Characters - Steven R. Southard (Poseidon's Scribe)

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Readers on My Mind

Just a few thoughts today about the relationship between writers like you and the readers you aim to delight. Much of this will sound simplistic, but if you hang with me, perhaps we’ll both learn something.

Years ago I took a classroom course in communication. In essence, all communication is an attempt to convey one or more ideas from one mind to another, the trouble being that there are all sorts of filters in between so communication is never perfect. In the class they asked, “Given that there’s a person transmitting and a person receiving, who is responsible for the quality of the communication?”

It’s not necessarily the transmitter, nor the receiver. The Zen-like answer they were looking for is you. Whether you are the transmitter or receiver, you need to strive toward a clear conveyance of the idea from one mind to another.

When we consider writing, it’s different from other forms of communication. Some forms, like talking, dramatic plays, stand-up comedy, or musical concerts have an advantage in that the receiver is present in the room with the transmitter. The transmitter gets instant visual feedback about the quality of the communication, allowing her to alter her approach in real-time to improve it.

Obviously that’s not the case with writing. The writer and reader are almost never present in the same room. In fact, thanks to the permanence of the medium, the writer need not even be alive when the communication takes place. The writer gets no immediate feedback from the reader, and certainly cannot adjust the communication on the fly.

So the measure of your success as a fiction writer is how well you transfer emotionally appealing ideas from your mind to the reader’s with minimal loss of clarity. Using written words alone, you must convey the following things I’ve discussed in earlier blog posts:

Engaging characters
Vivid settings
A logical and relevant plot
The human condition

It should be apparent, then, that you must keep the reader ever in your mind as you write. Form a mental picture of someone reading your story. That clever turn of phrase you’re so proud of—would a reader stumble over it? That little plot detour you stuck in to show off your knowledge of some arcane fact—will it bore the reader? You must be willing to sacrifice them all for the reader.

In the end, only readers can determine the quality of your story. Editors can’t; reviewers can’t. Certainly you can’t. Readers are your customers, and the customer is always right.

I mentioned that fiction writers don’t get immediate reader feedback, and that’s true. However, you will get valuable delayed feedback that is useful for altering your approach in later stories. This feedback comes in several possible ways:

Virtual feedback from the reader you’re imagining as you write, the one looking over your shoulder
Feedback from members of your critique group
Feedback from an editor
Feedback from reviewers
Sales figures from your earlier stories

All of these can be useful for improving your writing, making that mind-to-mind communication as clear and enjoyable as possible. Speaking of feedback, I’d welcome some concerning this blog post, so feel free to comment. With my mind full of imagined readers, I’m—

Poseidon’s Scribe

September 8, 2013Poseidon's ScribePermalink

Don’t Touch that Dialect!

As you write your fiction, should you have your characters speaking in dialect? By this I mean the purposeful misspelling of words in a phonetic manner to indicate how your character is speaking them.

The study of dialect is fascinating and, as a fiction writer, you should be familiar with the dialect used by your characters. But the question is whether to indicate some or all of the character’s word pronunciations to the reader phonetically.

One good reason for doing so is to show authenticity. Writing in dialect gives readers a great feel for the character, since you’re depicting the speech as it would really be. Also, the use of dialect allows you to distinguish characters from each other. If each character has a distinctive way of pronouncing words, that’s a help to the reader in telling them apart.

There are significant dangers in using dialect in your writing, though. First, it can slow down the reading process. Readers get annoyed having to stumble over your strangely-spelled words. Worse, they can get confused if you do a clumsy job of it and they have to stop and puzzle out what a character is supposed to be saying.

Worse still, you can offend a reader. These days, offended readers might not merely chuck your book, they can post scathing reviews which can really cut down on sales.

There are degrees of offense, of course. And attitudes change with time. Just after Mark Twain wrote Adventures of Huckleberry Finn, readers were more put off by its crude and mildly obscene language. Now the main criticisms involve its depiction of the black slave character, Jim. In fact, it’s hard to even read the book these days because it comes off as racist by today’s standards. It helps, just a little, to realize that Jim is, in fact, a noble character. And ennobling, in the sense that he forces Huck to struggle with the values of the society he lives in.

However, a worse example of offending an audience with dialect is Jar Jar Binks in some of the Star Wars movies. Since Jar Jar is an alien, (a Gungan), writer and director George Lucas could have gotten creative and invented a new and distinctive dialect. Instead he chose to give this character a dialect nearly identical to that of Jamaican English. To aggravate the offense, he made Jar Jar a comic relief character, bumbling and rather stupid.

