And then she followed

If there’s no one beside you
When your soul embarks
Then I’ll follow you into the dark

Death Cab for Cutie

Last year was an awful year.

I know, I know: it was an awful year for many of us. Most of us, perhaps. And I am old to enough to know, in my bones, that the man on the screen spoke truth when he said that our personal problems don’t amount to a hill of beans.

They don’t. They really don’t.

But it was a year to me personally, of awful grief: first, my father taken down by Covid in April 2020, and then less than 10 months later, my mother — the woman he loved so much, that he cared for so well — their wedding photo was his Facebook avatar — followed him.

Karen and Jim Mortensen

Which wasn’t entirely a surprise. They were married just shy of 60 years. She was already, increasingly, frail (the more frail of the two of them, by a lot, or so it seemed until he got sick); her mind — her memory — was failing her. She was very dependent on him. How it must have terrified her, when he was suddenly gone…

We know these things often happen when two people are married for 60 years and one of them passes.

What we can’t know, until it happens, is the manner of it — the manner of the passing — the suffering. The insanity of the living that surrounds the suffering.

In any case, her time came, and it was over.

She passed in January.

I haven’t been able to bring myself to post about it.

It was a year when so much that I hold dear has been lost. It hurt, terribly. It still hurts. I can’t imagine that it will ever stop hurting.

But I’m not alone, I know. Nothing that has happened to me — to our little family — has not happened already to countless other souls.

And Mom — I’m going to speak these words to you, Mom — as you were dying, I began asking myself. Now that so much of what I held dear is lost, what is left?

And I realized that what I remember from my earliest, earliest childhood is only six things.

Six, really simple things.

You. I remember you, Mom.

And five other things. Dad. Sigrid. Beautiful Oxford, New York. Nature. And God.

And what else I also remembered, finally, in these past few weeks, is that it was you, Mom, who brought me God.

And not as mere ritual. Not as just church on Sundays and grace before dinner and prayers at bedtime, but as a way of being in the world – a cultivated habit of constantly turning inward and talking to God, asking questions of God. Expecting of myself that which God would expect: to live authentically, to be unafraid of even painful decisions, to be unafraid of even suffering – because being right with God is always what is most important.

I turned 60 last March. Fifty nine years with Dad. Fifty nine years with you, Mom. And then, in the span of a few short months, you both passed through that one-way door, and were gone.

And every one of us, if we live long enough, will lose our parents, and know what it is like to lose our parents. It is a shock. A systemic shock.

In his book Hauntings, psychologist James Hollis observes that to lose your parents is to lose your home. That resonates with me. It’s why losing you and Dad felt like the ground was being yanked out from under me.

Losing our parents turns us into wandering souls. And then we have two choices. We either wander, lost, in what’s left of our old world, or we try to find our footing in a different world, where home isn’t a place and it isn’t a person; where families can be destroyed in an eyeblink — where home is defined by our relationship to the infinite itself — with something that can’t be touched or tasted or seen.

Losing Dad was a shock that brought me to my knees . Losing you, Mom, was a bitterly hard aftershock. But also, in a strange way, it cast me back to what you taught me.

There is nothing in this world that does not change. We have nothing in this world to hold onto.

Instead, we have to hold onto God, even when God doesn’t show His face, even when our faith, like the knight said in the Bergman film Seventh Seal, “is like loving someone who is out there in the darkness but never appears, no matter how loudly you call.” Even when, as the Book itself says, everything we puny humans wish to have or be or fight for is really nothing more than striving after wind.

Mom, you taught me that it is the calling that matters, not the answer, because it’s the calling that is our true home.

I confess. I didn’t fully appreciate your gift — the enormity of your beautiful gift to me — until you were dying. Until I knew we were going to lose you.

I did have a chance, thank God, to tell you, before you left, that I finally realized this gift. I got to tell you how grateful I am to you. That the gift you gave me is the most precious thing I own.

I love you so much, Mom.

Thank you so much, Mom.

Beginnings (a writer’s craft post)

The first few words are the hardest to write–and the most important to get right

So as you may know, I am currently living in a tent.

Happily Flarey Ever by Kirsten Mortensen
What I’m working on — when I am near an electrical plug :)

Most of the time. The routine my sweetheart and I have fallen into, since we sold our house and moved, is about five days in the tent, then two or three nights in a hotel or AirBnB.

I am loving it. My sleep quality is the best it’s been in years. Not sure if it’s the fresh air or the hours (we are basically sleeping sunrise to sunset) but I am feeling so rested when I wake up, almost every morning.

And being immersed in nature for hours and hours every day is pretty amazing as well.

That said, both of us work, so we need to connect to the Interwebs and recharge our devices every day. So rather than brew coffee in the wild, we’ve been driving into town every morning to one of several different coffee shops.

