{"id":6346,"date":"2020-10-16T12:00:00","date_gmt":"2020-10-16T11:00:00","guid":{"rendered":"https:\/\/jerichowriters.com\/townhouse\/articles\/through-the-looking-glass\/"},"modified":"2020-10-16T12:00:00","modified_gmt":"2020-10-16T11:00:00","slug":"through-the-looking-glass","status":"publish","type":"post","link":"https:\/\/jerichowriters.com\/through-the-looking-glass\/","title":{"rendered":"Through the looking glass"},"content":{"rendered":"

My missus is half-German and speaks to our kids mostly in German. Recently, she\u2019s been reading to them from Cornelia Funke\u2019s Hinter Verzauberten Fenstern\u00a0<\/em>\u2013 literally, Behind Enchanted Windows, a book about entering magical worlds through the windows of an Advent calendar.<\/p>\n

The kids absolutely love the book. It\u2019s probably beaten Roald Dahl in the race to favourite-ever story.<\/p>\n

Part of what they love is precisely that portal fantasy element \u2013 entering a magical world from this one. That portal element is so central to kids\u2019 enjoyment that you can think of a load of books which place that portal front and centre: Through the Looking Glass, The Lion the Witch and the Wardrobe, Tom\u2019s Midnight Garden<\/em>, for example. Even where the portal isn\u2019t there in the title, it\u2019s still often one of the central emblems in the book. Just think how important Platform 9 \u00bd is to the symbolism of Harry Potter: on one side of that platform is \u2013 just London. One the other side \u2013 everything magical and wonderful and dangerous and strange.<\/p>\n

Those transitions are critical. You can\u2019t mess them up. One of our editors, a much-published and acclaimed kids\u2019 author, Brian Keaney, used to advise writers of portal fantasy that they write the first draft of that key transition scene in poetry, before remastering it in prose. His idea was to make sure that the magic of the moment was captured properly, before you started working on all the boring detail.<\/p>\n

First poetry, then prose.<\/p>\n

As a practical idea for me personally, that idea has never worked. I\u2019d feel too self-conscious about the poetry to really let rip. And, contrariwise, my prose never worries too much about playing by standard prose rules, so I don\u2019t feel especially constrained to avoid the strange or the magical.<\/p>\n

Also, of course, I don\u2019t write portal fantasy for kids and young adults, so the idea didn\u2019t really relate to me.<\/p>\n

Or so I first thought. But the advice stuck with me, because I came to realise that almost every book worth a damn has a portal scene of some sort in it. Books start with some kind of status quo. Then some inciting incident comes along and \u2013 another world beckons. Not a magical one, necessarily, but one whose rules and possibilities have that glitter of danger and possibility. If you don\u2019t have that kind of moment, it\u2019s questionable what in heck\u2019s name you think you\u2019re writing about.\u00a0<\/p>\n

And the essential quality of the key portal scene is still the same, no matter what you\u2019re writing. It\u2019s to convey the transition from workaday (safe, known, stable) to magical (dangerous, unknown, unstable, replete with possibility.) That transition will have a specific quality to it, a quality that comes close to the essence of your story.<\/p>\n

Here, for example, is a key moment from my The Deepest Grave<\/em>. Fiona is at a murder scene. The woman, an archaeologist, has been decapitated and spears plunged into her chest. This is already no ordinary murder, but then we get the first flicker of portal:<\/p>\n

Charteris\u2019s empty eyes are turned towards the wall, where there hangs a piece of framed text, in that hard-to-read medieval script. I take a photo of the text for later reference, but try to read it anyway. It says, I think, something like this:<\/em><\/p>\n

Agitio ter consuli, gemitus britannorum . . . Repellunt barbari ad mare, repellit mare ad barbaros; inter haec duo genera funerum aut iugulamur aut mergimur.<\/p>\n

