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Short Story

Short Story: Fly Again

Wordcount: 1,572

Synopsis: Three children discover a young man sitting under a tree sewing up a broken bird.

The wind dove down into the pastureland along the coast. It ripped its fast slender fingers through the ancient copses and stranded glacial boulders, surging and wailing in the billowing grasses, and then suddenly lifted up–straight up—and everything took flight. Foliage rolled back, baring the white knuckles of twiggy branches, clawing at the wind as the leaves broke free. Rain roared across the land, ragging like ghost-fire, blinding the sky. Amid the storm’s raucous symphony, a flare of screaming laughter burst the tingling sound-waves.

  Their canvas shoes found no traction in the streaming matted pasture. Rain dashed against their crumpled faces as they made for the trees. There were three children, out of nowhere, half-running, half-falling down the hill toward the woods. The smallest of the trio slipped when they reached the foot of the hill and dropped to the ground with a startled chirp. The oldest, in the lead, spun back while the third bounded on. “Come on, Leif.”

  “I am.” He scrambled to his feet and they went on wrestling the wind into the shelter of the trees. The first tree at the edge of the field was a burr oak two stories tall. The children raced, wild and breathless to the shelter of its canopy. And suddenly there was no storm.

  “Why did you want to go out when the sky was so dark?” asked the middle girl—about seven, and apparently intent on growing up to be a curly horse. She wiped the rain out of her eye and pulled back her springy blonde hair.

  “Ember said it wouldn’t rain,” said Leif.

  “I said it wouldn’t storm,” the oldest replied. “You and Persephone were all wet anyway. You went after the mudskippers.” There was nothing left of Ember’s braid at this point, so she slipped the band off the dripping ends of her wind-beaten flax hair and wrapped it around her boney wrist. 

  Leif seemed to have forgotten the mudskippers and stared at a point somewhere behind Ember and Persephone. He had a rather worried expression even when he was laughing and playing, but just now, he appeared to be truly perplexed by something. “What?” asked Persephone, as the sisters turned back to where his focus rested.

  Someone sat against the dark mossy tree-trunk. Persephone passed a questioning look to her older sister. “Let’s see,” said Ember. The three moved in toward the tree and the boy sitting on the roots.

  He didn’t look up when they approached. Apparently, he had discovered an ideally comfortable place between the huge gnarled roots, and had no desire to resettle. His back was against the trunk, and his dark tranquil eyes rested with equal ease and serenity on something cradled in his hand. But what was truly fantastic was his hair—incredible curling black masses of it flowing all over the tree bark down his back and over his shoulders—though mostly dry, was beaded with a million perfect silver orbs of rain, still and clear.

  As the children came closer, his right hand drew a silver needle smoothly up from what he held in his left. They could see, secured carefully between his thumb and index finger, a little black and yellow wing, spread like a tiny painted oriental fan. Leif moved in to see what it was. He cocked his head to the side a bit. “What do you have?” he asked.

  “A bird,” he said.

  “What kind of bird?” asked Persephone, leaning forward to see. He tipped his hand a bit and showed them the bird. It fit perfectly in the palm of his hand, lying on its back. It was mostly soft golden-gray with black and yellow wing-feathers and a black cap. Its cheeks were white and its face was deep scarlet. The eyes, with lids of fine gray velvet, were crumpled shut.

  “It’s a goldfinch,” said Ember.

  “What happened to it?” asked Leif.

  “It flew against the glass,” said the youth, pushing aside the down on its still breast with the tip of his finger. He inserted the needle into the broken flesh and drew it together like a curtain with a hair of thread. The children watched his progress for a few minutes while the storm raged over the pasturelands.

  “You have to be so careful,” Leif observed at length.

  “That’s true,” he said.

  “Did it break when it hit the glass?”

  “Yes. Inside.”

  “When did it happen?” asked Persephone.

  “This morning, just after the sun came up.”

  “How long have you been working?” asked Ember.

  “Since then.”

  “It’s hard?” Leif looked up at the boy’s face.

  “Yes.”