And as I’ve settled into this routine, in addition to my contract writing work, I’ve been editing Happily Flarey Ever — the third and probably last of my Marion Flarey books.

Specifically, I’ve been working on the first 3-5 pages.

Continue reading

Country girl in the country

Back twenty years ago or so, when I first settled in and got serious about writing novels, I came across a piece of advice for writers attempting commercial women’s fiction: make it glamorous.

rainbow spider web
Not the city

Cities. Wealth. Fantastically luxurious homes and fantastically powerful people (meaning rich men and gorgeous women).

The problem is that I’m a country girl.

Which isn’t to say that I don’t like cities. I actually do (although I liked them a lot more a few years ago than I do today). Some of my most treasured memories are from visits to cities: Chicago, London, San Francisco, and of course New York. I love their culture, the pace, the people, the food.

But I’m a country girl. I grew up surrounded by woods.

My brain is steeped in rural landscapes and the people who live there.

Continue reading

Geodesic domes and how I learned a bit about setting and place in novels

Photo by Kyle Glenn on Unsplash. This is nothing like the Weekes-Flarey dome. Or the San Antonio family’s dome. But I would definitely camp in it :)

One of the things that is the most fun about writing is when an idea just pops into your head, and the further into the novel you get, the more you realize how well it works.

With my Marion Flarey books, an impulsive idea I came to love was to make her parents’ home a geodesic dome.

I started reflecting on that again when I came across this article: Meet the San Antonio family living inside a rare geodesic dome.

Click the link to see the photos. It’s a gorgeous home. (A far cry from Marion’s parents’ rather messy dome with the leaky roof!)

The article also mentions some of the things I’d picked up over the years about the advantages of geodesic domes. They are energy efficient and relatively inexpensive to build.

So, to my point about choosing a dome for my Marion Flarey books:

Marion’s stepfather, Winchell Weekes, is tight with money (a character trait that becomes particular important in the second book, Fo Fum Flarey), so of course he would pick something cheap to build and cheap to heat.

Geodesic domes peaked in popularity in the late 70s or so. Winchell started building his dome around 1987, after the peak, but he’s eccentric enough that the timing makes sense. He’s the kind of guy who would still think domes were cool ten years after the trend had petered out :)

But from my perspective as a writer, the best thing is how I was able to incorporate the dome as an aspect of the novels’ setting. I can “shorthand” the Weekes-Flarey home by calling it “the dome,” and readers know exactly what I’m talking about. Because the interior has an open floor plan, it’s easy to “force” characters into conflict. They can’t easily escape from each other.

And because the dome is fairly unique as a dwelling place, I can create quick visuals to help draw readers into the story. I can talk about the challenges of placing furniture on a wall that isn’t flat — something Marion notes when she tours her tower apartment in Once Upon a Flarey Tale — or the way the shingles have darkened with age, and (hopefully!) readers start to form a picture in their minds of what the Weekes-Flarey home is like. Even the word “dome” is visual. You can’t read the word without picturing the general shape of the Weekes-Flarey house.

This experience has taught me something as a writer that I’ll carry into my future novels: make the buildings unique, in some way that is easy to visualize and easy to shorthand.

How about you? Have you ever set a story in a building that you could use in this way?

And have you ever seen a geodesic dome house — or been inside one? I was, many years ago when I was in my early twenties back in Chenango County… someday I’ll have to see if I can figure out where it is :)

Book Review: Cleaning Up Your Mental Mess

If ever there was a book that the world needs right now, this is it

Let me start by saying that I’m not fully on board with the title of this book: Cleaning Up Your Mental Mess (subtitle, 5 Simple, Scientifically Proven Steps to Reduce Anxiety, Stress, and Toxic Thinking), by Dr. Caroline Leaf.

Cleaning Up Your Mental Mess by Caroline Leaf

The title suggests that the book is only for people who are struggling. That, IMO, is a mistake.

Back up a couple steps to how I learned about the book. It was a Dave Asprey podcast. Leaf was a guest, and during the interview she mentioned that she’s helped people with traumatic brain injury — people who other medical professionals had written off as permanently disabled — to not only recover from their injuries, but excel (in areas like academics, where highly functioning brain power is a prerequisite).

I thought, whoa. If her techniques are that powerful, imagine what people who aren’t recovering from physical injury could accomplish.

So I didn’t buy this book to deal with anxiety, stress, and toxic thinking. I mean, I’m not perfect and my life doesn’t always run smoothly, but I’ve been around for a while, I’ve done the work, I’ve cultivated coping skills that do the job for me.

In fact, that is kind of the point. I’m not trying to fix huge problems. I’m looking for ways to set and reach stretch goals.

What, exactly, can I accomplish in whatever time I have left on this planet? What seeming limits can I break?

