Category Archives: Japanese

An excerpt from “Shinosuke”

I’ve been working on the final novel in my YA fantasy trilogy over the past couple months, along with editing Murderous Requiem for it’s scheduled release of April 8th, but over the past week or so I’ve been bitten by the Japanese culture bug again.  I’m not sure why, but every year since I was about 17, I have a short attack of Japanese culture.  I get obsessed with Japanese movies and dig out my Japanese language books and CDs and start eating Japanese food.

It was during one of these “attacks” that I began an adaptation of a Japanese story written in the 17th century by Ihara Saikaku called “The Tragic Love of Two Enemies,” about a samurai in love with a young man who doesn’t know that the samurai killed his father.  It’s been difficult going, because of all the research I’ve had to do to keep the feudal setting believable and I’m probably only half done with it.  But I dug it out and dusted it off yesterday and was very pleased with what I’ve written so far.

Here’s one of the scenes I like.  Shinosuke is the young man (18-years-old in my story, though he was younger in the original) and the samurai is Senpachi.  At this point in the story, the attraction between the two characters is clear to both of them, but Senpachi has been resisting it.  They’ve decided to take a break from sword-fighting practice to relax in the shade of a cherry tree.

Senpachi stretched out on the petal-strewn grass, alongside Shinosuke.  This brought them physically closer than he’d allowed them to be, since that first evening in the ofuro.  But the moment seemed to warrant it. 

“Let me tell you a story.  When I was about your age, there was a man—Sato Haruki.  He was…older, and very experienced on the battlefield.  He’d fought at Seikigahara.  We were both assigned to the same unit, under the command of your father.  Haruki took me under his wing.  He taught me how to fight and the way of bushi….”  Senpachi hesitated a moment, concerned that what he was about to say might encourage the youth in his attentions.  But he would not dishonor Haruki’s memory by hiding their relationship, as if it were something he was ashamed of.  “He also taught me how to love.”

The word hung in the air between them, Shinosuke saying nothing, but his expression indicating that he understood.  Senpachi cleared his throat and continued.  “Haruki also taught me how to face death.”

“What do you mean?  Did he die?”


“On the battlefield?”

“On a hunting trip.  There were six of us, all on horseback.  Something spooked Haruki’s horse, as we crossed through a field.  Before he could get the animal back under control, he fell off.  We all thought it was funny, at first, and we laughed.”  The samurai smiled faintly at the memory, though there was little joy in it.  “Haruki had landed badly, and we soon realized that his back was broken.  He couldn’t move, and he felt nothing when I squeezed his hands and legs.  Though he could still speak and even joke about us having to strap his sword to his forehead for his next battle, we all knew—he knew—that he would be dead soon.  I don’t know how long he might have held on, but Haruki saw no point in dragging out his death.  He asked me to kill him.”

Shinosuke drew in his breath involuntarily, and his eyes expressed a small amount of the horror Senpachi had felt at that time.  Senpachi was only fifteen.  He’d never killed a man.  And now the first man he killed was going to be the man he loved.  All these years later, the pain the memory brought back to him was still agonizing. 

“Our friends led the horses away from us,” Senpachi said, when he trusted himself to speak, “so we could be alone together, in Haruki-kun‘s last moments. Then I drew his wakizashi and leaned down to kiss him.  While our lips were still touching, I pierced his heart with his own blade.”

He realized that his hands had clenched themselves into fists so hard that his nails were cutting into his palms, so he forced himself to relax them.  Haruki-kun….  He still longed to beg his lover for forgiveness, though he knew Haruki hadn’t blamed him—had, in fact, wanted him to do it.  It had been necessary.  And it was, after all, merely the first in a long, long line of painful regrets.

Shinosuke spoke quietly.  “It must have been terrible.”

For a moment, Senpachi couldn’t answer.  Then at last, he said, “It was.  I couldn’t eat or sleep for several days, and I wept until…I had no more tears to weep.”

“I could never have done it.”

