Square Peg, Round Hole

May 18, 2024May 18, 2024 Joshua A. Mercier

Square Peg, Round Hole

May 18, 2024
8:05 am

OFTEN writers are told to trust the process, to let the story unfold naturally, and to listen to the characters as they guide us through their journeys. Yet, despite this sage advice, there are moments when we find ourselves grappling with a stubborn plot point or a character arc that just won’t seem to cooperate. It’s akin to trying to fit a square peg into a round hole–frustrating, time-consuming, and ultimately, counterproductive.

In my own writing journey this past week, I encountered instances where I was trying to force a storyline to conform to my initial vision, only to realize that it’s like swimming against the current–exhausting and futile. The truth is, trying to shoehorn a square peg into a round hole not only impedes the creative process but also robs the story of its authenticity and vitality.

BRING HIM HOME

I spent several hours this week outlining, scrapping, and re-outlining countless scenarios to coincide with what I had already plotted. In my original outline, I was trying to weave together several existing parables and mythologies to strengthen the base familiarity of my series, a trick in Speculative Fiction to help readers associate with themes or threads within the story so that disbelief is more readily and easily suspended.

Originally, the backstory I had plotted out involved three brothers, loosely paralleled with the Biblical brothers Cain, Abel, and Seth, and interwoven with the Prometheus myth and Garden of Eden—an undertaking, I know. I would get one or two threads to work and the other would fray from the tapestry. At one point, I had the brothers in Israel, by the Sea of Galilee; at another point, I had them in the Greek Isles; and before I finally decided to let the characters talk to me and tell me their story, I was trying to force them to tell the story from Denmark. And none of these backstories worked because they ultimately weren’t meant to.

Now not every writer from Maine needs to base their stories there—and I am leagues away from having Stephen King’s talent—but why not have the story set in Maine. It’s mystical and majickal, a bit treacherous and rugged, with some of America’s oldest histories and oldest tales… I sat back in my chair and decided to bring it home. Literally. And by doing so, I changed the locale of the entire story (from Boston to Downeast Maine) even if only by 360 miles or so.

THE THREE BROTHERS

ONE of my favorite areas of Maine is its Downeast coastline of sea caves and high cliffs, islands and inlets, all dotted with lighthouses to warn incoming sailors of the dangers of its jagged shores, a literal beacon of light to ward off darkness and disaster.

I decided to move the timeline of my backstory further into the future than the outlines I scrapped; although there’d still be generations between the backstory and the main plotline, putting centuries between them just to fit the original outline that, well, honestly didn’t fit, made no sense at all and only left plotholes and a heck of a lot more research for me to do—research that theoretically would never make it into the story if only with slight references. It started feeling contrived, forced, hammered into a spot it wasn’t meant to go. It started to feel like overbuilding.

As I did the research of migrations to the Downeast area, it all started falling into place. Instead of making my outline fit to a time or place, I first found a place and then the time when it would all fit. While I still had to find the exact size round hole for it to fit, I was no longer working with a square peg.

Eventually, three McKenna brothers were sparked into creation, fitting the world to which they were born versus being born into a world in which they didn’t fit.

CONCLUSION

SO, why do we persist in this futile endeavor of forcing? Perhaps it’s because we’re afraid to deviate from our meticulously crafted outlines or reluctant to let go of our preconceived notions of how the story should unfold. We cling to the familiar, even when it’s clear that it’s not serving the narrative. But here’s the thing–writing is a fluid, organic process. It’s about being open to inspiration, allowing the story to evolve naturally, and embracing the unexpected twists and turns along the way. And sometimes, that means being willing to abandon the square peg in favor of the round one.

In my experience, some of the most compelling moments in storytelling arise when we let go of our preconceptions and allow the characters to drive the narrative. It’s about relinquishing control and trusting in the creative energy that flows through us, guiding us toward the story’s true essence. So, the next time you find yourself struggling to make a square peg fit into a round hole in your writing, take a step back. Reassess the narrative, listen to your characters, and be open to alternative possibilities. Remember that writing is a journey of discovery, and sometimes, the most profound insights come when we surrender to the flow of creativity.

In the end, it’s not about forcing the story to conform to our expectations but rather about embracing the beauty of serendipity and allowing the narrative to unfold in its own time and in its own way. After all, the round peg may lead us to places we never imagined possible, enriching the story and our writing journey in ways we could never have anticipated.

To Getting Lost in the Writerlust,

Joshua A. Mercier

World Building Series: Navigating the Power of Majick—The Importance of Limitations & Boundaries

April 25, 2024April 25, 2024 Joshua A. Mercier

World Building Series: Navigating the Power of Majick—The Importance of Limitations & Boundaries

April 25, 2024
7:54 am

IN the enchanting realms of fantasy literature and folklore, majick often reigns supreme as a force of limitless potential and wonder. From spells that defy gravity to incantations that summon mythical creatures, the allure of majick knows no bounds. However, within these fantastical worlds, a crucial element often overlooked is the concept of limitations and boundaries that govern majickal abilities. Today, let’s delve into the intricate balance between the awe-inspiring power of majick and the necessity of setting clear constraints to enrich storytelling and world-building.