You can grow brain cells — intentionally

What grabbed my attention in the Asprey interview is that Leaf (a neuroscientist and speech pathologist) was an early believer in neuroplasticity. “Early” as in back in the 1980s.

If you’re old enough, you probably know that there was a time when Science told us that the adult brain could not grow new cells. Once we hit a certain age (mid twenties, I guess, or maybe they thought it was late teens) we would supposedly hit our peak number of brain cells. From there, it was all downhill. Over time, our brain cells would start to die off, and since they could never be replaced, we’d lose cognitive function.

We were fated by nature, the Experts intoned, to a sad, lifelong slide toward mental and physical enfeeblement.

Leaf was a practicing neuroscientist during this period. She disagreed with the consensus.

She was right. She proved she was right in her practice.

Cleaning Up Your Mental Mess explains, in detail, the techniques Leaf teaches to help people stimulate their brains to grow new cells and form new neural connections.

How cool is that?

Now let me also say that, if you suffer from anxiety, stress, or similar issues (and if you do, you are far from alone) just go buy the book. (That’s an Amazon affiliate link but you can order it from any bookstore.)

But there is also a lot of material in the book people simply looking to enrich their personal development by integrating the principles of neuroplasticity.

There is some great lay material, for example, on neuroplasticity itself — how it works, what stimulates it, and how it can be detected via changes in brain waves, brain activity, and neurotransmitter levels.

First mind, then brain

There is some terrific insight into the relationship between the mind and the brain. The brain, Leaf explains, arises from the mind — not in any magical sense, but because our thoughts, feelings, and choices literally stimulate neurons to either emerge, grow, and branch or to prune, fade, and disappear.

And the book details the steps that Leaf has developed to help people use neuroplasticity to address a variety of challenges, including: replacing unwanted habits with desirable ones; something she calls “brain building,” which relates to what I referenced earlier about enhancing one’s cognitive abilities; and improving relationships and communications skills.

Writing, it turns out, plays a huge part in her approach. Leaf’s protocol is based on bringing existing thoughts, feelings, and choices into full conscious awareness, and then “re-conceptualizing” those thoughts/feelings/choices as a way to re-shape or replace associated neurons. Writing is useful during each step of the process by encouraging us to unlock suppressed thoughts, consider them, and find new ways to contextualize them. Interestingly, she states that “writing can even improve immune system function,” citing research she’s conducted that showed patients’ cortisol and homocysteine levels drop when they perform her Reflect step, which involves writing.

It makes me wonder what impact journaling has had on my life. I’ve kept a journal since I was a teenager, and while I instinctively turn to it during periods when I feel confused or stressed, or need to make some sort of major life decision. On the other hand, I’ve also thought of journaling as something of a writerly indulgence — a variety of navel-gazing. Perhaps I shouldn’t have been so self-deprecating? Perhaps my lifelong habit of journaling has had a major benefit to my overall well-being …?

One thing is for sure: I’ll be applying Leaf’s program to some of my life goals, and as part of that, I’ll be more deliberate in how I use my journal.

Bottom line? Great book. Highly recommend to anyone who is curious about tackling life’s challenges, whether that means healing from trauma or pushing personal limits.

* * * * *

Pssst. You know who really needs to clean up her mental mess?

Once Upon a Flarey Tale by Kirsten Mortensen

Meet Marion Flarey.

She’s out of a job.

Buried in school loan debt. About to be homeless.

And she’s no Rapunzel.

She doesn’t even have long hair.

But she just found an apartment.

And it has a Tower…

Once Upon a Flarey Tale.

Available on Amazon for Kindle or print, or click here to select from other e-formats.

Book 1 of my Marion Flarey Series.

Winner, 2020 Incipere Award for Women’s Fiction, Clean.

if I’m being perfectly honest…

Writing scares the crap out of me.

I’m getting close, with my work on Scratch, to a kind of writing that is very close to dreaming.

Full disclosure: I have crazy-good dream recall, and always have. I remember dreams I had when I was five, six years old. I remember dreams I had when I was a kid that talked to me, helped me understand things about myself, about why I was in conflict with people around me.

In my teens and twenties, I started writing down my dreams, and from time to time I do it consistently–every night or every other night.

I often remember multiple dreams. I remember them in great detail. I sometimes skip writing out my dreams because it’s not unusual for the account of a single dream to run two or three pages, and before I know it I’ve exhausted the first two or three hours of my day recording dreams.

I type out my dreams, any more, because that’s faster than writing them by hand. And I keep them in binders. Scary.

And then there’s interpreting them. Also time-consuming. And quite honestly, it’s taken a lifetime to get even marginally decent at that. I’ve come to realize that dreams are a language. They are a language that use “images” but not, needless to say, images of the eyeball. James Hillman, in Dream and the Underworld, wrote about this. “Psychic images are not necessarily pictures and may not be like sense images at all. Rather they are images as metaphors.” They not a function of the “front of the eyeballs” but “the flickering patterns within that physical reality, and within the eyes themselves.”