\u2014Gildas, De Excidio et Conquestu Britanniae<\/p>\n

I don\u2019t understand Latin\u2014though \u2018Britannorum\u2019 and \u2018repellunt barbari\u2019 presumably mean something like what you\u2019d think they mean\u2014but I feel the tug of that ancient world, its torments and darknesses. Perhaps there, in that tug, is an important part of Gaynor Charteris herself.<\/em><\/p>\n

That\u2019s not quite a wardrobe you can step through \u2013 but this isn\u2019t a fantasy and it\u2019s not written for kids \u2013 but it comes close. That phrasing \u2018the tug of that ancient world\u2019 is, clear as a day, an announcement of the magical world that will dominate the pages of this modern police procedural.<\/p>\n

Over the next dozen or so pages, that first flicker firms up into something more definite, more certain. Fiona soon comes back to the murder scene, but this time in the company of an archaeologist (Katie) capable of reading the Latin. Here\u2019s how the portal moment comes again, but more strongly this time:<\/p>\n

I point her to the medieval fragment hanging on the wall. The one Charteris was looking at.<\/em><\/p>\n

\u2018Oh, that? It\u2019s Gildas. The groans of the Britons.\u2019<\/em><\/p>\n

I don\u2019t say anything, but my face probably does a \u2018Gildas who?\u2019 kind of look.<\/em><\/p>\n

Katie: \u2018Gildas was a sixth century monk. A saint, in fact. His writing is one of our earliest sources for the period.\u2019<\/em><\/p>\n

And, reading the Latin, she translates:<\/em><\/p>\n

\u2018To Agitius, thrice consul: the groans of the Britons . . . The barbarians drive us to the sea, the sea drives us to the barbarians; between these two means of death, we are either killed or drowned.\u2014Gildas, On the Ruin and Conquest of Britain.\u2019<\/em><\/p>\n

\u2018And the barbarians in question . . .?\u2019<\/em><\/p>\n

\u2018Northern tribes. Modern day Scots and Irish basically.\u2019<\/em><\/p>\n

She answers the question, but the words drop noiselessly, pebbles vanished in a well. We both share a sudden sense that it is almost disrespectful to be talking about these long ago conflicts when what we are dealing with is a very twenty-first century corpse. It\u2019s strange how this investigation, young as it is, keeps getting tugged under by the past, and the deep past at that.<\/em><\/p>\n

Stolen Dark Age finds. Iron Age spears. Gildas and his Latin lament.<\/em><\/p>\n

That last paragraph gives you, in list form, the disconcerting elements of our portal-world. And notice that our extravagantly murdered corpse is not in herself disconcerting. To Fiona, homicide investigation is part of her day job. The corpse alone doesn\u2019t create the portal. It\u2019s the bits all around it. The parts that don\u2019t belong. That parts that make up the music of this particular book.<\/p>\n

When I think of it, probably all of my books have some kind of portal moment. I bet yours has one as as well.<\/p>\n

And the advice that emerges from this set of thoughts? Simply this: notice the magic. Notice the music. Write in poetry first, if that idea appeals. But if it doesn\u2019t, bring the poetry in anyway. This is the place where the music of your book sounds its first true notes. The rest is preamble. This bit matters. Make sure the music pushes through. Do that, and your book already has the glitter of something that the reader wants to read.\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"

My missus is half-German and speaks to our kids mostly in German. Recently, she\u2019s been reading to them from Cornelia Funke\u2019s Hinter Verzauberten Fenstern\u00a0\u2013 literally, Behind Enchanted Windows, a book about entering magical worlds through the windows of an Advent calendar. The kids absolutely love the book. It\u2019s probably beaten Roald Dahl in the race<\/p>\n","protected":false},"author":32,"featured_media":6348,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29292],"tags":[],"class_list":["post-6346","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-harrys-friday-email"],"acf":[],"yoast_head":"\nJericho Writers<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jerichowriters.com\/through-the-looking-glass\/\" \/>\n<meta property=\"og:locale\" content=\"en_GB\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Through the looking glass – Jericho Writers\" \/>\n<meta property=\"og:description\" content=\"My missus is half-German and speaks to our kids mostly in German. 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