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My first child was born in Japan. Getting a copy of her birth certificate will always be a tortuous wild goose chase where the geese have been cross-bred with piranhas and are packing laser rifles. They say you always remember the big milestones in your life with a distinct clarity, and aside from my twenty-first birthday, that’s proven true. The birth of my first child was the most terrifying experience in the history of all my experiences. The terror has only grown with time.

Whenever I tell people this, they smile and nod with that knowing “Yeah, pal, it’s terrifying for all of us that first time around” smarmy look. But looking back at everything that happened, it was objectively horrifying and not simply my emotions getting the best of me.

Before

Before

My wife decided early on to go to a midwifery in Japan. I will forever refer to it as the “spawning vats.” It was this two-story building hidden in a back alley that exuded all the welcoming feelings of a rugged youth hostel crossed with a Soviet-era elementary school. Lots of little spartan rooms with cold tile floors where new mothers would stay with their new babies for a week after birth to ease everybody’s transition into their new roles in life.

The place was run by an ancient obstetrician and associated with a hospital and this was supposed to allay my fears about how dangerous this sounded. Once we had to go to a class that I *think* was supposed to teach us how to not kill the baby. I’d barely been in Japan a few months and my language skills weren’t all that up-to-snuff so I only caught about one in every fifty words the doctor said. Mostly it looked like an inscrutable puppet show to me. I remember it being very hot, and falling asleep once, and my wife jabbing me in the chest with her elbow because I’d been snoring. You know, maybe I deserved the ensuing terror.

The day I got “the call”, I hopped on my bicycle and sped off to the midwifery in this sleepy little neighborhood well north of Tokyo. It was the fastest way to get there as no trains ran close by, calling a taxi would take too long, and we had no car. I got several texts that morning from my wife after “the call” but the one I will always remember simply said “Ouch.”

When I arrived the nurses hurried me into my wife’s room where she was to stay for the week and there was a complete lack of wife in the room. Just me and the bed and the clock. They instructed me to wait, shut the door, and shuffled off with no indication of when they’d be back. I hadn’t gotten a text in a good hour or two at this point. I’m not sure how long I was in that room, but after the minutes faded into half-hours and the half-hours faded into hours and the shadows from the sunlight streaming through the window had moved across at least two floor tiles, the nurses came to retrieve me with a simple “It’s time.”

They took me to a bench in a white hallway lit with a flickering fluorescent light that cast a sickly green glow on everything. Beside that bench was a door and from the other side of the door came the screaming. Not just any screaming. I could pick out at least two distinct voices screaming. Possibly three. My heart went into overdrive as I tried to figure out why so many people were screaming, and why nobody was letting me go in there. One of the voices had to be my wife, but what of the others? Had something gone terribly wrong and the nurses were screaming about how awful it all was? Were there, in fact, eldritch horrors in there screaming with the voices of the damned? I sat there helpless under the lights.

Soon enough they let me into the room and I hesitated for a second. I wasn’t sure I wanted to face whatever was on the other side, but then my wife could be in trouble so I convinced my feet to move. It was a scene directly out of a horror movie. First there were curtains everywhere making what looked like a rather large room feel very claustrophobic. The screams came from behind these other curtains. Another woman had decided to give birth at the exact same time as my wife and the staff were making-do as well as they could.

Second, the room was dark. I mean very dark. The doctor’s theory was that the baby should ease into the world without bright lights, and slowly ramp up the light level as she got accustomed to her new surroundings. Funny, nobody ever thought about a slow ramp for the sound level. A part of the ceiling overhead was unfinished and there were pipes and wires and tubes and all sorts of things you see in a creepy abandoned warehouse hanging up there. And in front of me, behind a curtain, was my wife all splayed out on some chair-like device, gripping onto a bar as if trying not to be snatched away by some awful creature, screaming and giving me a very, very angry look.

And to top it all off, the doctor was standing at the “business end” with a camcorder aimed directly at the action.

What. The. Hell.

We have that cassette tape. For seven years I’ve managed to come up with excuses as to why we don’t need a VCR. Because I know, as soon as we acquire one, my wife will pop that cassette in and I will hear the unholy cries of the damned once more.

After

After

In the end my daughter came out all nice and healthy and they handed her to me and I was terrified that I’d drop her on the tile floor but somehow I survived the encounter. Honestly everything after they gave my daughter back to my wife is a blur. I spent the next week making that bicycle ride 2-3 times a day to visit, always bringing a requested snack from the local grocery store, having fun videotaping this crazy new creature that was my daughter.