Dreams draw on “pictures” that we store while we’re awake; these pictures are analogous to the letters of a written language. I have a stored “picture” in my mind of a blueberry. Many pictures, in fact, of many thousands of blueberries, sine I’ve encountered blueberries countless times in my life: fresh, frozen, in pancakes, on the bush, in my hand, in the store. And so my dream takes a blueberry, but then adds to it. The blueberry in my dream is enormous, the size of a softball. It’s in my parents’ kitchen, in a bowl. It has a soft spot — it it overripe. It belongs to someone else, not me. She is pleased by it. I seem to have tasted it, eaten it, but it’s still there — the tasting and eating was, within the dream, a thought rather than an action.

My dream has taken a blueberry, and added to it. A blend of contextual and fantastical elements. The blueberry is literally distorted, and in the distortion and the context it is transformed from a thing-in-itself to an element of thought-stuff. And that element is so loaded with meaning that it becomes meaning itself.

It’s backwards, to try to figure out what a dream means. Dreams are meaning. They are nothing but meaning.

The difficulty is that we are like dogs listening to English. We’re aware, dimly, that there is some reason this primate that feeds us is making odd noises with its mouth. We grasp, at times, that some of the noises correspond to actions. “Want your dinner?” corresponds, generally, to food being dumped into our dish.

But there’s so much more, there. And we know it. We can’t understand it, but we know it. (My dog stares at me. Stands and stares at me, as I talk to her in my long babbling incomprehensible sentences. She can’t understand me. She’d like to — maybe — but she can’t. The old Far Side cartoon. blah blah blah GINGER blah blah blah.)

So it takes work, to interpret a dream. To stay with it, long enough, to consider every image and every nuance of every image, and then how the images fit together — because they do. The images are words and the words, together, become sentences. Dreams are replete with “if this, then that.” “First this, then that.” Replete.

I’ve been recording my dreams for years. And at first, I did it because I felt there was some glamour to it. It was exciting to find, in dreams, hints of future events (and sometimes, more than hints. I dreamed my father was going to die weeks before he became sick). It was exciting to become lucid in dreams, to wake up and find myself in a fantastical, shimmering world of only thought, only ideas, to know I was at the same time both sleeping and awake.

But over time, I felt sometimes weary of it all. So many dreams were a re-telling of what I know, anyway. This relationship is problematic. This other relationship is a comfort to me. I’m afraid of this happening. I am seeking God. I wish we didn’t have to die. I’d rather die than not find God.

So why bother? Why record dreams? Why, after recording them, go through the tedious exercise of “interpreting” them, trying to figure out what they are saying?

But then recently, it struck me that the value in this exercise is the same as learning another spoken language. Have you ever tried to learn another spoken language? Have you ever gotten to the point in your work where you’re no longer “translating” as you try to read or interpret it? When the other language is suddenly on its own track in your head, its native vocabulary and syntax suddenly suddenly have meaning in your head, without having to first be corresponded to your native language?

I noticed, one day, that this was starting to happen to me as I “interpreted” my dreams. Suddenly, I was no longer looking at a dream image with its distortion and context and saying to myself, “okay, this means this, and this means that.” Suddenly, a string of images — distortion and context and all — were “speaking to me” directly. I didn’t need to mediate them through English, through the metaphor of Waking Reality language. I knew what the dream was saying without that intermediary step.

And I thought, okay. That’s why I’ve been doing this, all these years. To get to this point. To get here. To where the gap between me and my dreaming-self begins to dissolve, to merge.

I read a novel last year. Well, I should say, I finished it last year. I started it in 2019. A Glastonbury Romance, by John Cowper Powys. I took my time, reading it, because from the first page I knew it would be, for me as a writer, a momentous book. One of those books that when you start to read, you think, “oh wow. What the heck is this guy trying to pull off, here?” And so as you read you’re enjoying it as a novel, but there’s always another part of you thinking about that question. What the heck is Powys trying to pull off, here?

There are probably a lot of ways to answer that question, but I’ll tell you one answer: he was trying to dream. The novel is a dream.

I’m working on Scratch, now, as I’ve mentioned, and it’s a different kind of project than my Marion Flarey books.

It’s a dream.

For who ever began a dream? People always find themselves immersed in the the middle of some dream or other. The essence of sleep does not lie in dreaming; it lies in a certain dying to the surface life and sinking down into the life under the surface, where the other life — healing and refreshing — exists like an immortal tide of fresh water flowing beneath the salt water of a turbid sea. It is sufficient to remember the lovely and mysterious feeling of falling asleep compared with the crude, raw, iron spikes of the unpleasant things that happen in dreams to realize the difference. Between the process of going to sleep and the process of dreaming exists a great gulf. They seem to belong to different categories of being.