THE ESSENCE OF LIMITATIONS:

MAJICK without limitations is akin to a river overflowing its banks—an uncontrolled force that can lead to narrative inconsistencies and diminished suspense. Limitations, whether imposed by inherent rules of magic or societal norms within a fictional world, add depth and realism to magical systems. They force characters to grapple with challenges, make strategic choices, and undergo personal growth, all of which drive the plot forward and engage readers on a deeper level.

Consider iconic examples such as J.K. Rowling’s Harry Potter series, where majick is governed by strict rules and limitations. Wizards and witches must master spells through study and practice, wand movements must be precise, and certain magical feats require innate talent or knowledge of ancient incantations. These limitations not only ground the fantastical elements in a sense of believability but also create tension and excitement as characters navigate the boundaries of what is possible.

RESPECTING BOUNDARIES:

IN addition to limitations, the concept of boundaries in majick plays a crucial role in defining ethical and moral dilemmas within a narrative. Just as real-world societies establish laws and norms to regulate behavior, majickal societies or individuals in fiction must navigate ethical boundaries to prevent misuse or abuse of power. This thematic exploration adds layers of complexity to characters and storylines, exploring themes of temptation, redemption, and the consequences of unchecked ambition.

Take, for instance, the classic tale of The Lord of the Rings by J.R.R. Tolkien. The One Ring symbolizes ultimate power, yet its corrupting influence highlights the dangers of unchecked majickal abilities and the importance of respecting boundaries—even when wielding immense power for noble purposes. Characters like Frodo and Gandalf exemplify the struggle to resist temptation and maintain integrity in the face of overwhelming majickal allure.

Balancing Wonder and Realism::

ULTIMATELY, the importance of limitations and boundaries in majick extends beyond narrative cohesion—it fosters a deeper connection between readers and fantastical worlds. By establishing rules and consequences for majickal actions, authors invite readers to suspend disbelief while maintaining a sense of wonder grounded in relatable challenges and dilemmas. This balance between the extraordinary and the plausible is what breathes life into majickal realms and keeps readers eagerly turning pages, eager to explore the next enchanting revelation or harrowing trial.

In conclusion, while majick in literature and storytelling dazzles us with its endless possibilities, it is the careful crafting of limitations and boundaries that elevates majickal narratives from mere escapism to enduring works of art. Whether traversing Hogwarts’ hallowed halls or embarking on epic quests across mythical lands, let us cherish the nuanced interplay between boundless imagination and the structured framework of majickal rules—a testament to the timeless allure of fantastical storytelling.

Happy Scribing!

Joshua A. Mercier

Restoration & Relaunch

April 20, 2024April 20, 2024 Joshua A. Mercier

Restoration & Relaunch

April 20, 2024
4:48 pm

AFTER much deliberation, while browsing through the original Bearded Scribe Blog, I have decided—against what I initially stated in earlier posts—to restore a great deal of posts from there to the new site for posterity and reference.

Looking through the multitude of Book Spotlights alone that appeared on the site, I’d be stupid to turn my back on the content that was the foundation for this new site. There are so many great titles that were reviewed by The Fellowship of Scribes, and to not have that library of content on the new site when I can still view it on the original blog still would be asinine…

So, over the course of the next few weeks, I will be reaching out to the old team to see if they would like to be a part of the restored site; for those that don’t, I will be posting their spotlights as the admin account for posterity, with a link back to the original post on The Bearded Scribe Blog.

This will also help re-establish the depth of history this site actually has, and broaden the titles featured on the site versus just the brand new stuff.

If you are an avid Speculative Fiction reader and would like to read the latest books coming onto the market before they make their way to the shelves in the form of Advance Reader Copies (ARCs), then please feel free to fill out the form HERE to be considered.

Until next time—Happy Scribing!

Joshua A. Mercier

Writer’s Unblock

April 2, 2024May 18, 2024 Joshua A. Mercier

Writer’s Unblock

April 2, 2024
6:06 am

ABOUT a month and a half ago, I decided to bite the bullet and start writing again. I had been postponing doing so for years because I know myself—I can get pretty single-minded in my focus, and it’s hard to break from writing when you’re in a groove, hard to stop thinking about the story as you’re trying to complete other tasks. So while I didn’t have actual Writer’s Block, I was blocking myself from writing because I was afraid of it consuming all of my free time.

Yes, I know. BAD WRITER! How could I continue to call myself one if I refused to actually write? And it’s rather funny that what “unblocked” me was a logo design project for a client with my Graphic Design endeavor, FORGE. One of the options I presented to the client was a logo for Wonderspark—I am forever grateful that the client went with DreamQuest, because I kept staring at the logo I presented for Wonderspark and a whole story started to unravel.

And haunt. And pester. And then the characters started presenting themselves, and it got to a point where I could no longer avoid them or the story they wanted me to tell. Little by little, I started doodling and scribbling. Notes. Character descriptions. Place inspirations. Plots. Subplots. And at that point I realized I needed a better way to organize my notes and doodles and scribbles.