A gentle breeze shook some cherry blossom petals down upon Shinosoke, and some stuck in his ink-black hair.  It was a soft, beautiful image that contrasted sharply with the story of pain and death Senpachi was relating to him.  Without thinking, the samurai reached up and plucked some the petals out of Shinosuke’s hair.  “I wouldn’t have thought I could, either.  Not until that moment.  But being a samurai means putting your duty ahead of your own needs.  Haruki deserved an honorable death, and it was my duty to give it to him.  Had I failed, he would have died, anyway.  But his death would have been slow and painful and undignified.”

As if they had a will of their own, Senpachi’s fingers floated along the youth’s hair, barely touching, until they came down to touch skin, gently following the line of Shinosuke’s cheek.  The youth closed his eyes, making no attempt to pull away.  But as soon as Senpachi realized what he was doing, he jerked his hand back.

His voice was gruff when he spoke.  “We should get back to practice.”

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“Saturn in Retrograde” has been accepted for publication!

This is the fastest I’ve ever received an acceptance of a submission: 6 days!  But it probably has more to do with deadline pressure than my brilliant writing:  Dreamspinner wants the anthology to be released in early June.

I’m very excited about it!  Not only did Saturn in Retrograde turn out to be something I’m rather proud of, but a release in June keeps me in the public eye.  It’s bad to go more than a year between releases, if you’re trying to build up a readership (or at least I’ve read that the “magic number” in the publishing world is a new release in not more than a year and a half, if you don’t want people to forget about you).  And although I did have a release in December (The Dogs of Cyberwar), and it garnered some nice reviews, it didn’t sell particularly well.  Seiðman will possibly be released this year, but I’m not sure yet.  So a new release in June is good.

In the meantime, I’ve been struggling with Shinosuke again, my re-telling of a 17th-century samurai love story.  I’ve written about five thousand words in the past two weeks, which is hardly a great pace.  It’s been pretty awful, in fact.  I was blaming the slow progress in the first week on having my attention focused on getting Saturn in Retrograde out the door, but I don’t have much to blame the slow progress of the past week on.  I have a handle on the manners of the period, now.  At least, enough so that I don’t have to worry about it constantly.  And I like the story.  But for some reason, it’s hard to write it.

I guess the only thing is to keep plugging away at it.

In other news, Dreamspinner Press is hosting a workshop for its writers in New York City this week and I’ll be there!  I’ll be hopping on board a train with my friend, Claire Curtis (who needs to be there for moral support — travel gives me panic attacks), Thursday, at 9:17am in that wretched time of day some more optimistic people like to call “morning” and returning Sunday night.  No doubt, I will achieve some kind of writerly enlightenment somewhere in the middle.

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Filed under Cyberpunk, Drama, Japanese, Romance, SciFi, Writing

How to Address a Samurai (Without Him Cutting You in Half) – Revisited

After finishing the first draft of a time-travel story I’ll be submitting to Dreamspinner early next week (after another draft or two — it seems one of my friends found my time-travel quantum mumbo-jumbo to be “all screwed up”), I’ve dusted off my tragic samurai love story from last winter and begun working on it again.

I thought I’d sorted out how I wanted the characters to behave, within their social ranks, but apparently not.  Looking at it with fresh eyes, I found numerous contraditions sprinkled throughout the story.  I also discovered that the characters were behaving rather like wooden fence posts in kimono.  There was so much formality in the character interractions, there wasn’t much room left for emotion or character development.

Fortunately, all was not lost.  The story is still good; the setting is still fascinating (to me); and the characters are interesting, if I can just get them to loosen up a bit.  One of the biggest problems was the Japanese words I’d sprinkled a bit too liberally throughout the text, especially hai (“yes”) and iie (“no”).  My decision to use these words had resulted in a very irritating rhythm in places, where they were simply repeated too often.  In English, a reader might not notice anything odd in the following passage:

     “You didn’t attempt to copy the artwork?” Senpachi asked.  The birds and flowers were conspicuously absent.
      Shinosuke flushed red again — something Senpachi was beginning to find endearing — and bowed lower.  “No, sensei,” he said, “I’m sorry.  I…they were beyond my ability with the brush.”
      “No matter.  Are you claiming to have memorized the poems, as well?”
      “Yes, lord!”
      “Well, let’s hear them, then.”