Getting back to the question of whether to use dialect in your writing, I suggest you use it sparingly, while being sensitive to the problems of confusing or offending your readership. There are other ways to convey the distinctiveness of a character other than dialect. These include word choice, grammar, idioms, slang, gestures and other actions, and clothing choice. I think writer Jennifer Jensen has some great advice on dialect here.

The story in which I used dialect to the greatest degree is “The Six Hundred Dollar Man.” Only you readers can decide if the cowboy dialect of 1870 Wyoming was rendered well in that story by—

Poseidon’s Scribe

July 21, 2013Poseidon's ScribePermalink

15 Writing Virtues

Many people believe you aren’t just stuck with the way you are now, that you can better yourself by persistent act of will. I’m one of them, but let me just focus on self-help as it applies to the writing of fiction.

Benjamin Franklin was an early example of someone who developed a program of self-improvement. His method was to list thirteen virtues along with a brief description, then he would set about to focus on one virtue per week. Franklin actually kept a log of this, giving himself a black mark on days he fell short. Presumably, by focusing on one virtue at a time, it did not mean he was abandoning the others during that week.

Examples of his virtues include:

1. Temperance. Eat not to dullness; drink not to elevation.

4. Resolution. Resolve to perform what you ought; perform without fail what you resolve.

In the spirit of Benjamin Franklin’s list of virtues, I’ll offer some virtues of writing fiction. I’ve grouped them into ‘process’ virtues dealing with how you write, and ‘product’ virtues dealing with aspects of the manuscript itself.

The Poseidon’s Scribe 15 Virtues of Fiction Writing

Process Virtues

1. Productivity. Fill hours with writing, not researching or time-wasting activity.

2. Focus. Turn off your inner editor during the first draft.

3. Humility. Seek other trusted people to critique your work; be receptive.

4. Excellence. Only submit work you’re proud of.

5. Doggedness. Be persistent in submitting to markets; be unshaken by rejections.

Product Virtues.

6. Relevance. Ensure your work passes the ‘So What?’ test.

7. Appeal. Hook readers from the first paragraph.

8. Engagement. Put your characters in conflict with something or someone; make the story about conflict resolution.

9. Empathy. Create vivid, engaging characters.

10. Action. Weave logical, interesting plots with appropriate causes and effects.

11. Placement. Provide clear but unobtrusive descriptions of the story setting, without overshadowing character or plot.

12. Meaning. Ensure your story’s theme explores eternal human truths.

13. Style. Seek your own voice, then follow it.

14. Communication. Ensure your characters’ dialogue is appropriate and advances the plot. (Mentioned here, here, and here.)

15. Skill. Salt your tales with symbolism and appropriate metaphors.

Your list would likely be different. One way to go about it is to examine critiques of your fiction you receive from members of your critique group, from editors, etc. Are there repeated criticisms? Turn them around and express them as a positive affirmation or goal, not as a negative to avoid. Those goals represent things to work on, and would be on your own list of virtues.

George Carlin fans would likely point out to me that there’s no such thing as self-help. People who get their list of virtues from their critique group, or from this blog post, aren’t exactly engaged in self-help, since they got help from others. Moreover, if beginning writers truly helped themselves get better, then they didn’t need help. Witty gags aside, it can be a comfort to a struggling writer that there exist methods for improvement, but all I offer is a framework for starting; the writer must shoulder the burden of actually doing the work to improve her writing.

I’d love to hear if you’ve found my list useful, or if you’ve developed your own list, or even if you’ve embarked on a completely different method of improving your writing. Let me know in your comments to this blog entry. For now, back to improving his writing goes—

Poseidon’s Scribe

May 12, 2013Poseidon's ScribePermalink

Tightening the Screws

Today I’m discussing why and how writers increase conflict in their stories. Long-term fans of this site with keen memories will recall that I promised to get to this topic in a previous blog entry. Far be it from me to let you down.

Conflict is a necessary part of all stories and it’s a good idea to ramp up the level of conflict as your story proceeds, both to hold your reader’s interest by building tension, and to subject your protagonist to a progressively more difficult test of character, forcing him or her to confront inner fears or character flaws.