  There was another pause while the silver needle flashed in the rainy light and the wind moaned in the oaks. The girls came and leaned against the tree on either side of him, watching, silent. Leif licked his lips and leaned over the bird for a second when the young man paused in his stitching. His sad eyes combed the soft rumpled down. “Can I touch it?” he asked.

  “Be gentle.” He held it out to him. The wind lightly played with the tiny body, making the wings tremble with the memory of flight. Leif reached out, touching the delicate crown with one finger he could barely feel the soft feathers, but he could feel the hardness of the little skull, like a seashell.

  He lifted it to Persephone and then Ember to let them stroke it. They caressed the feathers, careful to avoid the threaded rift in the downy chest. The wind whistled in the high branches, like phantom birds calling back to the physical world. Now and then a heavy drop of accumulated rain fell through the dark canopy and burst on the mossy ground nearby. But the storm couldn’t come in. Under the tree was a tabernacle of calm.

  The point of the needle slipped through again, and another quarter centimeter of the cold bloody opening vanished under the cloudy feathers. “Isn’t there a faster way?” asked Persephone. “Does it get too boring if you have to work so long?”

  “It’s alright.”

  “Why are you doing it?” asked Ember, at last.

  He smiled. “Birds like to fly. I like to hear them singing in the woods when the rain gets quiet. They need to sing and raise young and gather together to fly south when the winter comes. And besides, the sky is empty without them.”

  “But this is just one bird,” said Ember. “There are thousands of them.”

  He let his hand drop to his lap and looked down at the dead bird. “But…this is one of them.”

  For a minute they were quiet. The boy rearranged the goldfinch’s wing so one of the feathers that was being roughed by his palm would lie smooth. He lifted the needle again and pricked it through the pale gray flesh. The thread wove to-and-fro until, finally, the bird was whole.

  The youth knotted the thread and snipped it between his teeth. He drove the needle into the root of the oak and gently stroked the bird’s wings to fold them against its sides. Then he turned it over on its belly, straightening the limp neck so that the head faced outward. Covering it with his other hand, he got to his feet. “Let me show you something. Come out into the field. I can make it fly again.”

  So the children followed him out into the pastureland. The wind had died down, and the rain fell in straight chains on the ocean. They followed him across the sodden turf up to the top of the hill. The world radiated from that hill as if from the hub of a wheel. The dark blotchy sky looked on.

  The boy’s profuse black hair billowed over his shoulder as the wind rushed breathily against their backs. He lifted his hand, uncovering the bird in his palm. The children watched. It was still lifeless. The clawed feet curled weakly underneath, and all the joints slack. He stroked its back with two fingers, flicking shattered raindrops of the feathers. Then he looked out across the stormy world.

  “Can it fly in the rain?” asked Leif.

  “Of course it can,” said Persephone.

  “Will the stiches hurt when it flaps its wings?” asked Ember, looking from the dead bird to the young man’s face. “They won’t hurt, will they?”

  “It will never feel it.” And he blew across the bird’s back. In a flurry of life and bursting energy, the wings flashed out and the limp body went taught, leaping from his hand and out into the air—into the sky.

  A brilliant dash of painted feathers, the goldfinch snapped its wings open and shut, bounding across the pastureland, through the rain and dancing foliage. Away it went into the darkness of the woods. The children watched it out of sight.

  The three looked back to find they were alone in the rolling pastureland. High overhead, thunder warned that the storm wasn’t over. There was a flicker of lightning over the sea. Ember sighed. “We should go home.”

  The children melted into the shadows and whispers of the woodland, leaving the fields to the frolicking reckless wind, and the forest to the dying rain. As the next cell of the storm advanced in from the sea, there was a hush, and in the hush, dark thickets were still.

  And in the still, dripping thickets, a single goldfinch began to sing.  

Categories
announcements Art

The First Chapter of Dronefall is Now a Comic!

I’m a novelist—most of you guys know that. I’ve studied and practiced that particular mode of storytelling for around 15 years now. That creates a lot of habits and expectations when I sit down to work on a story.

But I’ve been thinking about branching out into comics for a long time. And it was while I was working on thinking up an idea for a newsletter freebie that I decided to finally commit to finishing a project. That project was “A Reason to Run: the comic.”

