

You never know what we'll churn up in cleaning a stall


When Jaya and Joshua set of for the Pacific Northwest in my novel Nearly Canaan, what they expect to find is something very much like the Olympic Peninsula rather than the fertile desert where they land.
Here’s some of the alternative.
~*~
Hope that serves as an introduction. We haven’t even touched on Port Townsend.
Cassia’s father grew up in a conventional middle-class family in the middle of the country. It was much, much different from her mother’s upbringing not that many miles away.
As they say, opposites attract. So, from your experience, how about an example?
~*~

the very improbability of porn

The desirable beauties
were all astonishing
yet forgettable
~*~
like calories
we tried to skip
cleansing is more than mere output or holy observance to be done would require not noticing dampness along the wall disclosing leakage what can I then breach anew or newly demolish in the storm churning up from some underside of an altar or anvil? air thickens and clears as a matter of practice with desiccated houseflies or wasps or shards of chimney brick in the attic
~*~
Your turn now to give a shoutout.
As a reader, you probably don’t pay much attention to the bones of a book — the number of chapters it has or how many sections they fall into. For a writer, of course, these can be central considerations. Ideally, there’s a beginning, middle, and end for each chapter and each section as well as the entire book itself.
In my psyche, one ideal structure is the symphony — typically, but not always, four movements, each one different, having an underlying unity that ends in an exciting climax. (Oh, there are some gems that do end quietly — so much for expectations!) A typical novel, on the other hand, may be twenty to thirty chapters of roughly 20 pages apiece running in chronological order, not that I’ve ever stuck with that convention.
In What’s Left, my novel I set out hoping you could start or end in any chapter, yet in some way they’d join to build the tension and resolution of the whole. The model that inspired me appeared to use chapters as mosaics or panels that could be moved around independently, if the reader desired.
I can’t quite see doing that in the final version my work, though a reader might leap over a chapter or two, if needed, and still pick up on some action — if, that is, the chapters are complete enough in their own right. Think of a string of short stories.
~*~
If you’ve had a chance to read What’s Left, give me your feedback.
Does this structure work for you? Would you rather I’d broken the novel out into two, three, or four shorter books as a series? Did you skip over any parts? Would rearranging any parts work better?
~*~