But when the Japanese for “yes” and “no” is substituted, it becomes a bit irritating:

     “You didn’t attempt to copy the artwork?” Senpachi asked.  The birds and flowers were conspicuously absent.
      Shinosuke flushed red again — something Senpachi was beginning to find endearing — and bowed lower. “Iie, sensei,” he said, “I’m sorry.  I…they were beyond my ability with the brush.”
      “No matter.  Are you claiming to have memorized the poems, as well?”
      “Hai, lord!”
      “Well, let’s hear them, then.”

Multiply this throughout the manuscript and it becomes damned irritating.   A simple word like “yes” shouldn’t draw so much attention to itself.  So I was faced with two choices:  1) Change all instances of hai and iie to “yes” and “no”, or 2) Leave them alone, but reduce their number.  For now, I’ve chosen the latter course.  For the most part, “yes” and “no” are seldom necessary.  Generally, they are implied by the context.  So the current draft of that passage now reads:

     “You didn’t attempt to copy the artwork?” Senpachi asked.  The birds and flowers were conspicuously absent.
      Shinosuke flushed red again — something Senpachi was beginning to find endearing — and bowed lower. “Sumimasen,” he said, “I…they were beyond my ability with the brush.”
      “No matter.  Are you claiming to have memorized the poems, as well?”
      “Hai, sensei!”
      “Well, let’s hear them, then.”

One might argue that replacing a small Japanese word like iie with sumimasen is cheating.  But since sumimasen means “I’m sorry,” it allows me to tighten the passage up a bit more, at the same time that I’m breaking up the haiiie rhythm.

There was also a lot of confusion in those early drafts about when to use first names and when to use last names.  So I’ve come up with the following rules that I’m trying to apply consistently throughout the text:

  • Shinosuke, the “boy” (he’s eighteen), is always “Shinosuke” to everybody, because of his youth.
  • Akanashi Senpachi, the samurai he falls in love with, is “Akanashi” (his family name) to everyone but himself.  This includes his friend, Toriyama, since men use each other’s family names when talking to each other, even if they are friends.  He’s also “Akanashi” in the prose, when the story is told from Shinosuke’s point of view.  About halfway through the story, however, he becomes “Senpachi” to Shinosuke in dialog and in the prose when the story is told from Shinosuke’s point of view, because lovers can use first names.  When the story is told from Senpachi’s point of view, he is always “Senpachi” in the prose.
  • Senpachi’s friend, Toriyama Kurobachi, is always “Toriyama“.
  • Servants are referred to by their first names, such as “Kaeda.”
  • The prefixes san (Mr. or Mrs.) and sama (“lord” or simply an acknowledgement of higher rank) are not used in the prose.  (My God, did that end up being cumbersome!)  In dialog, the two samurai (Senpachi and Toriyama) are referred to with the honorific sama by everybody, except each other.  When referring to one another, in the presence of others, they use -san; when alone, Senpachi calls his friend “Toriyama” and Toriyama calls him “Akanashi,” since they are close friends.
  • When the two samurai are addressed by something other than their names, they are called either sensei or samurai-sama.

Believe it or not, this is actually far less complicated than what I’d worked out earlier and it’s allowed me to go back and remove a number of confusing references.  There are still a lot of fuzzy points (Would the samurai refer to Shinosuke’s mother by her first name, because she’s a lowly seamstress, or as Daizaki-san, in honor of her late husband, who was a friend of theirs?), but already I can feel the prose perking up a bit.

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“Seiðman” Has Been Sold!

I received a very nice note about Seiðman earlier in the week, along with a contract to publish it under Dreamspinner’s new YA imprint, Two Steps Up!  The imprint has been announced through the ALA, but isn’t yet “online.”  However, I know that there are several books slated for release under the imprint, so I expect I’ll have more news on that fairly soon.