Let’s look at a couple of examples. In the 1993 movie “Jurassic Park,” directed by Steven Spielberg and based on a novel of the same name by Michael Crichton, we see a gradual step-up in conflict. The central protagonist, Dr. Alan Grant, is persuaded to leave a paleontological dig to conduct a review of a theme park. Once there he is awed that the park engineers have re-created living dinosaurs. He is put in close contact with children, which he dislikes. When part of the park’s security system is deactivated, a Tyrannosaurus attacks the group. Grant and the children must spend the night in the park, with predatory dinosaurs on the loose. They encounter cunning Velociraptors, and finally both Velociraptors and the Tyrannosaurus.

Conflict need not be physical, or even dangerous. In the 1964 musical “Fiddler on the Roof,” with music by Jerry Bock and lyrics by Sheldon Harnick, the conflict is of a different nature but also increases. The village milkman, Tevye, must first contend with the fact that his eldest daughter has chosen her own husband against tradition and his wishes. Then his second daughter likewise makes her own marital match, but with a political and cultural radical. Later his third daughter seeks to marry outside the Jewish faith. Finally, on orders from the Tsar, Russian authorities expel the Jewish villagers from their town.

Notice how, in each case, the author chooses plot events that begin with small conflicts and then escalates, figuratively tightening the screws as with the medieval torture device, progressively challenging the characters with more taxing situations. Just as the protagonist resolves or comes to terms with one disaster, a worse one occurs. Moreover, the nature of the conflicts is such that they strike at a character flaw. In Dr. Grant’s case, it’s his dislike of children. In Tevye’s case, it’s his over-reliance on tradition. The protagonists are forced to grapple with their own weakness and try to overcome it.

It’s sad, in a way, that writers must put their characters through the torture of increasing conflict intensity, just for the sake of reader enjoyment. But as long as the characters stay imaginary, it’s all legal, so ease your mind about that. You’re welcome to comment on this topic of increasing the level of conflict. I’ll return now to my Work in Progress (WIP). Please don’t mind any screams you might hear as the screws get tightened by—

Poseidon’s Scribe

May 5, 2013Poseidon's ScribePermalink

Describing Your Characters’ Feelings

How are your characters feeling? It’s important for your readers to know. I’ve written an earlier post about conveying a character’s thoughts, and another one about facial expressions, but it’s time to tackle emotions.

For this blog post I’m going to regard ‘feelings,’ ’emotions,’ and ‘moods’ as being synonymous, even though neuroscientists draw distinctions between these terms.

Emotions are part of the human experience, and seem to result from how we’re hard-wired, what our individual background has been, and a recent external or internal stimulus. Since we all have emotions in the real world, the characters in your fiction must have them too, to make them convincing.

Whether there are six basic emotions, as depicted by Dr. Paul Ekman…

…or eight as pictured by Dr. Robert Plutchik…

…writers just need to know there are many emotions, and characters can feel them in combinations and in various intensities.

As a writer, it’s your job to convey these emotions to the reader with clarity and accuracy. There shouldn’t be a doubt in the reader’s mind about what a character is feeling.

How do you do that? Here are some guidelines to follow:

Make sure the emotion is appropriate. Remember, it’s based on a character’s background, but is also a response to a recent stimulus.
Show the emotion through the character’s actions: speech (not only what is said, but word choice and tone of voice), facial expressions, hand motions, or body posture.
Show the emotion by describing the character’s thoughts or mental state.
Use metaphors and similes, but shun clichés.
In certain situations (fast action scenes, very short fiction, or if applicable to a minor character or sub-plot), just tell the character’s emotion. This is not as effective as other methods and indicates amateurish writing if used too often.

If you get stuck trying to portray a character’s emotion in words, one technique that might help is to recall a time when you had that feeling yourself. See if you can draw on that memory and maybe even recreate the emotional state within yourself. If you can conjure up within yourself the same emotion your character is feeling, you stand a good chance of finding words to describe it.

There are some helpful websites that list adjectives useful in describing emotions, notably this one and this one. But I caution against an over-reliance on such adjectives. It’s more effective to show emotions through a character’s actions or by describing what’s going on inside the character’s mind.

How did this blog post make you feel? Are you now confident you can convey a character’s feelings in a more precise way? I welcome comments from you on this topic; in fact few things in life bring greater joy and serenity to—

Poseidon’s Scribe

April 21, 2013Poseidon's ScribePermalink

Details,Details…

When I said I’d blog about choosing details wisely in writing fiction, I meant it; I just didn’t say how soon I’d get around to it! Writers often have to describe scenes, characters, or objects in their stories. Which details do they choose to mention, and why?