As if to answer me, the Universe gave me a well-placed ad for a software I had yet to hear of—Plottr. As I learn the program better, I hope to offer tutorials on how to best use it, but in the meantime, it’s a great tool for plotting out your story—either using pre-made templates or your own. You can organize characters, settings, notes, research, etc—all in one place, which can easily be exported to Scrivener and other writing tools.

GETTING back into has been both exhilarating and frustrating—exciting because it’s been a long time coming, but a bit difficult getting back into the flow due to the long hiatus I took. It’s like taking time off from the gym (I may have done that, too… SSHHH!), and when you get back to it, muscle memory eventually kicks in, but not without the soreness. It’s like rekindling a long-lost passion, rediscovering a part of yourself that may have been neglected amidst the hustle and bustle of daily life.

Whether it’s journaling, crafting short stories, writing a poem, or tackling that novel idea that’s been lingering in the back of your mind, returning to the written word offers a sense of fulfillment and creative expression that few other pursuits can match. It’s been cathartic and has definitely elicited a fair amount of smiles lately, like a missing part of me has returned, one that has been wandering and lost and has finally spotted the porch light through the thicket of trees, beckoning it to return home. I’m excited to share my progress as I write my new series, delving into the exciting venture of plotting with Plottr (I can’t rave enough about this program!) and finally knocking out the manuscripts scene by scene.

PART of me hates that I am not revisiting old projects, dusting off half-finished manuscripts or abandoned notebooks, and breathing new life into them. Unfortunately, the chance to reconnect with characters and stories that have been waiting patiently for their voices to be heard will have to wait a bit longer. For now, I am moving forward with a new project, a 7-book, YA Urban Fantasy series called Echoes of Eden, which is a re-imagining of the Prometheus myth. Sometimes the newness of building a new world, embracing the blank page and exploring new ideas, letting creativity flow without constraints or expectations, is a lot less daunting than re-visiting a world you more or less abandoned—the guilt alone can create focus blocks.

Echoes of Eden follows twin protagonists, Asher “Ash” & Ember McKenna, who navigate everyday conflicts most teenagers face while also facing more other-wordly conflicts, such as stumbling upon a dimensional rift, discovering a hidden world of magic, and uncovering their family’s hereditary ties to a secret society of artifact hunters and protectors. The series is intertwined with themes of Light versus Dark & Good versus Evil, pulling from ancient myths & stories of the Garden of Eden, the spark/fire of Creation, and even the Greek myth of Orpheus and Eurydice.

I soft-plotted the story arc, which (at the moment) stretches over seven books; it will change as I write them, of course, but at least I have a route planned even if I decide to take a different path to the same destination. You might say it’s a bit ambitious, but I wanted to give myself room for the story to develop and grow at a good pace without feeling rushed to cram it all in fewer.

The first book, Wonderspark, opens up just before a mysterious stranger shows up at the McKenna residence. Summer plans with their parents are cancelled as they are called away for an impromptu dig in the Pyrenees, and the twins, Asher and Ember, are forced to spend the summer with their grandparents on the quaint island town of Willowycke. When their parents go missing, their stay with their grandparents is extended.

The story picks back up three years later; Ash & Ember lead seemingly ordinary lives until a chance encounter with a mysterious rift thrusts them into the hidden world of magic. As they navigate newfound abilities and uncover family secrets, they discover their pivotal role in the age-old battle between light and shadow. With the help of their grandparents and a band of allies, the twins embark on a thrilling journey to uncover the truth about their parents’ disappearance and unlock the secrets of the Wonderspark. But as dark forces gather and ancient prophecies unfold, Asher and Ember must harness their newfound powers and embrace their destiny before it’s too late. The fate of both worlds hangs in the balance, and only they can unleash the true magic of the Wonderspark.

Over the course of writing (but without giving too much away), I hope to share some of the world-building—settings, mythos, characters, et cetera—as I build it, as it builds itself. It’s been nice re-entering the writing world with tools I didn’t have before—like the aforementioned Plottr, Scrivener, and even Artificial Intelligence.

Now I know there are a lot of naysayers of AI, but before you jump to conclusions, know that I am not using it to actually write the manuscript, but instead using tools like Midjourney, where I can feed in descriptions and have the prompts spit out beautiful renderings of my characters so I can upload the images into the other tools and reference them frequently while plotting and writing. And, let me tell you, seeing life breathed into my characters who normally only live in the written word and in my mind, makes the world that I am building more tactile. More tangible. More real. And living within it becomes a lot easier, which makes writing within it that much more believable because it’s no longer just in my head.

AS a treat, I am going to reveal the renderings of the two main protagonists of the series, Asher Rune McKenna and Ember Reign McKenna. The first of each set is how I initially described them into the prompts of Midjourney, which is how they look at age 13 in the opening chapter of the first book; the second of the set is how they look three years later when the second chapter opens. I was blown away at not only the precision at how my descriptions were executed, but also the character continuance of the characters being fraternal twins, and in seeing the aging process to my description while still keeping the physical features of the younger character in mind.