John Cowper Powys, A Glastonbury Romance

And because Scratch a dream, I have to let go as I write.

And that’s a horrible feeling. It’s scary, viscerally scary.

I’m not talking about the way writers use fiction to create fantasies about scary things. It’s no secret that stories work when they induce and then relieve anxieties. If a novel is any good, it’s because something is going wrong. A protagonist is in trouble, therefore the writer is, by necessity, plumbing the depths of human experience to explore “things that go wrong,” whether that takes the form of a dangerous international spy ring, an evil monster, a lost love, a serial killer on the loose, a natural disaster. Good writers face our fears and bring them to life on the page.

I’m talking about something different: the sensation I feel in my body when I write fiction. It’s a feeling that I have to let go; that what is happening as I write is not me, controlling things. It’s a not-me, coming through.

The characters in Scratch aren’t “characters,” they are dream-things. Dream-things crawling across a dream-scape.

I’ll be honest. I avoid writing, more than I care to admit, because I don’t like the way it feels. It’s a loss of control. Yes, there are periods when I’ve let go that I feel a kind of ecstasy, as well, which I suppose is the flip side of giving up control.

But ugh. The feeling of writing.

Do you know what I mean? Have you felt it, yourself?

Romance

I love Romance.

I write Romance.

Not in the sense of genre romance, but Romance in the sense of an affirmation of the centrality of the heart in human experience. Of the perils of our alienation from nature, and because Romance gives us a break from the sheer awfulness of life (Byron: “And if I laugh at any mortal thing, Tis that I may not weep.”)

My question is: can novels help people learn better (learn again?) how to think?

Yes, reading novels is a form of escapism.

But can they draw people into stories and then use those stories to train people, not what to think (blech) but how?

I hope so.

I’m so horrified by how poorly people think …

Fo Fum Flarey by Kirsten Mortensen

Out now! Book 2 of my Marion Flarey series :)

Available on Amazon for Kindle or Print, or click here to browse other e-formats.

that time I maybe figured out the end of Faust

As some of you know, one of the novels I’ve been working on for some time, now, is a retelling of Goethe’s Faust.

Faust, Johann Wolfgang von Goethe, translated by Walter Arndt.
Faust, Johann Wolfgang von Goethe, translated by Walter Arndt.

The translation I purchased when I first got the idea for the novel is the Norton Critical Edition, translated by Walter Arndt. (And if you would like a copy, shoot me a note, because I own two and would gladly give one away.) (Why do I own two, you ask? Because last time I moved, I couldn’t put my hands on my copy and bought another, and of course precisely one nanosecond after copy #2 arrived in the mail, I spotted copy #1 on my shelf, because nothing on this planet makes sense. But I digress.)

With regard to my novel, first let’s get one thing out of the way. I am in no way up to the task of retelling Goethe’s Faust. It’s ridiculous for me to even type the words. I should be ashamed of myself for even thinking the words.

But nothing on this planet makes sense. So: onward.

As I planned the novel — the title is Scratch, in case you’re wondering — I read and re-read my edition of Faust.

Have you ever read it? The whole thing?

It is … not an easy piece of literature.

I knew Act 1 from college. Somewhere, along the line, some professor assigned it and I read it.

You probably know the storyline as well. The devil (Mephistopheles) makes a bet with God that he can trick Faust into surrendering his soul. He then appears to Faust and strikes a deal with him: if he can deliver a certain type of experience to Faust, he can have Faust’s soul.

The experience Mephisto promises is one of total fulfillment. He’ll set things up so that Faust finds something happening to him so marvelous and engaging that he never wants it to end. And if Mephisto can do that, the devil wins his bet.

Faust agrees to the terms.

Mephisto spends the rest of Act 1 trundling out the usual experiences. He makes Faust young again, and rich. Faust falls in love with Gretchen, a sweet young virgin, and Mephisto arranges for them to become lovers, thinking that will be Faust’s ultimate experience. It doesn’t work. Sex with Gretchen is nice but doesn’t quell Faust’s hunger to keep striving for Something Else, Something More. Gretchen’s life, however, is utterly ruined. She becomes pregnant and, in her shame at being an unwed mother, kills her child and is sentenced to death herself. She dies in prison before the execution is performed.

This portion of the play is fairly easy to follow. Pact with the devil, ruined woman, isn’t it awful that out-of-wedlock pregnancy was once considered to be so sinful that it would drive women to commit atrocities.

Marguerite's shadow appearing to Faust), Faust, Lithograph print made by Eugene Delacroix
Marguerite’s shadow appearing to Faust, Lithograph print, Eugene Delacroix

The next four Acts, on the other hand, are complex and often surreal. They are laden with allegorical characters and events that in some cases are comments on contemporaneous European and German politics, on the tension between Romanticism and Classicism, on fiscal policy, on urbanization. The settings are at times “reality” but at times fantastical places — imaginary realms.