The idea was, I wanted to give my readers a view of my story they couldn’t get just from reading my books. I set my sights on the first chapter of the first book of the Dronefall Series. I wanted to adapt it to the comic medium. But I really had no idea how I was going to do that.

How Do You Adapt Novel Text To Comics?

Of course, this is what I asked Google—actually, I asked Pinterest first, because I typically do, but when I didn’t find what I needed there, I took it to Google. And guess what? I also didn’t find a lot there.

So, is this not something people do? Clearly, they do it—novels do occasionally get graphic novel adaptations, after all. But I was able to find very little guidance on how to do it online. And so, I realized I was going to have to log off and use my own brain.

That’s a good thing to do sometimes. Kids, you don’t need people on the internet to do all your thinking for you. God created you with a brain that can think on its own. Sometimes you have to step away from other voices and remember you can figure things out for yourself. It’s actually one of the best things you can do for your creativity.

But, having said all that, I thought it was too bad there were hardly any tips for how to do this on the internet. So, I’m going to share my insights with you. Read on.

My Process

Being an extremely visual writer who for some reason always knows exactly what compass-point everything in a given scene is facing, I had a lot of very strong imagery in my head already. This process would probably be a lot longer if you needed to make a lot of character and setting design decisions before you started. I dived straight in without writing out a script or anything. I just started story-boarding the whole thing shot-by-shot like a movie.

Don’t do it this way.

It was getting really long and tedious.  I was many pages into my thumbnailing when it occurred to me that comics are not films. So, that’s my first tip.

Tip #1 Comics are NOT Film Storyboards

Comics are their own medium. It’s possible to use way too many panels to show an action. It can actually make the action more confusing. I also didn’t want to make this a 30-page project. This was my first time trying to complete a comic for public consumption. I wanted it to be manageable.

So, I scrapped the thumbnails and started rethinking things. I needed to think about what parts on this first chapter of Dronefall One actually needed to be communicated. What could I make clear? What could I get a casual reader interested in without a lot of exposition?

I ended up selecting two passages of text that would end up appearing on the pages. One was that iconic intro about the Blindworm and train-jumping. The other was the conversation my MC Halcyon and her friend Reveille have as Halcyon is making a run for it. Off of that, I could build my pages.

Tip #2 Draw your thumbnails—worry about page layout later

Now that I had the text to use as a framework, I started drawing new thumbnails. At first, they were just a string of rectangle panels. I didn’t bother thinking about layouts and different panel shapes or sizes until I knew what panels I actually needed to tell my story.

By rethinking my thumbnails in a much less play-by-play progression, I flew through the thumbnailing process and was ready to move on to page layouts. 

Tip #3 Decide how many pages you want to draw

I managed to condense the whole of chapter one into eight pages. I was able to guesstimate the number by knowing about how many panels I would probably be able to fit on a page, and then starting to mark out potential page-breaks in the thumbnail sketches.

Staying flexible at this stage is helpful. None of the panels were set in stone yet. A lot would shift around and evolve as I got into sketching my tentative layouts. I ended up dropping and combining a lot of panels. I wanted to stay sensitive to readability and composition in the sketching phase.

Tip #4 Stay noncommittal in the early stages

Comic art is more than just a string of pretty pictures. It’s about telling a story.

Once I was satisfied with the layouts, the scary part began. This was also the point where I realized I was going to do the whole comic in traditional media—also a scary decision. I went out and bought the biggest pad of Bristol board I could find. I don’t know a lot about comics, but I do know you’re supposed to work much larger than your print-size. And with all the pictures within pictures in the medium, I knew I would still be getting into some pretty small details if I wasn’t careful.

Tip #5 Work LARGE

The original pages of this comic are 17inx14in (43.18cm x 35.56cm) and I almost wished they were bigger. Still, working even on that scale has its challenges. If you’re not an artist, you might not realize how distorted a large page is when you’re sitting at a desk. I had to stand up and look straight down at it to keep it from getting too skewed. An easel or drawing-board might have been helpful.

Tip #6 Use a medium you’re comfortable with for your first comic

Kind of a bonus tip. Also, I didn’t do this.

