I love to
develop new tales and write new stories. I twist and turn characters. I torture them, marry them off, give them
heartbreaking experiences and renew their spirit with love and happiness. I
give them children whom they love and cherish with all their hearts and
heartbreaks. I take family members away in grisly accidents and send strangers
into their lives to support and challenge them.
I can do anything in the world; right wrongs, cause wrongs, cause
rights, make volcanoes blow and earthquakes rattle. I can save the universe in
every book. Almost always there is a happy ending. Sometimes that happy ending comes in the
third book in the series, but what the heck. It's all a process, right?
Unfortunately
there is more to writing a novel than simply creating. If it was easy we'd all be New York Times
Best Sellers, right? With the fun creative process always comes the drab dull
part called editing. I hate
editing. As a person who has dealt with
non-dominant dyslexia since the name was coined, I find editing arduous and
painful. It takes the joy from my shiny novel and dunks it in the glacial silt
of Cook Inlet sucking it down like quicksand.
I am not a famous and rich Nora or a Cheryl, or a guy with buried
pets, so I thought I had a great idea when I solicited both my husband and
mother to help with editing. Free labor right? They are both really good at
spelling, word definition and grammar. All the things I am not! And once they
begin, they are definitely committed!
Well you know that aged old saying; the best laid plans of mice and
men...
Now the first
thing you need to know about these beloved individuals is that they have my
best interests at heart and want me to be the next author sitting on the sofa
with Oprah. That should be your first clue; Oprah's been off the air for a
while now.
Both of my
darling relations are varying shades of concrete. Not the stuff you walk on.
Not the color, but possessing the personality characteristic of being solid, in
need of specifics and black and white information. A concrete individual needs
facts, figures and objects to deal with (that’s what made my mom a great CFO
and my husband a fabulous air traffic controller). There is no shade of gray,
no fact left uncovered or undisclosed. It's rules, evidence and practicalities
all the way. There is right and there is wrong, period. I used to teach this stuff.
I should have known better… are you getting the picture?
On page three of
my manuscript, my wonderful mother who raised me to finish my dinner
"because there were starving children in India", shook her curly
white haired head and softly asked why I had spelled my heroine's name wrong.
Then went on to elaborate on a tiny problem she just couldn't pass up; did I understand
that my readers may not know what color of brown eyes she had if I just used
chocolate as a descriptor since there were many shades of chocolate, including
white. And did I want my readers to think my heroine could be an albino?
Albino? White
chocolate? What? My main female character just went from a lovely African
American woman with hair as black as coal, to an Albino whose name was
misspelled.
Across the
table, my lovely husband just had to tag team the situation by supporting my
mother's point. Adding the fact that the unusual spelling of her name would
probably cause my character to have a chip on her shoulder due to constant
misspelling of her name which she most certainly carried with her from
childhood. And did I want an unstable albino female as the main character of
the book?
I had no answer
for that one. I didn't even recognize my story at that point.
Six pages later,
the love interest of my heroine entered the story. He was tall and totally
ripped, spoke three languages and practiced karate.
Remember that
curly white haired woman from above? She wanted to know what part of my
handsome hunk of a character was ripped and how did a human get ripped in the
first place. Were his clothes in tatters? What got ripped? And was one of the
languages he spoke English, because if it wasn't then she wouldn't be able to
finish the book. Was this novel going to be published in those languages so his
friends could read it?
In the first
place, my hero is a figment of my
imagination and so are his friends. My primary language is English so the
book is written in ENGLISH!
I had to escape
so out of the house I went, down the street and around the corner to the
beautiful benches that sit on a bluff overlooking the Pacific Ocean. There I sat stewing over my volatile albino
heroine and my disabled polyglot hero. Which was when I heard a couple arguing
in a ratty old car in the parking lot behind me.
“Jan, you’ve got
to stop using. Your kids know. Your
folks know. I know. It’s destroying your
life and the lives of everyone you touch. I don’t know how much more I can
take. You stole your kid’s lunch money
for a fix. Come on… Look at yourself. You’re nothing but a skeleton...”
Okay... so maybe concrete isn’t so bad. When I got back to the house they were on
page one hundred and fifteen arguing over the description of my little ghost.
How could I describe, with any accuracy, a thing that doesn’t exist?
I retreated to my loft where I write and
began a new story about a drug addict and the man who...well, you’ll just have
to wait for the book.
---Miriam Matthews
'The Ghost of Port Chicago'
'The Good, the Bad and the Bet'
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