But as objectively terrifying as it all was, it was So. Worth. It.

Happy Birthday, Emily. May I live long enough to embarrass you with this and many more stories at your wedding.

Image

Just busy. Busy going to a writing conference. Busy finishing up edits. Busy going for long bicycle rides in the beautiful weather we’ve had lately. I’ll be back soon enough now that the Dreaded Querying Process is beginning, but for now, I leave you with this. If you ever needed a motivational pep talk to get started on any endeavor, be it creative or business or maniacal evil, here’s your pep talk.

More interesting update to follow when I’ve got this query and synopsis writing behind me. And yes, I know, I promised to write about endings. I kept holding off because I didn’t quite have the ending of my own novel where it needed to be. But now I do. Next time, I promise!

If you want a sneak peek just imagine I’m saying something about “themes” and “circling back to the beginning” here while waving my hands around.

Eureka

I’ve never blogged about the art of writing. I’ve talked about self-publishing and about progress on my own current novel, but never about the craft itself. I never felt like I had much to add to the conversation. I’m just this guy who’s sole publishing accomplishment is some bad junior high poetry, and I’ve got a ways to go before publishing a novel. But I’m going to share this revelation, if for no other reason than I learn a lot about myself when I talk through things.

In preparing the WIP for the terrifying querying and pitching process, I had a legion (read: 4) of early readers. Their feedback was invaluable, but all three of them aligned on one thing that worried me. They all fell in love with one half of my book, and felt disconnected from the other half.

See, I’ve written a split narrative. One half of the novel is the diary of a twenty-something Japanese girl. That’s the half people connected with. The other half is a thirty-something American guy told in third person. That’s the half people didn’t connect with all that well. But wait, I’m a thirty-something American who’s lived in Japan! How were people connecting with a wholly-fabricated Japanese girl better than the guy who was channeling my very existence and experiences?

I mulled and fretted and eventually ignored this and tried to clean up the American half as best I could, but it didn’t sing true. I wasn’t connecting with it either, and that’s when I knew I had to do something drastic. While I was in Japan earlier this month, I started reading A FAREWELL TO ARMS by Ernest Hemingway. There’s a scene in the first third of the book where the narrator experiences a shelling during the war. And that’s when I realized what was wrong with half of my novel.

My 3rd person half of the narrative was too far removed from the feelings and experiences of the character it focused on. He saw things happen, and that’s about it. He didn’t experience them. When I wrote the first person half, the girl naturally talked about how she felt, what she thought, how the experiences changed her and why she did what she did. When I wrote the American half, however, all that got left out. Maybe because I felt it so strongly within me, I read a lot of that feeling into the words on the page, not realizing that none of the words on the page really conveyed any feeling at all.

I didn’t want to switch out of a 3rd person POV, but I wanted to really capture that essence and so, with Hemingway firmly in the back of my mind, I set out to rewrite my first chapter–without referring back to the earlier draft. Went in blind, with a blank Word doc. The difference, to me at least, was (cliche alert) night and day.

Here’s the same “sequence”, before and after.

Before:

Chris squeezed his eyes shut and braced himself for the cold, infinite void that never came. The tugboat tumbled past inches from his face. He smelled the oil and grease from its engines as it rolled by. Water sprayed up into his face, tickling his cheeks. A few pieces of debris found their way into his mouth and he spat them out, the taste wet and earthy, the sensation like chewing on dirty cardboard. Grit stuck between his teeth and he continued to spit, unable to get rid of it all. A mouthful of sand.

After:

The water reached his neck and his chest felt tight and he knew his heart was giving out and all he wanted was for the madness to stop. Breathing was hard and water pushed at his mouth and the currents pulled at his legs and his shoulders stretched and twisted and he screamed because the scream gave him strength to hold on as the world fell apart. He choked and spit and the smell of musty basements filled his nose.

The first one reads very mechanically to me. “This happened. Then that. Then something else.” There’s no feeling, no real urgency, too much telling and not enough showing. The second one captures that chaos of the moment better, the feelings, the fears, and something about those run-on sentences (please forgive me, Mrs. Boozer) helps convey the sense of urgency.

So now to go through and rewrite half my book. Hey, at least it’s not the whole thing, right?