And then comes the final bit, where Faust dies. He’s in the process, during this last act, of reclaiming land from the sea and using it to build out a planned community — an urban utopia. He is also struck blind by Care, an event that is associated in the drama with Faust’s cold-hearted theft of land from an elderly couple (Faust wants the land as part of his urban development project; he asks Mephisto to get it for him; Mephisto murders the couple).

Because he’s blind, Faust doesn’t realize that the digging he hears at the end of the play isn’t workers, laboring at his urbanization project. It is demons, digging Faust’s grave.

Faust proclaims he’s so pleased with the idea that people will benefit forever from his reclamation project and the community he’s designing, that he would gladly tarry in that moment forever. He falls over and dies.

Bingo. The devil wins, right?

Not so fast. Angels intervene, distract Mephistopheles, crowd him away from Faust’s body, take possession of Faust’s soul, and whisk him away to heaven.

And ever since, people have been arguing about those last few plot twists. What, exactly, was Goethe trying to say?

On the face of it, it seems like Mephisto won the bet, and then heaven essentially cheated. Pulled a fast one. He certainly believed he was cheated. “Where do I sue now as complainer? … This thing was wretchedly mishandled.”

Or maybe not. Maybe the devil didn’t win the bet. Mephisto himself says, right after Faust dies:

So it is over! How to read this clause?

All over is as good as never was,

And yet it whirls about as if it were.

The Eternal-Empty is what I prefer.

If all, in the end, is nothing, then Faust’s proclamation that he would tarry forever in the feeling of building his new community is also “nothing.” So did Mephisto, in making this statement, essentially void his own bet?

Another observation. Blind Faust may have thought he was experiencing the building of his community. But he was not. He was experiencing the digging of his own grave.

It was a trick. So was the bet won not fairly but by cheating? And did that negate it?

The Prince of Lies cannot resist lying. It is his nature. Did he undo his own success by founding it on a lie?

Another possibility is something along the lines of theological determinism. Heaven and its beings are outside of time and space and are not, therefore, subject to the same laws as we humans are; outcomes of our actions are pre-determined. Any wager made on Earthy may seem valid to us, but its terms can’t necessarily be applied in heaven, because in heaven, redemption and damnation are decided on completely different terms. Whether we are to be redeemed or not has already been decided, and can’t be changed just because we cut a bad deal with the devil while we’re incarnate.

Redemption, from our perspective, is therefore inexplicable, irrational, and probably undeserved. But that doesn’t mean it doesn’t happen.

Faust is a metaphysical work. Its roots are in Medieval morality plays, which are as straightforward as a child’s story. The devil is evil. To do evil is to enter into a pact with the devil, and the price you will pay is your eternal soul.

But in Goethe’s world, things aren’t so straightforward. His Faust is no saint, but is beloved by God for all his shortcomings (“Though now he serves me but in clouded ways,” God says in the play’s prologue, “Soon I shall guide him so his spirit clears … Man ever errs the while he strives.”)

Perhaps, in Goethe’s drama, the omniscient God is unworried about his wager with the devil because He knows from the beginning that Mephisto will fail, partly because of the devil’s own nature, but perhaps also because of the nature of redemption itself.

And so, Faust was mistaken when he thought that what he heard, in his last day on Earth, was loyal laborers, busily working on his project. “Man ever errs the while he strives.” Add to that intercession — Gretchen, in heaven, prays for Faust — and you have everything you need to overrule Mephisto’s trickery. As the angels say while they’re carrying Faust’s immortal essence up to the highest heavens:

Pure spirits’ peer, from evil coil

He was vouchsafed exemption;

“Whoever strives in ceaseless toil,

Him we may grant redemption.”

And when on high, transfigured love

Has added intercession,

The blest will throng to him above

With welcoming compassion.

Character Tool for Novelists

I built this guided notebook originally for my own use, to help me create, document, and track characters as I write my novels. Now I’m making my Character Tool for Novelists available to other writers.

Character Tool for Novelists
Built originally for my own use, Character Tool for Novelists has space to help you brainstorm and document up to twelve characters, including everything from their names, physical features, and family trees, to major life milestones and unconscious needs. The dimensions are 5×8.5 inches to make it easy to carry and store.

I use notebooks to plan and work out my novels. I know not everybody does — some writers do everything electronically. But for me, notebooks work.

One reason may be that I’ve kept journals my entire life. When I sit down with notebook and pen, something happens in my brain. I can ask myself questions and get answers back. It works great for my creative process.

Another reason is that using notebooks gives me a break from screens. I like being able to move around, sometimes, while I’m working on a novel. I like being able to switch from my desk (stand-up) to a chair once in a while.

