m going to share with you a list of the five biggest mistakes I see in manuscripts, so you can watch for them, and fix them, yourself.

Mistake #1: Writers don’t place a comma between independent clauses separated with a conjunction. Independent clauses are clauses that can stand on their own as sentences, e.g., “He took the 405 freeway to work, and he exited at the Getty Museum.” Because both “He took the 405 freeway to work” and “he exited at the Getty Museum” are independent clauses—meaning they can stand alone as sentences, you must, must, place a comma before the conjunction, “and.” This is probably the biggest, most common mistake I find in manuscripts and books. Don’t make it. It’s a very easy punctuation rule to remember.

Mistake #2: Writers place commas between independent clauses and dependent clauses. This is probably the second most common mistake I see. A dependent clause is one that cannot stand on its own as a sentence. Let’s take the above example, and change it just a little: “He took the 405 freeway to work and exited at the Getty Museum.” I took the second “he” out. That makes the clause after “and” a dependent clause, because “exited at the Getty Museum” cannot stand alone as a sentence. It is dependent upon the first clause to be understood; thus, no comma should precede the “and.”

Of course, there are other places you need—and don’t need—commas, but this isn’t meant to be a comprehensive study of the comma. If in doubt, look up comma placement in The Chicago Manual of Style or other style manual.

Mistake #3: Writers don’t know their homonyms. In just the last few weeks alone, I’ve seen characters who were unphased, waiving to people, and peaking out windows. The writer’s spellchecker should have alerted her to the fact that “unphased” isn’t even a word. She meant “unfazed.” To waive means to relinquish, to set aside. The word this author wanted was “waving.” And a peak is the highest point of something; one peeks, not peaks, out a window.

Please, unless you are 100 percent sure you are using the right homonym, look it up. The wrong choice could have your characters doing some pretty strange things!

Mistake #4: Writers rely on their spellcheckers. This is a big no-no. If ewe think you’re spellchecker will fined awl yore miss steaks, your wrong. That sentence went through my spellchecker just fine, and there are no less than eight errors in it (“ewe” should be “you”; “you’re” should be “your”; “fined” should be “find”; “awl” should be “all”; “yore” should be “your”; “miss” and “steaks” should be “mistakes”: and finally, “your” should be “you’re”). Homonym spelling errors are the most common type of spelling error I find. Do not rely on your spellchecker. It will let you down every time.

Mistake #5: Writers who make errors in syntax. For example, look at this sentence: “I saw a deer driving to work today.” Uh, no—you didn’t, unless there are some very talented deer in your neighborhood! The correct sentence structure is, “I saw a deer while driving to work today,” or, “While driving to work today, I saw a deer.” Please, don’t put the deer in the driver’s seat!

Here’s another example: “If your toddler won’t drink milk, warm it in the microwave for a few moments.” Warm what in the microwave? You’ve got a choice of antecedents here. Heaven help the toddler if you make the wrong choice! The correct structure would read, “If your toddler won’t drink milk, warm the milk in the microwave for a few moments.”

Of course, if you and I were having a conversation, we’d probably understand each other if we made these syntax errors. But you can’t count on that when people are reading your words. Make sure you have them in the correct order so your meaning cannot be misconstrued.

I cannot list every error I run across while editing manuscripts. To do so would fill a book. But if you watch for these top five mistakes in your writing, your manuscript will be a lot more polished, and you can be more confident about submitting it to your publisher.

Good luck, and happy righting . . . er, happy writing!

***

Click here to read an excerpt from: On the Choptank Shores

Click here for an interview with: Smoky Trudeau Zeidel

Click here for an interview with: Grace Harmon Singer, Hero of On the Choptank Shores by Smoky Trudeau Zeidel

Seeking Stories that Live Within Us by Malcolm R. Campbell

I am delighted to welcome my guest, Malcolm R. Campbell and his newest novel “Sarabande.” Malcolm is so very generous to other authors, it’s great to be able to return the favor. Besides, he’s a fine writer who pens powerful tales, and he has better insights into storytelling than anyone I know. Malcolm says:

A living myth is told and retold as the centuries pass. Poets, painters, musicians are nourished by its imagery, and in each retelling something is added from the collective attitudes, conscious and unconscious, of the time and from the individual vision of the artist.” – Helen M. Luke in “The Laughter at the Heart of things.”

As I read Helen M. Luke’s analysis of the myth of the ring as viewed by Richard Wagner in The Ring of the Nibelungen (known as the four-part “Ring Series”) and J. R. R. Tolkien’s The Lord of the Rings, I was struck by the fact this story is now part of our world view. Whether we learned of the myth through the original source materials, Wagner’s musical dramas, Tolkien’s books, or the feature film trilogy directed by Peter Jackson, the story lives inside us as though it actually happened. Tolkien expressed contempt for Wagner’s version of the old Norse myth drawn from the 13th century Icelandic Volsung Saga. Yet most critics believe Wagner’s The Ring of the Nibelungen (consisting of “Das Rheingold,” “Die Walküre” Siegfried, and Götterdämmerung”), composed between 1848 and 1874, and Tolkien’s Lord of the Rings, written between 1937 and 1949, are different interpretations of the same myth, and that Tolkien was also influenced by Wagner. Myths often have as many interpretations as history as though they refer to actual events.

Listen to the discussions about J. K. Rowling’s Harry Potter books, and you will hear people talking about Harry, Snape, Dumbledore and Voldemort in the same way they speak of celebrities, world leaders and newsmakers who come into their lives television, concerts and the Internet. All of these people, fictional or actual, are larger than life. While novel readers and film audiences know there is a difference between Tolkien’s characters and Rowling’s characters on one hand and well-known people within our culture, all of them are part of our shared story.

Earlier generations were impacted by Star Trek and Star Wars events and characters just as strongly. We know the difference between fictional characters aren’t read and that real people aren’t fictional, but it doesn’t matter. They’re all the same. While even the most fanatical fans don’t expect to see Captain Kirk, Spock, Frodo or Hagrid searching for salad greens in the produce department at Kroger or addressing Congress about the state of the galaxy, the worlds of those characters is part of our lives as though it’s a living and breathing reality.

Most authors don’t write with the expectation that their stories will impact readers with such force that the characters will suddenly take on independent lives of their own. At best, authors hope their stories and characters will seem real while their books are being read. For a reader, there’s nothing better than plunging into a good story, becoming enchanted by it, and following it with the fervor they follow family dramas and the biggest news stories of the day.

Yet some stories catch our fancy and stay with us long after we put the book down or leave the theater. Those are the stories we seek because they take us on flights of fancy, display new worlds before our mind’s eye, and take us on physical and emotional journeys that expand our lives and enrich our imaginations. Ask any reader what his or her favorite books are, and s/he will tell you about good guys and bad guys and things that go bump in the night and awesome landscapes that are just as much a part of his or her life as co-workers, neighbors and family.

As readers, finding such novels is part of a never-ending quest for a real page turner of a story we will never forget because it lives inside us and evolves every time we read it, talk about it and think about it. As readers, we love our living fiction.

Malcolm R. Campbell is the author of three contemporary fantasies, Sarabande (2011), Garden of Heaven: an Odyssey (2010) and The Sun Singer (2004).

Click here to read an interview with: Malcolm R. Campbell

Click here to read an excerpt of: Sarabande