How about the rest of you? What were some of your big “eureka!” moments where it all started to click and you found your way out of whatever hole you were in with your writing?

My knowledge of the Japanese language is entirely functional. In fact, I’d go so far as to say I’m functionally fluent. If I need to find a bathroom, I can do that. If I need to make special adjustments to a restaurant order, I can do that. If I need to tell my kids to stop chewing on each others’ arms, I can do that, too. I can converse in a rather verbose, if boring and stilted, manner. I cannot, however, write a story. I cannot string together a poem or express complex emotional ideas. I cannot weave a tapestry of words to evoke emotions, to encourage empathy, to fundamentally move a person and leave my mark on them.

And it’s frustrating when I’m in a situation where I have to do exactly that. Perhaps it’s the writer in me, struggling to find a voice in a language I have yet to master, overflowing with emotions to relate but unable to relate them in the right way.

At my sister-in-law’s wedding, they had a slideshow of pictures from the lives of the bride and groom. The first picture of the bride’s life was her as a baby in the smiling arms of my mother-in-law. As related in an earlier post, she died before I ever met her. My first trip to Japan was for her funeral.

All I could think when I saw that picture was how she’d never been able to hold any of her grandchildren like that. How my kids will grow up without their Japanese “ba-san”. How she will never be able to pass on to her daughters that special kind of motherly advice that can only come from one’s own mother.

The next pictures were of my wife and her sister growing up, going through all the various milestones kids go through, with their smiling mother by their side. All these things she’ll never see for her own grandkids, never be able to do with them. I was touched, but at the same time I was standing in the back of the reception hall holding my one-year-old son. I couldn’t break down–it was my job to keep him from breaking down.

But then the last picture came up in the slideshow. The family all stood together, smiling, with a caption whose beauty I can’t exactly translate but is best rendered as: “Her mother watches over her from Heaven.” And that’s when I lost control. I excused myself and walked out of the reception hall and over to the large windows overlooking the city of Nagoya.

It helped that my son chose that moment to go a little nuts, so I had some cover, but that’s not exactly why I left. I’m no stranger to embarrassment–you get used to that marrying into a foreign culture. No, I had to leave because I knew that if anyone asked me what was wrong, why I looked like I’d been chopping onions, I wouldn’t be able to express exactly how I felt. “I’m sad” and “I was moved” are functional phrases. They’re all that came to mind. They’re all I knew how to say in my functional Japanese voice. And they weren’t sufficient. They wouldn’t do the moment justice. So I hid away by the windows, watching the traffic in the streets below for a while to gather my thoughts and let the baby settle down.

As authors, sometimes we struggle to find our own voice. I’m discovering the same is also true when learning a foreign language. It’s my goal to someday be able to tell my Japanese family exactly how I feel in my very own Japanese Ben voice. I’ve got a lot of work ahead of me, but it’s for a good cause.

Family at the Wedding

Actually, five good causes.

I love getting those internet chain letters that ask you to do X, Y, or Z. I’ll read them with great fervor and occasionally drag myself away from whatever other mindless pursuit I’m undertaking at the moment to do whatever they’re asking me to do.

Except I never pass them on. I’ll do the requisite tasks and then conveniently forget to spam anyone else. It’s kind of like the Ring. I’m the guy who keeps taking one for the team so the little girl doesn’t crawl out of your computer monitor and kill you in seven days. Look, the analogy made more sense when I was driving home.

Jen Stayrook tagged me for this 777 thing that’s circling the author world on the internet. Amateurs, professionals, and everyone in between (Is it possible to be semi-professional? Isn’t that like being semi-pregnant?) have been participating. I’m nose down in edits right now, so this floated across at the perfect time.

What is it? Here are the rules, as copied from her site.

  1. Go to page 7 or 77 in your current manuscript
  2. Go to line 7
  3. Copy down the next seven lines/sentences as they are – no cheating
  4. Tag 7 other authors

Since that’s actually 7777 I’m being true to form when I don’t tag 7 more people at the end. Without further ado, here’s my excerpt from page 7 of the WIP, A PETAL OF CHRYSANTHEMUM. Hope it doesn’t rot your brain like Jersey Shore.

I can’t believe she’s lived next door to the guy for two years now with such a major crush and hasn’t once uttered more than an incoherent mumble at him. He probably thinks she’s not all there in the head. I know I think that sometimes. But hey, we grew up together, went to college together, and have enough dirt on each other that I’d never consider stabbing her in the back, so I’ve got to find some way to smooth this out.