So the system that I’ve developed over the course of my fiction career (five published novels, a half dozen in process, numerous shorts) is to use blank notebooks — usually around 5-6 x 8 inch size to make it easy to carry around including when I travel — for brainstorming novels, working out problems, and early drafts of key scenes.

When I started work on my Marion Flarey novels (first one, Once Upon a Flarey Tale, available here, second one, Fo Fum Flarey, out now too!) I added something new. In addition to the blank notebooks for general brainstorming, I bought a package of Moleskine Volant journals and dedicated them to working out the characters, using a template that I replicated for every character in the books.

Moleskine notebook I used to create characters for my Marion Flarey novels.
Ugly but it worked: one of the Moleskine journals I used to work out the characters for my three Marion Flarey novels.

This proved to be a breakthrough for me as a fiction author. I’ve come to appreciate how important it is to fully imagine my characters before I get too deep into drafting an actual novel. It makes them come alive, which helps me enormously with everything else, from plotting and conflict to voice.

Having dedicated character notebooks imposed additional discipline on my planning process. It forced me to go through the foundational work of creating my characters and bringing them to life in my mind. As a result, before I began drafting my first Marion Flarey novel, every major character for all three books was fully developed in my head, including physical appearance, personality, backstory, and their hopes and dreams.

I have no doubt that one reason readers are enjoying Once Upon a Flarey Tale so much is that I “put in the work” on character development.

My dedicated character notebooks also helped me in practical ways. If I forgot a detail about a character — eye color or last name — I could easily look it up. It’s saved me both time and hassle.

But — speaking of saving time! — what I didn’t like about my system was that I was using a blank notebook, which meant I needed to replicate my character template by hand over and over and over.

So I decided to harness my Indie Author skills as a book designer to create and publish a “notebook” that would come pre-printed with the template — and Character Tool for Novelists was born :)

A tool for writers

I published Character Tool for Novelists using Amazon KDP and set the price at $7.99 USD; at 233 pages it’s roughly the cost of a similarly-sized lined journal, and at that price I make around a buck per copy. I chose white paper to make it as bright as possible; I personally wish the paper was a little thicker/higher quality but I’m limited by Amazon’s parameters, and in any case I wouldn’t want to make the tool any more expensive.

The tool has two parts. The (very short) first part provides space to let you list all of your novel’s primary and secondary characters by name, including nicknames/aliases. One section (pictured below) is a straight list of primary and secondary character. Another section is more of a workspace to brainstorm names and track them alphabetically. This ensures you don’t use the same first letter for more than one character (generally a no-no for modern novels).

Character Tool for Novelists by Kirsten Mortensen
Character Tool for Novelists includes space for you to list all characters in your novel by name and nickname/alias. A separate section (not pictured) lets you also list them alphabetically. I use the alphabetical listing to avoid using the same first letter for more than one character (giving multiple characters names that start with the same first letter can make it harder for readers to keep track of them).

The second part of the tool comprises the character template itself, with space for 12 characters altogether. Each of the 12 templates includes space for: names and name meanings; family trees; friendships; major life milestones; physical features; dress/clothing styles; personality traits; skills, abilities, and talents; occupations and finances; possessions/properties; social identities; habits, tics, and pet peeves; interests and hobbies; conscious aspirations; unconscious needs; journeys; archetypes; and thematic roles.

Here are a couple more pictures to show you what the interior looks like.

Character Tool for Novelists by Kirsten Mortensen
For every character, the first page gives space for the character’s name and other general notes you want to capture. The rules are pretty narrow (analogous to college-rule notebooks) to give you around 30 lines per page depending on the section.
Character Tool for Novelists
Here’s a pic to give you an idea of how other sections of the template are organized. This section is for notes on Character 2’s archetype and family tree. The headings use a numbering system (Character 1 – Character 12) to make it easier to refer back to the characters later. (I plan to also add tabs to the pages to make it easier to look up characters; will upload a pic of that when I have it set up.)
Character Tool for Novelists by Kirsten Mortensen
I left room on the spine for you to write the novel’s title so if you’re working on multiple books you can track which notebook goes with which novel. And that is my sweet girl, Tessa, in the background, looking to be petted :)

But wait! There’s more! Since many of us need space for more than 12 characters, I’ve also built a companion notebook, Character Tool for Novelists +15. This notebook doesn’t include the part one described above; it comprises only the character template, replicated an additional 15 times. It will be out by the first week of January The USD price is $8.99 since it’s a little longer at 279 pages.

Character Tool for Novelists Plus 15
Need space for more than 12 characters? This companion tool replicates the Character Tool for Novelists template an additional 15 times.

I’d also love writer’s feedback, so if you try the tool, let me know. Have I left enough space for character elements? Should I add sections to the template? Anything else I could do to make the tool more useful?