In the meantime, while I fret about the other novel I have floating around out there (By That Sin Fell the Angels), I’ve decided to write a story for submission to a time-travel anthology that will be coming out in June.  I finished the first draft of the story late last night, but there’s a problem:  it rolls in at a bit over 21k words, and the maximum word count for submissions to the anthology is 18k.

This is an unusual situation for me.  Unlike most other authors I read and talk to, I write lean.  I get the story down on the page and then have to go back and fill in descriptions and add detail to flesh it out.  Certainly, sentences can be tightened up: excessive adjectives and adverbs removed, run-on sentences shortened, all that sort of thing.  But eliminating over 3,000 words from a tightly plotted story will be a challenge.

I’m also anxious to move on to the Japanese samurai story I put aside last year.  I’ve reread the chapters I wrote and they have problems, mostly due to the emotional distance between the characters.  It’s difficult to portray two people falling in love when they’re separated by such an enormous class difference.  I’m also struggling with the social issues myself, attempting to portray the time period as realistically as possible.  One of the problems I have with modern authors who write about this time period is that they often have their characters doing things that, in reality, would probably get them executed or imprisoned.  That always yanks me out of the story.

But I’m certainly no expert on the subject.  I’m far less comfortable with this time period and culture than I am with Viking Age Iceland, so I keep making mistakes and there are a number of places in the chapters I’ve written where I don’t find the behavior of the characters to be convincing.  The overall result is, so far, an interesting story but with somewhat wooden characters.  Hopefully, I’ll be able to get a handle on that and produce something good out of it.  I’m still convinced that the core story, based upon a 16th-century samurai tale by Ihara Saikaku, is a great idea for a novel.


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“Meet the Author” chat with Jamie Fessenden (me) at Goodreads on Saturday!

Tomorrow (Saturday, June 25th), I have a “Meet the Author” chat scheduled on Goodreads, from 1pm to 6pm EST.  Basically, I’ll be hanging out there, waiting to answer any questions people might have about my stories or life as a famous soon-to-be-fabulously-wealthy author. 

If you’d like to join me, follow this link and click on the chat with my name on it.  You’ll have to register with Goodreads, but it’s free and it’s not a bad site to have an account on, anyway, if you like to read.

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Filed under Christmas, Cyberpunk, Drama, Fantasy, Japanese, Mystery, Occult/Paranormal, Romance, Victorian, Viking, Writing, Young Adult

How to address a samurai without him cutting you in half

I think I finally figured out that commoners in feudal Japan would not call a samurai by his last name, followed by –sama, or tono, which means “lord.”  Tono is more for actual lords, and so is –sama.  According to people I’ve spoken to who know some Japanese, as well as Akira Kurosawa (who may or may not have known what he was doing in all of his historical films), a samurai would be addressed as <name>-san, or by the term sensei (teacher, but also other figures of authority). 

Sensei can be used sarcastically to ridicule someone who’s too full of himself, but I suspect that usage may be modern.  In any case, anyone addressing a samurai like that had better be of equal or higher rank, if he wanted to survive the experience.

Shinosuke is now approaching 14,000 words, which was my goal for the story, but considering the fact that the romance has only progressed to the point at which Senpachi and Shinosuke have had their first kiss, I think the story may go on a bit longer than I originally intended.  Not bad, considering it’s being adapted from a story about 500 words long, to begin with. 

Incidentally, tracking down the original story, to verify that it wasn’t a modern fabrication, posing as an old samurai tale, was a bitch.  I finally found it in a book called Comrade Loves of the Samurai  by Ihara Saikaku, translated by E. Powys Mathers.  It was written in the mid-1600s, so I’m pretty safely out of copyright.  Even the translation was done in the 1920s, if I recall, but it hardly matters, since I’m not directly quoting anything.

