- State of the Patreon Address: In which I detail all the things I hope that Patreon will help me do for my career in the coming year! And make a few adjustments to rewards levels, and let you know what special giveaway will happen when I reach my next goal.
- Mages of Aven Series #10-17: In which we meet, among others, a gambling Fracture mage, a Water-blessed midwife, and a Fire mage peddling love charms.
The first five installments in this series are available for public view, so if you’re not a patron yet, this is a great way to dip a toe in and see if you might like to join up!
- Hamilblog #36-#41: All of which are “Non-Stop”, because that song is ridiculously complex!
- Hamilblog Act One Compendium: A PDF download, available to all patrons, of the rhetorical analysis for Act One of the show! This should make it easier to catch up, for new patrons — and it’s already making it easier for me to go back and cross-reference where necessary!
- From Unseen Fire Word Cloud, final version
- From Unseen Fire: Original Prologue: Original as in the one that I sent off to Connor back in 2013. Not wildly different from what ended up in the final, but the devil is in the details
- Short Video: Signing Stock: From my launch event!
- Figures in History: The Gracchi, Pt 2 — Gaius: Introducing the second and rather more inflammatory of the progressive Gracchi brothers.
- Drabble #27 and Drabble #29 — Arhena: Another pair of snippets from Aven’s pre-history, when I still envisioned it as a secondworld fantasy.
- Drabble #28 — Morgan le Fay: A Beltane-themed scene in honor of the lusty month of May!
- From Unseen Fire Deleted Scene — Melitta: A scene which originally took place in Chapter One, giving a bit of insight into how Marcia Tullia’s network of informants works.
- Sneak Peek — Annotations: Free content! A look at what I’ll be giving away when I reach my next goal!
- Sneak Peek — Working on Book Two: A glimpse at my process as I try to recover some of my older prolific habits.
- Abandoned Projects: Something that was going to be a play about the court of Elizabeth I, it seems? I have no memory of having written this!
- Storytime with Cass — Julius Caesar: In which I talk about one of my favorite Shakespeare plays at, uhm, some length. ;D
- Treatise on Aventan Magic #3: The continued history of the Aventan elements and their use through time.
I opined about this a bit on Twitter earlier today, and it remained on my mind enough that I want to expand on it a bit here.
I go through a process, periodically, of evaluating myself. I call it “having a Come-to-Proserpina moment” — although it might even better be called a come-to-Ma’at moment, because it’s about weighing and evaluating how my actions speak for me. To focus those thoughts, I try to answer these questions:
- What adjectives do I want to use to describe myself?
- What adjectives would I like other people to use to describe me?
- Do my actions currently lead to those qualities?
- How do I need to change or redirect my actions to lead to those qualities?
It’s about being the person I want to be. How close am I to that goal, to that image I’d like to have of myself?
The evaluation is not an easy thing to do. Or, perhaps, not an easy thing to do well and honestly. An unscrupulous person, with little self-awareness, could easily say, “Yes, of course; what I do fits exactly the kind of person I want to be, and anyone who disagrees just doesn’t see me clearly”. Doing it well and helpfully, though, means taking your own ego to task. It means not assuming that your actions are correct just because you’re the one taking them. You have to be a little brutal and quite relentless. Your brain tries to squirm out of it, tries to shape excuses out of reasons. It’s like editing, a little, in a way — you have to pin down what isn’t working and be ruthless about it. And in doing so, you learn to cut away what isn’t helpful, what detracts from your strengths, and how to reshape the rest to better reflect the story you want to tell.
Every time I do this, I emerge stronger, more whole, more like that ideal version of myself. However discomfiting the process, the result is so empowering. It means that I can then feel more confident about my assessments and actions being correct — not just because I’ve made them, but because I’ve really questioned myself, the world around me, and my place in it. It’s important to ask those questions, even if the answer is yes, because that gives me a grounding and a sort of renewed dedication to myself. If I can say, honestly, that yes, my actions reflect the sort of person I want to be, then I can feel assured in going forth unafraid of what anyone else might say in spite or jealousy.
It’s not about not having flaws. The gods know I have those. Sometimes they’re inextricably linked to my virtues — my temper comes from the same place as my passion, for example. My stubbornness and my loyalty have similar roots. I will never eradicate the one without sacrificing the other, and I determined years ago that I was not willing to grey myself out in that way. But it does mean that I need to act in a way that supports my virtues more than my vices. It also certainly doesn’t mean I never backslide, never fail to live up to my ideals of myself. That’s why it’s important to keep evaluating.