First let’s examine some of the things writers try to accomplish in their descriptions:

First and foremost, create an image in the reader’s mind
Convey the mood and theme of the story
Show the attitude, personality, and mood of the point-of-view character
Foreshadow a later event
Illustrate connections to, or separations from, other scenes, characters, or objects in the story

That seems like a lot to accomplish, a lot of baggage to weigh down a few words. Partly for that reason, in books written in the Nineteenth Century and earlier, descriptions were long and tedious. Writers weren’t as selective about details; they threw them all in. Today’s readers won’t stand for that, so as a modern writer you’ll have to keep your descriptions brief.

Say you’re writing about something or someone and you want to convey the image to the reader’s mind. How do you choose the details? Here are some guidelines:

1. Three is a magic number, as far as the number of details to pick. Don’t stray too far from it either way.

2. Specific details beat general ones every time.

3. Nouns and verbs are better than adjectives, and adjectives are better than adverbs.

4. Consider using a mind map to mentally play with all the details you can think of, then select the few that best serve your purposes.

5. You don’t have to gather all the details together in one place, in one solid paragraph. You can sprinkle some of them around later in the scene; that helps break up the narration and keeps the image fresh in the reader’s mind.

Here’s an exercise you can do to improve your skills in selecting details for your descriptions. Pick something to describe–the scene out your window, a movie or TV character, a household object. Now create a mind map filled with key words about your chosen thing. Next write two description paragraphs, one in a happy mood and one in a sad mood. Write two more paragraphs, each as if narrated by characters with opposite personalities. Write another one that contrasts your chosen thing with some other. Just as no two witnesses describe a traffic accident the same way, using the same details, there are innumerable ways to describe anything.

Let’s analyze how George Orwell described the scene outside a character’s window at the beginning of his novel, 1984.

Outside, even through the shut window-pane, the world looked cold. Down in the street little eddies of wind were whirling dust and torn paper into spirals, and though the sun was shining and the sky a harsh blue, there seemed to be no colour in anything, except the posters that were plastered everywhere. The black moustachio’d face gazed down from every commanding corner. There was one on the house-front immediately opposite. BIG BROTHER IS WATCHING YOU, the caption said, while the dark eyes looked deep into Winston’s own. Down at street level another poster, torn at one corner, flapped fitfully in the wind, alternately covering and uncovering the single word INGSOC. In the far distance a helicopter skimmed down between the roofs…

In addition to giving a concrete image, this certainly conveys mood and theme, and also foreshadows. I like the contrast between nature (shining sun, blue sky) and man-made items (torn paper, poster flapping, commanding corners). Well-chosen details.

More practice will increase your skills at picking details to include. Leave me a detailed comment if you got something out of this blog post. Knowing the devil is in the details, I’m—

Poseidon’s Scribe

February 9, 2013Poseidon's ScribePermalink

It’s Written All Over Your Face

facial-expressions- It’s important for a fiction writer to learn how to describe human facial expressions. A person’s face is the most communicative body area, and often it reveals a character’s feelings. Amazing, isn’t it, how many things we can make our faces do! There may be as many facial aspects as there are possible mental states.

Small wonder there are so many English verbs devoted to describing a person’s mien: blanch, blush, grimace, grin, smirk, etc. It surprised me to find the Wikipedia article on Facial Expressions only listed six “classically defined facial expressions: Anger, Disgust, Fear, Joy, Sadness, and Surprise. However, the article goes on to list “other examples of feelings that can be expressed” including: Concentration, Contempt, Desire, Empathy, Frustration, and Love. Maybe the list isn’t infinitely long, but it doesn’t end at six.

Writers aren’t restricted to single-word descriptions of human facial expressions, of course. Sometimes it’s useful to describe what’s happening on a character’s face and trust the reader to recognize the expression and deduce the character’s feelings. In Clement Clarke Moore’s poem known popularly as “The Night Before Christmas,” we encounter the line, “His droll little mouth was drawn up like a bow,” and we know St. Nicholas is smiling, and therefore is happy. Although you could break down all facial expressions and describe them in detail in your story, that would get tedious, so be sparing in your use of that technique.

Of course you shouldn’t restrict yourself to describing facial expressions alone. Your characters adopt bodily poses, make hand gestures and other movements. These can also express mood, sometimes more accurately than the face does when a character is trying to hide his or her feelings.

Returning to my subject of faces, I should also mention that characters (like real people) can have, well, characteristic or habitual facial expressions. These might be due to an almost perpetual non-neutral mood, or some nervous habit. Giving a character one of these habitual expressions can help readers become familiar with the character.