But she was right. He does have nice lips. And I may have let my eyes linger a bit as he walked away. Broad shoulders, too. Not the most muscular guy in the world, though. He looks like he rides a desk all day long. Kind of lean.

All right, that’s a wrap. Go and sin no more. Or do. Either way I’m going to eat dinner and get back to the edits. Feel free to pretend I tagged you if you want to play along!

I noted on Twitter the other day that the chrysanthemum is obviously more important to the Japanese than it is to us Americans because their word for it is simply kiku (菊). I followed this with an observation that they also have a word for “death from overwork”: karoushi (過労死). That word really stuck with me. Here was a culture that experienced this so often they needed a simple vocabulary unit to express it.

During the daytime hours I manage video game development teams. Being the Japanese geek that I am I’ve taken that word and made it part of my team charter: karoushi kinshi (過労死禁止): “Death from overwork is forbidden.” I write it on my whiteboard, I hang posters in hallways, and when people ask me what it means it sparks an interesting discussion–one I know will stick with them every time they come to my office to ask for advice on handling a given problem.

The stories about terrible workplace conditions in the video game industry are fewer than they were 6+ years ago. The industry has acknowledged that months of 80+ hour work weeks are counter-productive and has started taking measures to combat it. I like to think I’ve had a lot to do with that during my tenure across three studios of Electronic Arts. They had one of the worst publicity problems in the industry at the time.

But “death” and “overwork” can apply to far more than salaryman type jobs and shuffling off this mortal coil. Very often we get wrapped up in our own pursuits to the detriment of the relationships we hold dear. For me, this pursuit was writing. It’s been all-consuming these past two years, and I’ve spent all the free time I could carve out between my job and my family writing some books and honing my craft. One night my wife went to bed before me and I stayed up late to get some writing done. The next night, I was really close to finishing some scene or other, so when she asked if I was coming to bed I let her know that I’d be there as soon as I finished up. Two hours later I rolled into the bedroom. Of course she’d fallen asleep, the lights still on, waiting for me.

It’s easy to fall into a pattern with our most passionate pursuits that unknowingly builds barriers between us and our loved ones. Two years later and it’s hard for me to remember the last time my wife and I went to bed at the same time. The worst part of all is that I didn’t even recognize it was happening. No, it was pointed out to me by a friend’s wife–and neither the friend nor his wife know my wife. Yet after I spent just one evening chatting with my friend’s wife, she immediately identified this as a significant problem I needed to address. And she’s right. I can’t believe I went so long without seeing it.

Just like the video game industry. One late night wasn’t so bad. That led to another. Then another. And it all snowballed until the only way to get a game built to budget and schedule was by crunching for weeks or months at a time. There was no malevolent intent, no man behind the curtain–just a blinding passion for one pursuit (in their case, making great games, in my case, writing great books). Like I remind my team that overwork isn’t always the answer, it’s good to have friends (or wives of friends!) there to remind me about the important things in life I’m missing out on or inadvertently allowing to die. Of course this problem will be rectified posthaste with lots of hugs, lots of flowers, and a reasonable bedtime.

過労死禁止。Death from overwork is forbidden. Is there something in your own life that’s suffered as a result of your dedication to a given pursuit? Ever stop to think about it? Perhaps some random blog post by some random guy who talks about random Japanese and writing-related things can spark your awareness of it.

Anything’s possible.

There.

At 7:01PM Pacific Standard Time, March 10th, 2012, I completed the draft of A PETAL OF CHRYSANTHEMUM. My third completed novel. Weighs in at 70,110 words, 240 pages. It is finished.I’m going to take a week or three off from writing altogether. Catch up on some books, some games, some TV, and then come back and hit the edits fast and furious. I promised a post about endings this time, and while I’m not going to make that post quite yet, I must say that writing the ending to this was a bit like pulling teeth.

The beginning of the end of the beginning.

The finish line for the draft is the starting line for the revision.

Not because I didn’t know how to end it, but because I’m terrified I can’t pull it off the way I need to.

But then I realized, that’s okay. Revision is where the real story emerges. I’ve already got so many things that need to be fleshed out, rewritten, tweaked, and sculpted. And in the end, it may not be Hemingway, but I’m pretty happy with it. Much more than any of the past aborted novels I wrote.

To revision! And then, to query!