Following The Clues - Research And Reflection

As for my next book, I am going to hold myself from writing it till I have it impending in me:  grown heavy in my mind like a ripe pear; pendant, gravid, asking to be cut or it will fall. 

Virginia Woolf

When I began this blog sixteen months ago, I was just about to start work on a new novel. The blog was intended to map this journey I was undertaking in my writing and to begin with it did. However, life got in the way as it so often does and a different but parallel journey began to unfold with its own plot line, turning points and character arc. My life underwent one upheaval after another, and I found myself on a roller coaster of change. During this time I stopped work on the novel but despite this the blog found its own voice, always linking back to story and the creative process yet drawing from experience and the philosophies of esoteric traditions to explore revelations of self and individual growth.  

Now that the dust has settled I find myself in a very different place, physically, psychologically and spiritually. I have worked through a backlog of projects and been awarded a literature grant to assist with the writing of this new novel, Falling Between Worlds, so I can no longer avoid it. Indeed, as Virginia Woolf describes so beautifully above, this novel has ‘grown heavy in my mind; pendant, gravid, asking to be cut or it will fall’. Yet now that I am here I am afraid all over again. What if it has become overripe, has already fallen and now lies rotting on the ground, irretrievable? What if I have grown out of this novel in some way? Alternatively, what if I have not yet grown into it? I am suddenly overwhelmed with all the potential novels I might write. Ideas flicker in and out of my mind, different approaches, styles, points of view. . . Then again perhaps I am following the wrong path altogether and there is another novel out there waiting for me to stumble over it and bring it to life.

Filled with all these doubts, I have sat in front of my five thousand words and read them over and over, seeing the faults (only the faults), even seeing where I might go next, but the words are not coming. I can’t continue exactly where I left off because I am not the same person I was sixteen months ago. It is always dangerous to stop and start a project like this because it becomes stale and we lose the magic and excitement of telling a story that is in part telling itself. I’m trying to find my way back in. I have been through my journal, marking all my old ideas, quotes, research notes, anything that might lead me back to my story. But I am detached from these ideas now.  Before I left Tasmania, as part of my field research I visited the forest protest site that will feature in the early part of Falling Between Worlds. Welcomed by the protesters, I was given the opportunity to see how it worked and to imbibe the atmosphere of the camp and the old growth forest surrounding it. An arsonist has since burnt down this encampment, though I imagine it will be rebuilt because these protesters are patient and committed in a way that is a joy to see. In the upheaval of the past year, this visit to the Upper Florentine Valley has become a distant memory and I have almost forgotten the intense stillness of the forest, the rich smells of damp hummus. . . Perhaps given time I can sit with the memory of it, re-inhabiting the experience and weaving it into my story. But I’m not yet still enough to sit with my memories, quietly waiting for a breakthrough.

I wanted to sit down at my computer and just start writing where I had left off but that has proven impossible. The commitment isn’t there yet and the words I need are missing. Somehow I have to find a way to step through my fear and immerse myself in the story again, reacquainting myself with the characters and their needs. To do this, I must engage in more research. In Story, Robert McKee wrote that ‘research not only wins the war on cliché, it’s the key to victory over fear and its cousin, depression.’ Research, enables us to find our way out of writer’s block and into our stories, helping us to establish a convincing setting, characters and plot. However, research is not an alternative to the creative process, a way of avoiding an engagement with the story. Ideally we fuse fact based research with our imaginations and our memories, drawing on what we know and what might be. This new knowledge allows us to step into the shoes of our characters and understand how they will respond to the story in which they are situated. As McKee wrote, ‘creation and investigation go back and forth, making demands on each other, pushing and pulling this way or that until the story shakes itself out, complete and alive.’

At its best, research will feed the story and the story will guide the research, a symbiotic process that is quite magical. At its worst, research will halt the creative process indefinitely, or take over the story; in the process squeezing it dry and leaving it wooden and formulaic. Nearly every story needs some factual research in order to construct convincing settings, characters and plot but the skill is in finding the right balance. When I was immersed in writing Gathering Storm I suddenly came to an abrupt halt and could go no further. Realising that in order to know my protagonist, Storm, I had to learn more about the Romany world from which she was descended, I reluctantly began researching Romany customs, history, language. . . making notes from books and the internet. Then just as suddenly the writing began again and my characters were enriched by my new knowledge, the information feeding into and motivating their actions, ultimately helping me to create a story that was convincing on many levels. During the writing of Flight, I also came to an abrupt halt just as I was introducing a major character in the story. He needed to talk but I couldn’t hear him. In this case factual research was no use; instead I had to stop and consider who this character was and imagine what motivated him. In the end I discovered a good deal about his past, simply by asking him questions. In listening to his answers I also discovered how he talked and once again I found a way forward. Remembering these examples of blocks and solutions reminds me that I have solved these problems in the past so it is likely that I will do so again with Falling Between Worlds. With that knowledge I can feel the fear receding.