While doing research for this blog entry, I came across some great references for writers.

Descriptive Faces–A Resource for Writersis a blog set up by writer Charity Bradford where she discusses facial expressions in detail.
The Nonverbal Dictionary contains a list of at least 250 nonverbal expressions, each linked to detailed discussions.
The Bookshelf Muse website offers a book called The Emotion Thesaurus by Angela Ackerman, and Becca Puglisi. Although I haven’t read the book, some sample entries from it are available on the site.
The MacMillan Dictionary has a website listing words for describing facial expressions, and their meanings.

Was this helpful? What are your favorite ways to describe character’s facial expressions? Can you think of an example where a writer did it particularly well? Feel free to send me a comment on the subject. Since this blog entry is in the written medium, you can’t see what’s written all over the face of—

Poseidon’s Scribe

January 27, 2013Poseidon's ScribePermalink

Giving and Receiving…Critiques

‘Tis the season for giving and receiving, so I thought I’d discuss critiques of fiction manuscripts. Last time I did so, I said I’d let you know how to give and receive critiques. My critique group meeting 2 experience is based solely on twenty years of being in small, amateur, face-to-face critique groups; not writing workshops, classes, or online critique groups; so the following advice is tuned to that sort of critique.

First of all, to give the critique, keep the following points in mind:

Read the submitted manuscript straight through once, and just note where you were “thrown out of the story” for some reason. Jot down why and come back to those points later.

Re-read the manuscript again. You could mark some of the grammar or spelling problems, but don’t concentrate on those. The author wants you to find the bigger stuff.

Where there are stand-out positives (“Eyeball kicks” in TCL parlance) note those and praise the author. The word critique should not have solely negative connotations. A positive comment from you could keep the author from later deleting a really good description, metaphor, or turn of phrase.

Be clear and specific in the comments you write; avoid ambiguity.

Look for the following story elements and comment if they’re not present or they’re weak:

1. Strong opening or hook

2. Compelling, multi-dimensional, non-stereotypical protagonist with human flaws

3. A problem or conflict for the protagonist to resolve

4. Worthy secondary characters, different from the protagonist, who do not steal the show

5. Vivid settings, not overly described

6. Consistent and appropriate point of view

7. Appropriate dialogue that moves the plot and breaks up narration

8. Narration that shows and doesn’t tell.

9. A plot that builds in a logical way, events stemming from actions that stem from understandable motivations

10. A story structure complete with Aristotle’s Prostasis, Epitasis, and Catastrophe (beginning, middle, and end)

11. Appeals to all five senses

12. Active sentence structure, using passive only when appropriate

13. Appropriate symbolism, metaphors, similes

14. A building of tension as the protagonist’s situation worsens, followed by brief relaxing of tension before building again

15. An appropriate resolution of the conflict, without deus ex machina, resulting from the striving of the protagonist, and indicative of a change in the protagonist

If your group shares comments verbally, do so in a helpful, humble way.

You think all that sounds pretty difficult? Ha! It’s much harder to receive a critique. When doing so, here are the considerations:

Submit your work early enough to allow sufficient time for thorough critiques. Be considerate of your group members’ time.

While being critiqued, sit there and take it. No comments. No defensiveness. Just listen to the honest comments of a person who not only represents many potential readers, but who wants you to get published.

So, when it comes to critiques, is it better to give than to receive? In contrast to most gifts, it’s harder to receive them, but it’s still a toss-up which is better overall. But perhaps both are just a bit easier for you to deal with now, thanks to this post by—

Poseidon’s Scribe

December 30, 2012Poseidon's ScribePermalink

Blog Hop – The Next Big Thing

Many thanks to Charlotte Holley who tagged me to participate in The Next Big Thing blog hop. I didn’t know what a blog hop was but it seems like fun. In this one, authors answer questions about their Work in Progress (WIP) and people can follow the links along and see what various writers are working on. That way readers can anticipate and check back later to buy the books they’re interested in. It’s possible that one or more authors in this chain may really be working on The Next Big Thing!

When you’re tagged for this particular blog hop, you post your answers the following Wednesday and tag five other authors for the following Wednesday. Here are my answers:

1. What is the working title of your book? “A Tale More True”

2. Where did the idea come from for the book? If I recall correctly, I was thinking about fanciful trips to the Moon in early literature. I’m a fan of Jules Verne, but he’s actually a latecomer to that topic. While researching, I came across references to Baron Münchhausen. My story then sort of sprang into my head.