So far, I’ve spent about a month and a half on this, which is longer than I’ve spent on the first draft of any story of this length.  Is it worth it?  I’m not sure yet.  It hasn’t gripped me and carried me away, which could be a bad sign.  But it’s often in the second draft, when I add the details and flesh the characters out that a story really comes alive.  So we’ll see.


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Cyberpunk story finally submitted to Dreamspinner!

I finally got my cyberpunk story, now titled The Dogs of Cyberwar, polished up as good as I can make it, and I submitted it to Dreamspinner Press this afternoon!

This was, by far, the most awkward submission I’ve ever sent off.  The problem occurred when I began doing some final polishing this morning.  This turned into some substantial changes throughout the manuscript, which would all be well and good…except that I had accidentally opened up the backup copy of the manuscript, rather than the main copy I was working on. 

When I put together the submission query letter, I attached the novella and the synopsis (which I think is actually one of the better synopses I’ve written — short and succinct) to the e-mail, I proceeded to grab them from the folder where the backup copy was located.  This would have been fine, since that’s the copy I’d just spent the morning modifying. 

However, I noticed that I’d named the synopsis file “Dogs of Cyberspace Synopsis” instead of “Dogs of Cyberwar Synopsis.”  So I went into the main copy folder and renamed the file.  But whenever I attempted to browse for that file, it kept showing the original “cyberspace” name, instead.  I verified that the name of the file in the folder I was looking at said “cyberwar,” but the browser kept showing me a file with “cyberspace” in the title.  Thinking that the browser had cached the original folder contents (which browsers sometimes do), I exited out of everything and went back in.  But the discrepency still existed, so I rebooted. 

Now, when it rebooted, I of course opened the main copy folder, rather than the backup copy folder, since that’s where I thought I’d been working all along.  The file said “cyberspace,” which didn’t make much sense.  Except that I’d had experiences with thumb drives (where my main copy folder was located) sometime not retaining changes.  I’ve actually lost files by saving them on thumb drives, pulling the drive out and finding the file missing when I plug the drive back in.

So I renamed the file again, and this time the browser found it with the correct name.  I then sent it off.

Only when the editor at Dreamspinner replied that she’d received the submission and would let me know, did I realize what had happened.  The files I’d sent her from the main folder were dated yesterday!  At first, I completely freaked out, thinking I’d lost all of the changes I’d made that morning.  But Erich asked if I was sure I sent the correct files, so I thought to check my backup folder, and there everything was, all up to date and named correctly.

Thankfully, I’ve been working with Dreamspinner for a while now.  I highly recommend against following up a query letter to a publisher you’ve never worked with with a message saying, “Um…would you mind looking at these files, instead of the two I just sent you?”  Fortunately, the editor at DSP was fine with that.

Now I get to stress while they consider the story.  Even though I like the story and think it’s pretty well put together, I’m concerned about it.  In the first place, though I did have some readers tell me they loved it, a couple readers were blasé about it.  That could just be personal preference, of course.  Not everyone likes the same kind of stories. 

But the other concern is the fact that it’s clearly “to be continued.”  The story is complete, but the ending indicates another story to come.  In fact, I’m already plotting out two more stories with these characters.  I’m even weaving some vague Irish mythological themes into it.  I know DSP prints series of novels, but I don’t know how they feel about a trilogy of novellas.  They might want me to finish all three first.

Or, of course, they might not like it, at all.  Then I’ll have to decide whether it’s worth sending to other publishers or if it needs some major work first.

In other news, I’ve finished the second round of edits on We’re Both Straight, Right? and I sent that back Friday night.  I think the next thing they’ll send me will probably be the galley proof of the pdf, which I’ll have to check over for minor typos and things like that.  At that stage, they don’t like the writer to do much rewriting of the text.  Publication is still six weeks away.

Shinosuke is coming along.  It’s up to about 10k words now.  It’s going to require a major rewrite, to sort out all the Japanese etiquette.  I was at a party last night, talking to a friend who’s majoring in Japanese studies, and two of his classmates.  We were trying to sort it all out, and they told me some things that I’ll have to take into account, such as their belief that only women would use the suffix –sama, for the most part.  It’s all very difficult to sort out, and I don’t know how to get definitive answers.  But the main thing to worry about, right now, is the story.  I’ll have to sort out the rest later.