I call it come-to-Proserpina or come-to-Ma’at because it’s a process of thinking of what those ladies would say of me, were I called to stand before them now. How do my actions represent me? What do they say that my tongue might not? If my heart were to be weighed against Ma’at’s feather, how would it balance?
In contemplating this for myself recently, I’ve realized that my main female protagonist is ending up doing this in her life. I didn’t set out with that intention, but that’s sort of what multiple rounds of edits are coming around to. She looks at her life, realizes it isn’t what her heart wants, and realizes that, if she wants things to change, she has to be the agent of that change. She can’t wait for the world to re-arrange itself for her.
I’ve decided to start a new series of blog posts talking about my favorite thing: rhetoric!
Why do I love rhetoric? In short, because an awareness of rhetorical figures makes you a better speaker, a better writer, a better reader, and a better listener. It engages critical thinking skills that are supremely important in modern society. For a writer, it helps you to craft characters’ individual voices — different people are prone to different rhetorical tics and tactics. There are many fascinating things about language, but for me, rhetoric is the be-all and the end-all of them. Rhetoric is about structuring your words to achieve a desired effect — and what could be more important for a writer?
I was initially going to start this series with one of my favorite rhetorical figures, like chiasmus or anthimeria. I’m putting those on the backburner, though, to address something that’s become politically significant: figures of omission.
Take this example from Othello:
Ha? I like not that.
What dost thou say?
Nothing, my lord, or if – I know not what.
Was not that Cassio that parted from my wife?
Cassio, my lord? No, sure, I cannot think it,
That he would steal away so guilty-like,
Seeing you coming.
Iago’s doing a couple of really rhetorically clever things here. First off, ellipsis — simple omission of words or phrases. Generally, ellipsis ought to be easily understood in context. Our brains are really good at filling those in. Another example from Shakespeare is in Love’s Labour’s Lost: “You this way; we that way.” I bet your brain had no trouble supplying the missing verb. If someone spoke those words to you, you probably wouldn’t even consciously realize that it was missing. Iago puts a twist on this form of omission, though, by creating gaps that can’t be filled in so quickly and easily. By saying “I like not that”, Iago makes the listener wonder what the antecedent of “that” is. By leaving out his explanation in the next line, he makes the listener try to come up with one.
We’ve also got something called paralipsis, the act of calling attention to something by pretending you’re not going to call attention to it. “I cannot think it, that he would steal away so guilty-like” is a denial that that’s what Cassio was doing — but it’s meant to plant exactly that idea in Othello’s brain.
And then there’s the ennoia, which Silva Rhetoricae (one of my favorite rhetorical references) defines as:”a kind of purposeful holding back of information that nevertheless hints at what is meant; a kind of circuitous speaking.” I see this in “Nothing, my lord, or if — I know not what.” That “or if –” is a sentence with no end. Iago intends no ending to it. But he does intend that Othello’s brain try to come up with an ending, and the rest of what he says clarifies what he intends that ending to be.
Now take this example from a couple of days ago:
“If she gets to pick her judges, nothing you can do folks. Although the Second Amendment people — maybe there is, I don’t know.”
If you don’t know where that’s from, I envy you the rock you’ve been living under.
Donald Trump is employing ennoia in the same way that Iago did. He left a deliberate gap. His delivery showed that he trailed off intentionally, and then, like Iago, shrugs off the omission. He leaves it to the listener to find the end of that sentence, and both delivery and context indicated what he intended his listeners to fill in the missing information with. “Maybe there is, I don’t know” is a near-perfect analog for “Or if — I know not what.” And just as Iago meant it to be the dog-whistle of infidelity for Othello’s ears, Trump meant it to be the dog-whistle of violence to an audience that he knew would be receptive to such.
Ennoia is not a rhetorical device that one deploys accidentally. It has a purpose. Its entire function is to hint, to wink, to nudge, to draw the listener along to the conclusion that, for whatever reason, the speaker does not want to say outright.
Trump is also fond, as many politicians are, of paralipsis. It’s a convenient way to make an ad hominenm attack but wiggle out of getting criticized for doing so. This blog post chronicles some great examples across history, from Cicero straight up to the present day, and both The Washington Post and Huffington Post have commented on Trump’s use of the device.
Here’s the other thing about these devices of omission, particularly when used in a political context: they’re cowardly. They are the resort of someone who wants to mislead and misguide. They allow a speaker to claim, “I never said that.” “What I meant was…” “If people interpreted it that way…” They’re a way of avoiding agency and responsibility. They may be effective, but they are not devices that inspire confidence in a leader.
Words matter. So does the structure that those words come in — that’s what rhetoric is. Not just your choice of words, but the way you choose to present them. So does your delivery — that trailing off for ennoia points an audience towards how the speaker wants their brains to fill in the missing information.