Thanks for reading!

A hard lesson–a revised novel

If there is one thing I’ve learned about trying to “be” a novelist — more accurately, trying to pursue a career as a novelist — it’s that you get knocked on your ass. A lot. Over, and over, and over…

When Libby Met the Fairies and Her Whole Life Went Fey by Kirsten Mortensen
Revised edition coming out this month!

And since I follow a few writers on Twitter, I see a fair number of who are crumpling. In real time.

I can relate. I’ve been there more times than I can count.

The lessons this business teaches are hard lessons, and the tools it uses to teach those lessons can be brutal.

Been There, Done That

One of the worst lessons I’ve had to endure started shortly after I published one of my first novels, When Libby Met the Fairies.

It was 2012. Self-pubbing was still pretty new.

I ran a KDP giveaway. A successful giveaway! A 23,875-people-just-downloaded-my-book giveaway! And I thought I’d made it. I thought that, with that many people reading one of my novels, my future was a gleaming bright golden road with golden coins showering down around my ears from endless sparkling rainbows.

From the days when running a KDP giveaway was so easy, a total newb could do it…

Boy, was I wrong.

Readers hated the book.

Okay, not all of them. And maybe “hate” is too strong a word. But in those days, Amazon used reviews in its ranking algorithms (although I’m told that’s no longer the case now) and I got slapped with enough 1- and 2-star reviews to kill the novel — and with it, my dreams of eeking out anything like a living self-pubbing novels.

At least in the near-term.

I tried to be brave, but in the end, I crumpled. I cried. I (stupidly) tried to argue with the critics on this blog (post since deleted).

And, eventually, I just gave up and unpubbed the book. It wasn’t selling anyway, and those reviews hurt. Better to pretend the novel had never existed …

But this post is about lessons, not mistakes.

Specifically, it’s about a lesson that was once so painful to my ears that I refused to believe it could be true.

I don’t remember where I read it. Probably on one of the lit agent blogs that were all the rage back in the early 2000-teens. It went something like this.

Write your first novel. Set it aside. Write your second novel. Set it aside. Then go back to your first novel and and re-write it.

I remember my reaction when I read those words. It was something like, “Are you kidding me?

“Do you know how much time and effort and energy I put into writing my first novel? Do you know how HARD I worked to make that book as good as it could possibly be? How can you tell me that there is ANYTHING I can do to make that novel any better?”

And so I made my peace with deep-sixing Libby forever. After all, I believe looking forward, not back!

On the other hand, I’ve always loved the novel’s premise. And it’s my favorite type of book to write: a book that set in the real world but admits to paranormal elements. And has romance. And family.

Kind of like real life ;)

So this spring, I picked Libby up and looked at it again for the first time in seven years. And guess what?

The readers were right.

Not in their specifics. They’re readers, not writers. They didn’t really understand why they didn’t like the book.

But since pubbing Libby, I’ve written several other novels and a ton of short fiction. And — even more important — I’ve read, and re-read, dozens of books on the craft (which I’m slowly reviewing for my blog; if you’re interested look here and here).

I’ve learned things. And because I’ve learned things, I could now see huge problems in Libby that I’d missed back when I was laboring away at the novel in 2010, 2011.

So this spring, I took that long-ago advice and began a re-write. Practically from scratch.

I changed a lot.

I switched the voice from third person to first.

I did a major deep-dive into my characters’ motivations — especially Libby’s — and re-wrote plot points to better articulate why they do what they do. (This was critically important with regard to one of the reasons readers disliked the last edition of the novel. They didn’t think Libby showed agency. This criticism baffled me at the time. After all, I knew why she made the choices she did! But I hadn’t done my job, as a storyteller, to reveal her motivations — so to readers, she came across as weak — a pushover.)

I tightened scenes that dragged. I created new scenes to add more texture and depth to the story.

And I found a designer (Lara Wynter) to re-do the cover.

And on October 23, I’m re-releasing Libby.

I have mixed feelings, to be honest. My experience in 2012 was incredibly humbling. I’m one of those writerly people who’s been told, my whole life, how good I am. “You’re such a good writer.” I’ve heard that a million times. It was hard to find myself being pilloried — to find myself being told that I was a total loser.

But I’m also hopeful that I’ve made enough progress as a writer that I can redeem this failed novel and turn it into something that readers will love.

Because, after all, that’s what I’m trying to do. Write books that readers will love …

Welcome back, Libby … wishing you the best of luck.

When Libby Met the Fairies and Her Whole Life Went Fey by Kirsten Mortensen

She’s seeing things that don’t exist.

Her boyfriend thinks she’s crazy.

And then the Internet found out.

When Libby Met the Fairies. E-book available now for pre-order at the sale price of only $2.99. Click here to browse available formats and place your pre-order!