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Balance of Power in Relationships

Assuming the romance between two characters is appropriate (i.e., within acceptable cultural guidelines), in terms of their ages, there’s another factor that can sometimes give readers pause:  the balance of power between them.  I’ve recently come across this in a novel that takes place in feudal Japan, and I’ve been running up against it, as I write Shinosuke. 

Basically, if one character is in a position of relative power over the other, it makes readers a little squeamish, when a romantic relationship starts up between those characters.  Teacher-Student is one example, even if the student is over eighteen, and another is Employer-Employee.  There is also the potential for this issue to come up any time the age difference between the two characters is more than a few years, especially if one is between, say, eighteen and twenty-five.  The reader finds herself wondering if the romance is real, or if the subordinate character simply feels that they have no choice but to go along with what the dominant character wants.   Or, in the case of a large age difference, the younger character may be subconsciously dominated by the older character.  (This, to me, seems less of a concern in a contemporary story, than in a historical.  Young people growing up in the modern Western world are no longer raised to automatically defer to their elders.  Kids today!)

This is particularly an issue in feudal japan, when dealing with the relationship between a samurai and a commoner.  Samurai had the right to kill any commoner who displeased them!  So, getting back to my story, from the get-go, the relationship between Shinosuke and Senpachi is imbalanced.  Obviously, Senpachi has no intention of harming Shinosuke, but Shinosuke has no way of knowing that.  Even if the samurai says, “I would never harm you,” Shinosuke would have to be pretty naive to believe him.  And even if the character believes Senpachi, the reader might think Shinosuke is being a stupid teenager.

(The issue I had with the first third of the samurai novel I’m currently reading, which is otherwise well written and enjoyable, is that the lord made it clear that the other character’s life was at his disposal several times, imprisoning him and punishing him in ways that would have Amnesty International sending reports to the U.N.  While it was perfectly in keeping with the culture and period, I had a hard time sympathizing with the main character falling in love with this man.  On the other hand, I suspect it was meant to appeal to the BDSM crowd — of which, I am not a part. *)

So, what to do, what to do? 

Well, step one is to make damned sure Senpachi doesn’t ever mistreat Shinosuke.  He’s teaching the young man bushido — the Way of the Warrior.  And as a teacher, he will have to be stern.  But most readers have seen enough movies like The Karate Kid or even Kung Fu Panda (which we watched last night — not bad!) to recognize the difference between stern and sadistic.  Whether I can pull it off will simply depend upon my writing ability. 

Step two is to make the romance almost entirely Shinosuke’s idea.  There is simply no way to have Senpachi broach the subject without it appearing that he’s abusing his position as mentor to the young man.  In fact, he will have to put up some resistance.  His attempts to rebuff Shinosuke, and Shinosuke’s hurt over having his advances refused, will, one hopes, eventually make the reader sympathetic to Shinosuke’s cause — i.e., winning over the heart of Senpachi.  We then move from “Why is that lecherous older man hitting on his student?” to “Why can’t that jerk see how much his rejection is hurting Shinosuke?” 

Welcome to Romance Plotting 101!

*NOTE:  It’s also a common element in manga, which may be more pertinent.  I’m a fan of manga and anime, but I often find the dominant/submissive elements of the stories not to my tastes.


Filed under Japanese, Romance, Writing

Brief detour

So my writing — and indeed, my life, in general — was derailed this weekend by a doctor’s office calling me Friday morning, as I was getting ready for work, and saying, “You need to get to the Emergency Room — now!”

“But I feel fine….”


Well, it was a teensy bit less dramatic than that, but still pretty frightening, because they wouldn’t tell me in detail exactly why I had to go to the ER, and even after Erich drove me to the ER, it took an hour or more to find out what was going on.