I opted to use alcohol markers for this project. For the most part, I like how it turned out, but I felt a little panicky the whole time I was using them. They interacted strangely with graphite. (Which I used to sketch the pages out before inking with alcohol-based fine-liners.) They each blended a little differently. And boy, I sure used some of them up. We took a couple of emergency trips to Hobby Lobby to replenish them over the two weeks I was working on this.

I was using the store-brand ones, luckily. But you know they still weren’t cheap. That’s the thing about alcohol markers.

Anyway. Once I had inked and colored all eight pages and a cover, I photographed them with my phone, cropped and adjusted them, and popped them into Canva where I added the text. I could have hand-lettered the text on the physical pages, but I didn’t. Because I kinda forgot. I got in the zone.

Tip #7 Leave room for your text boxes/speech bubbles

Mine got a little crowded. This probably takes some practice to get right. But in the end, I think I ended up with a totally readable, and even kind of cool-looking comic that gives my readers an exciting taste of the world of Dronefall. That was my goal.

I hope you got something out of this behind-the-scenes look at my comic-making process. I’m obviously a complete newbie, but I wanted to share my experience with other complete newbies out there who might be just as lost as I was at the beginning of the process. If you have any questions for me, please drop them in the comments, and I’ll be sure to answer them as best I can.

Want to see the full comic?

Download it when you join my email list. I try to send entertaining, inspiring emails every other week. I want to make your inbox a better place, so if that sounds like something you would appreciate, welcome to my exclusive café.

Categories
announcements

Surprise Project Reveal!

Well, I’ve been working obsessively again. I got an idea a while back and have been refining it for a long time in my head, but finally, two weeks ago, I started working on actually creating it.

I wanted to make something cool for my future email subscribers. Since I don’t use social media, my email list has become a top priority. I wanted to give you something you couldn’t find anywhere else—something unique to me and my skillset as well as my story-world. So, I started scheming up what I think is a perfect gift for readers or potential readers of the Dronefall Series.

Has the pop-up interrupted me yet? Yep, that’s it. I created a comic adaptation for the first chapter of the first book in the Dronefall Series.

Read the Comic

I’ve got a dedicated landing page for it, too. If you check the menu and click on “Free Comic” it will take you there. The comic is 8 pages long (plus a cover and a bonus page at the end.) I drew the whole thing traditionally using alcohol markers in a manga-like grayscale. I’m still gun-shy about full-color. Alcohol markers are a new medium for me.

I’m going to do a post on my whole process for adapting and creating the comic, so you’ll get more details on that, shortly. In the meantime, I’m really excited to share this rather unusual teaser with you. I’m a visual person, and I’ve always had very strong imagery in my head while writing Dronefall. This is a chance for you to get a uniquely visual introduction to my story in a way few authors could replicate. My lifelong love of sequential art made me do it. You’re welcome. *rubs migraine-glitter out of eyes*

So, that was kind of intense. Especially coming right off finishing the Dronefall One rewrite. I finished that, by the way. I want to get it re-released toward the end of July. Another reason you need to subscribe to my newsletter is so you can know what’s going on with my crazy release schedule this summer. Book Five will be out soon as well. Six…hopefully early Fall.

What about the blog?

Where does it come in in the middle of all this chaos? I’ve got a few older unreleased stories I want to serialize—two of which I guess aren’t really unreleased. I’m going to post the two stories that were formerly exclusive to the “Secret Library,” which I took down in favor of something more streamlined. There’s another one, too. That should keep the blog active until Dronefall One relaunches.

Anyway, thanks for waiting for me! I hope you enjoy the comic. And the subsequent newsletter. I’m putting a lot of effort into making my emails actually enjoyable to read. None of this sales-pitch after sales-pitch stuff a lot of email lists do. I’ll send you art and pictures and stuff. It will be worth it, I promise.

P.S. Some of you faithful readers might wonder what’s going to happen to my Dreamscape, IN serial here on the blog. Well, I realized it was developing more of a plot than I wanted it to have. I think that was because I was trying to make it a regular series on a regular posting schedule. It’s supposed to be all vibes with multiple diffuse plot-threads that break off and pick up and fade out again. So, I’m going to try dropping an episode whenever I feel like it without warning instead.

Anyway.