Words having meaning. And so, it turns out, does the absence of words.
This is a post I started writing a month ago, and then didn’t finish. This is the kind of post I’ve started writing a lot of times, and have never finished. I’m prompted to do so today by the bravery and strength of my cousin, who’s told her story of abuse in support of another woman who was abused by the same man.
Courtney says a lot of very true, very scary things — about how an abuser operates, how crazy and irrational they can make you feel, how hard it can be to admit what happened even to yourself, the challenges in coming forward, and how terribly, terribly common experiences like this are.
If you think you don’t know a woman who’s been raped, assaulted, or abused, you are just straight-up wrong. Most just don’t talk about it very openly. I don’t even have to look outside my own family to find multiple stories. That number goes exponential when I start counting friends. Which is just horrifying.
A while back, I read Being a Girl: A Brief Personal History of Violence. This is far from the first such testimonial I’ve read, and I know it won’t be the last. Every one feels familiar. These experiences are universal. We don’t all experience them the same way, but we all know these stories. So this essay left me with the feeling that we should all — all girls, all women, all uterus-bearers who’ve faced these things — should write essays like this. Like maybe the sheer weight of a few million voices showing that these things happen to us will make some kind of a difference.
And then I thought that we all already are, all the time, and it has not yet mattered.
But the only way to fight is to keep talking. To keep telling the stories. To keep challenging the status quo that tells us to quiet down and just deal with it.
These are the facts of our lives. They shouldn’t be.
I am four years old the first time I can remember someone telling me I couldn’t possibly know something because I’m a girl. It’s an argument about dinosaurs. Girls don’t like dinosaurs, so girls can’t possibly know anything about dinosaurs. I’m a tiny ball of tow-headed fury, because I know I’m right about how many fingers a T-Rex had.
I’m five or six and curious about something on the news. A man’s been arrested for doing something behind a school in our county. I ask my dad — a prosecutor — about it. He has to find the words to tell his kindergartner about a sexual predator. For years, I will wonder what exactly he meant by “he made girls put their mouths on his penis”.
In the fourth grade, a boy teases me and pulls my hair for weeks. I’m told this is a sign he likes me. One day, he shoves me on the blacktop during a game of volleyball. I’ve finally had enough, so I shove him back. He grabs my pigtail and slings me to the ground. My knee, elbow, and arm are badly scraped up. My knee is also jarred so much that I will limp for two days, and enough skin comes off that when it scabs over, I won’t be able to fully bend my knee without cracking it all open again, but if the principal hadn’t happened to be passing by at the time, I don’t know if he would have been held accountable at all. My mother and father are furious. The boy’s mother makes him come to my house with flowers to apologize. My classmates somehow learn of this and say he’s my boyfriend now. I have to accept the apology but never want to speak to him again. To this day, if I get a dark enough tan, you can see a scar from this scrape on my knee.
The next summer, I’m walking my dog, alone, feeling very grown-up and responsible. A car passes me. A few minutes later, it circles around the median to pass by again, now with the windows down, and boys start shouting things I don’t even understand yet. They circle by to do it again, and while I don’t understand all of their words, I understand that they mean me harm. I try to ignore them, which just makes them yell louder. They’re driving by slower each time, pacing me until another car comes up behind them. The next time they are forced to go by, I tighten up the dog’s leash and bolt through the nearest backyard. I’m terrified of them and terrified someone will ask why I’m trespassing as I cut across neat lawns and bramble-filled easements to get home. My dad asks why I’m all scratched up and muddy. I don’t tell him about the boys. I’m worried he would find them and shoot them. The boys are barely old enough to drive. I am ten.
A confident and forthright child, I walk with my shoulders back and my chin up. When I am thirteen, my male friends start telling me this makes me look stuck up. Eventually the descriptor morphs into “bitchy”. I start looking at the ground when I walk instead. It will be over a decade before I realize I’m still walking like this and try to correct the behavior.
I’m fourteen when a boy shoots up Columbine High School. As it comes out that he may have done it because he felt bullied and ostracized, I feel confused. I’ve been bullied and ostracized for years now, but it’s never made me want to kill anyone, or think I had the right to.
As a senior in high school, a freshman friend of mine disappears at a dance, held in a hotel during a theatre convention. I don’t know where she’s gone, but a guy in his twenties was leering at her earlier. I find them in a stairwell. He’s got her pinned against the wall. He tells me to mind my own business and go away. I pull her away from him, push her out the door, and tell him that if he follows us a single step I’ll scream bloody murder. We go back to the dance.