I’d been feeling pretty awful for the past three months.  It started as a “flu” on the first weekend of January, and for a short time, I felt better.  But then it came back, with exactly the same symptoms — aching all over and dead tired, getting progressively worse throughout the day, and frequent uncontrollable shivering.  But no fever to speak of (it turned out, I’d had a fever of about one degree, probably most of that time, but it’s easy to think of that as not really a fever).  And no other flu symptoms, such as coughing or stuffed up sinuses. 

Once my doctor eliminited the flu, and other possible flu-like viruses, we started testing for lyme disease and chronic pain conditions, such as lupus, rheumatoid arthritis, and fibro-myalgia.  We also tested for HIV and a host of other diseases everyone dreads.  But fortunately, everything came up negative.

What did suddenly turn up on Friday was strep bacteria — in my blood.  This is a pretty serious condition, if it isn’t caught.  I gather that it could be fatal.  Especially, if you have a malformed heart valve, like I do, which is at risk of being eaten away by bacterial infections. 

How the bacteria got into my bloodstream is anybody’s guess.  Perhaps through a cut in my mouth or overzealous flossing.  At any rate, I spent four days in the hospital, being fed antibiotics through an IV, and being scanned, x-rayed and prodded in all possible ways, except fun ones. 

During that time, I had little to do, between proddings, so Erich brought my laptop, so I could catch up on my writing.  Unfortunately, it turns out that, when nurses are waking you every three hours to draw blood or take your temperature, you tend to be tired all day long and want nothing more than to nap.  I managed to get a small amount of writing done on Shinosuke — my samurai novel — but only a few thousand words.  The characters are at least beginning to build a relationship, even though it isn’t yet romantic, at all.  But hopefully, now that I’m home again (and on a regular course of antibiotics for the next six weeks), it will start moving faster.

On a side note, Zack and Larry Make a Porno has now been renamed to We’re Both Straight, Right? and a cover has been picked out.  Novellas in the 2011 First Time Daily Dose anthology don’t really have unique covers, but they gave me some standard covers to choose from, and one fit the tone of the story well.  I also received my check for it in the mail today!

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Writing about ancient Japan

After a week of plotting and research, I’ve begun writing my samurai novella.  Now, I know what you’re thinking:  is a week really enough time to plot and reasearch a novel about a time period and culture I’m far from an expert on?

No.  Absolutely not. 

But I was starting to get bored.  And the biggest threat to any story, at this stage, is to find it dull before you’ve even begun writing.  The problem is, what keeps me interested in a story is the dramatic tension between the two love interests.  And in a story where there are few obstacles to the characters, apart from psychological/emotional obstacles, that tension doesn’t really manifest itself well in an outline.

What keeps Senpatji (the older samurai) from immediately falling into Shinosuke’s arms is guilt.  He killed Shinosuke’s father (though there was a good reason for it, at the time).  Shinosuke knows that Senpatji and his father were friends, but he knows little else.  So he sees this handsome older man, who is willing to teach him the ways of the samurai (bushido — the way of the warrior) and who dotes on him, and it’s not surprising that he falls for Senpatji. 

If I had Senpatji simply accept this, it would be a dull, dull story.  So, I have to make him constantly aware of what he’s done, and constantly keeping Shinosuke at arms length, despite his growing affection for the young man.  And the only way I can pull this off, is to write it out dramatically.

Which means that I keep stumbling over matters of history and protocol.  What did falconers do with the birds when it started raining?  Did they cover them up?  Or were the birds considered tough enough to endure a little inclement weather?  How does one greet someone of a higher social class, when they enter your house?  How does the fact that Shinosuke’s mother was once samurai herself affect the way she relates to her samurai guests?  Does Senpatji and his friend acknowledge that she was once samurai, or is that too tacky?  (I’m leaning towards tacky, but Senpatji is introduced as an old friend of her husband’s.)

All these questions will have to be answered, and will possibly force sections to be rewritten.  But it’s my opinion that the primary thing is to get the story down on paper.  Once you have a first draft, you can rewrite to your heart’s content.  But that first draft must be done, or nothing else will follow.

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