3. What genre does your book fall under? It’s alternate history, in the subgenre of clockpunk. I’ve not written much clockpunk, my story “Leonardo’s Lion” being the exception.

4. Which actors would you choose to play your characters in a movie rendition? There are three characters of interest. The protagonist is Count Eusebius Horst Siegwart von Federmann. Count Federmann could be played well by actor Chris Hemsworth. He’d have to speak English with a German accent, but doesn’t have to do it well, since it’s a comedy. Count Federmann is a brooding character, angry at and jealous of Baron Münchhausen. The Count is intelligent, determined, and optimistic, but lacks sense.

Shia_Labeouf The Count has a young French servant named Fidèle, and I’ll select Shia LaBeouf for that role. Mr. LaBeouf would have to speak English with a French accent, but not an especially good one. Fidèle is full of life, but has the sense to fear danger, though he’s always respectful of nobility.

The character Baron Hieronymus Carl Friedrich von Münchhausen only appears briefly at the beginning and end of the story. Since it’s a cameo role, I’ll splurge and pick Robin Williams. I need an older character of plain appearance who’s able to speak English with a German accent and captivate an audience with his words alone. Robin Williams played the part of the King of the Moon in the 1988 Movie “The Adventures of Baron Munchhausen.”

5. What is the one-sentence synopsis of your book? A man is so angry about the self-aggrandizing lies of Baron Münchhausen that, just to prove the Baron wrong, he constructs a gigantic metal spring and launches himself to the Moon, where he learns about the nature of Truth.

6. Will your book be self-published or represented by an agency? I will offer it to Gypsy Shadow Publishing to be included in my What Man Hath Wrought series.

7. How long did it take you to write the first draft of your manuscript? I’m not done with the fist draft yet. I researched, planned, and outlined the story for about a month. First and second drafts will take another month.

8. What other books would you compare this story to within your genre? It’s a light-hearted clockpunk tale, so there aren’t many comparable stories. Perhaps the closest thing is that movie, “The Adventures of Baron Munchhausen.”

9. Who or What inspired you to write this book? The muse speaks. I listen and write it all down as fast as I can.

10. What else about your book might pique the reader’s interest? Come on—intense jealousy, a space voyage in 1769, and weird Moon creatures. What more do you want?

At this point I should mention which authors I’m tagging next in this blog hop, but I was unsuccessful in getting any to participate. I think the hop has been going for about thirty weeks now, with most authors tagging five others. If you do the math for such a chain, you’ll see how, theoretically, we’d pass the population of the earth in Week 15, and by Week 30 there would be over 2 with 20 zeroes participants.

There only seems to be that many budding authors in the world. So much for theory. As Yogi Berra said, “In theory there is no difference between theory and practice. In practice there is.”

So I won’t be tagging anyone else. This strand of the chain ends here, with my alter ego, a guy I like to call—

Poseidon’s Scribe

December 19, 2012Poseidon's ScribePermalink

Captain Nemo sighted at Darkovercon

Those who attended Darkovercon this year on November 24th and 25th got a chance to see me, dressed as Captain Nemo.

I’m the one on the right, by the way. Why, yes, that is an electric pistol I’m holding; very observant of you to notice. Not visible in this photo is the Captain Nemo motto “Mobilis in Mobile” on my chest. My Nemo costume is based on the original illustrations, unlike the movie versions where Nemo appears either as a Navy Captain or an Indian Prince. Jules Verne’s Nemo had abandoned connections with the land. He was no military man, nor did he consider himself Indian any longer. He was part engineer and part pirate, and his clothing reflected that.

Here’s my electric pistol. Very steampunk! The golden, jagged sights on top are reminiscent of the Nautilus submarine from the Disney film of 1954. True, Nemo didn’t go around carrying a pistol. The electric rifles mentioned in Twenty Thousand Leagues Under the Sea were only for underwater use, and the original illustrations show them to be similar in appearance to standard rifles. I just took a little creative license.

And there’s the motto. The Latin translates as “moving in a moving thing” or, more metaphorically, “free in a free world.” Yes, you can find versions of 20,000 Leagues Under the Sea where it’s rendered as “Mobilis in Mobili” where that last word ends in ‘i,’ but I’m told that’s plural, and singular was most likely intended.

Feel free to send me a comment if you (a) think I looked like Captain Nemo should look, or (b) think I looked too silly for words. While I wait for you to type your comment, I’ll enjoy recalling how a childhood fantasy came real for–

Poseidon’s Scribe

December 2, 2012Poseidon's ScribePermalink