I’m a sophomore in college and hanging out with other cast members after rehearsal. I’ve been playful and flirtatious with several of them over the course of rehearsals, but never with real intent. One guy, a senior very popular in the troupe, offers to hang with me as I’m waiting for the trolley. It’s cold, so we duck into the nearest building. After a few minutes of chatting, he tells me I’m gorgeous, grabs my wrist pulls me to him, and kisses me. He asks if I want to go back to his place. I’m flattered by the attention but not interested in him, and the kiss is sloppy and aggressive, so I beg off. In the meantime, I’ve missed the last trolley to my apartment, but choose to walk home rather than accept his offer of a ride. He doesn’t try anything again, and I don’t think anything of it. Months later, I learn that he spent the rest of the semester telling everyone what a slut and cocktease I am.
I’m in my early twenties when the man I think is the love of my life emotionally abuses me through relentless gaslighting. He never says it’s because I’m a woman, but everything in the language he uses is gendered. I’m too irrational. I’m too emotional. I’m too selfish. I’ve lost control. I can’t possibly understand. I should stop expecting so much of him. I should accept what he’s willing to give me. I’m acting too much like his crazy ex-wife. I don’t appreciate how much he loves me. When he hurts me, it’s my fault. When he loses control, it’s only because I made him. For two years, it doesn’t occur to me there’s anything wrong with the relationship. For two years after it ends, I’m still not ready to call it abuse. How could a strong, smart girl let that happen to her? How could she not know?
Twice at parties, I put all five-foot-three of myself, trembling with rage, between a woman and the man who wants to hit her. Both men look startled that I have the nerve to stand up to them. I know, someday, I will probably get hurt doing this. I know I can’t stop.
I’m twenty-six and an ex-boyfriend with whom I am on with friendly terms starts getting handsy whenever we hang out together. I have no interest in renewing the relationship, and tell him so. He persists. After one group dinner when he wouldn’t stop stroking my leg beneath the table, even when I tell him three times to stop, when he tries to take me by the waist in the parking lot on our way out, I snap and scream at him. He is so offended by my outburst that we never speak again. He swears up and down to our mutual friends that he never sexually harassed me, whatever I have to say about it.
I’m twenty-nine and becoming inured to gross comments during the interactive theatre work that I do, but still, the guy who tells me, “You make my dick hard. I bet you like that. I bet you wanna tell everybody about it” manages to astonish me.
I’m thirty years old, my heart bleeding for the women I know and love who’ve suffered, and thinking that I’m lucky. I’ve only been physically assaulted infrequently. I’m not still with my abuser. I haven’t been raped. I’m not dead.
So, as part of the gearing-up for Nano, they’re posting writing prompts on FB’s. I don’t always manage to see them in a timely fashion, but I did today’s.
For today’s writing prompt, we’re playing a game we like to call: “Where’s My Character”! Describe the city or location your novel takes place in with 100 words, without mentioning any names or dates. Make it evocative enough that others can guess where your novel takes place in the comments!
As I set to it, I realised I could really best identify my location by what grows there, even moreso than the scenery itself. Which was sort of interesting. So — where am I setting my Nano13 novel? (Some of y’all who already know the project — or me — well enough will already know).
Three farmhouses, square, paint chipping, nestled into a sunny valley between old, careworn mountains. Wrap-around porches crawling with ivy. The surrounding fields grow corn for grain and trade; the vegetable gardens yield pumpkins, asparagus, squash, beans, many herbs. Berries grow wild. The families trade east for peanuts, potatoes, tomatoes. It’s particularly good country for apples, turkeys, and horses; the families also keep a few hogs, chickens for eggs, and a couple of milk cows. The landscape grows calmer to the east, towards the ocean, but swiftly sharper and denser to the west. Long, plentiful growing seasons, but potentially temperamental winters.
In which Cass has feelings about Shakespeare, and they spill out all over the internet. Reblogged from my day job.
Just a quick note regarding the ongoing David “I only teach real manly manly men, no homos, no lady bits, you understand?” Gilmour controversy — this post by Anne Thériault is one of the best things I’ve read on it so far. So go read it.
Because the thing is, if you’re not a cis white straight male, you are constantly expected not just to expose yourself to, but to immerse yourself in media that is not about you, not written by someone like you, not written for your experience. Gilmour’s flat-out refusal to examine any experience other than his own (and his promotion of that viewpoint to his students) is, well, a lot of what I feel is wrong with modern culture, really. Our world needs a greater degree of empathy and a greater capacity for divergent thinking. Gilmour — and the many, many others like him who deserve but aren’t receiving equal castigation — have a lesson to learn about that.