Agatha Christie once said that ‘the best time for planning a book is while you're doing the dishes.’ The same goes for ironing, knitting, swimming (none of which I can do), walking. . . or anything that occupies our bodies and yet is relatively mindless, leaving us free and open for inspiration and mental planning. For me it is walking that provides insights into my writing. As Robert Macfarlane writes in The Old Ways, ‘the compact between writing and walking is almost as old as literature – a walk is only a step away from a story, and every path tells.’ When I am writing, walking helps me to find my way through the maze of potential pathways in my stories. It helps me to understand what I am writing, to solve problems and to make links between theme and plot, or plot and character development or motifs and theme.

What I am just beginning to understand is that I am trying too hard to reengage with Falling Between Worlds. Instead I need to slow down and read, muse, dream, make notes and walk, all the activities that in my new and busier lifestyle, I had begun to see as self-indulgent, as non-work rather than as research. I had almost forgotten that everything in life feeds us. We aren’t machines that can crank out stories on demand. If we don’t allow ourselves the time to meander and meditate, to read and to ponder, it won’t be possible to create anything that is not simply mechanical. So, I will slow my racing thoughts and begin listening once again to my intuition. And I will amble along the maze of pathways in this beautiful Welsh countryside, climbing over stiles and marching through the clinging mud, savouring the scent of gorse and sheep manure and wild garlic, as I follow the clues that will lead me back to my novel.  

Copyright (c) 2013 by Rosie Dub. All rights reserved. You may translate, link to or quote this article, in its entirety, as long as you include the author name and a working link back to this website:http://writeonthefringes.blogspot.co.uk/

Describing Place and Self

Don’t tell me the moon is shining; show me the glint of light on broken glass.’

Anton Chekhov

Despite the fact that I had always carried the knowledge within me that I would one day become a writer, for many years I also believed that I couldn’t write, or at least that I was incapable of producing any writing of value. Not surprisingly, this caused a deep conflict within me and some confusion. Looking for the reasons behind this fundamental lack of faith in my own ability, I could cite low self-confidence or even low self-worth, and to a certain extent this was true. However, the real reason can be found in the word ‘value’. I believed that I could not produce anything of ‘value’ because I was quick to measure my abilities against those authors I read and often loved in high school. My schooling had given me a clear sense of what was valuable and what wasn’t. Maths and Science were valuable, while Art and English were not. And in English, the subject I was most drawn to, some authors were valuable while others were not. At the time I didn’t question these hierarchical constructions. I reveled in the glorious language of the authors I was studying, and in the process became deeply engaged in exploring the underlying meanings of texts and excited by their philosophical and spiritual explorations. Yet, while enjoying these texts I also came to believe that I was not a good writer because I couldn’t match D H Lawrence’s vocabulary, the intensity of his passion or the richness of his descriptions; Shakespeare’s depth of understanding was beyond me, and while the philosophy of Euripides was tantalisingly wise, I was too young to embrace it.

I was only able to liberate myself from this belief when I began to understand that the depth of meaning I was seeking was not found in language itself but in the spells we cast with words, spells which create stories that reflect our experience and in the process enable us to access a deeper knowledge. During the long process of letting go of my expectations, I discovered that sometimes the simplest writing speaks the most profoundly and that crafting a story is as valuable as writing vivid descriptions. As Robert McKee wrote, in Story, ‘you may have the insight of a Buddha, but if you cannot tell a story, your ideas turn dry as chalk’. Over time I found my own voice as a writer and with that, my own place in the spectrum of storysmith versus wordsmith. Right in the middle. This has proved to be both a blessing and a curse, as my writing bridges commercial and literary genres, leaving publishers at a loss when deciding their marketing approach. Yet despite having liberated myself from the misguided belief that for novel writers, description is more important than story, and despite having my novels published, I am still astounded when reviewers and readers comment (as they sometimes do) on the powerful evocation of landscape in my novels or the vivid depictions of characters.

Description is one of the fundamental elements in storytelling. It is a tool or a technique and over time I have learned how to use it. As with any technique of writing, description is both a craft which can be learned and an art which can only be discovered. Description has a function or a number of functions and should be used purposefully.  It grounds and sets the story in place and time, builds character, mood, tension and suspense, shifts pace, adds plausibility, provides metaphors and deepens thematic exploration. In any story there is also a balance that should be sought, between action, reflection and description. Too little description and the story remains floating, ungrounded. Too much description and the story threads become lost. As Stephen King wrote in, On Writing, ‘description begins in the writer’s imagination, but should finish in the reader’s.’ When and how to use description, and how much to use, is something we can only learn through trial and error.

It is not always possible or even desirable to separate the art and the craft of description, as the art is fed by an understanding of the craft. We can only access the art of description by inhabiting the scene we are writing, by living, breathing and tasting it, and by grasping its subtleties. What more is this scene trying to tell us? How might it act as metaphor, as an expression of a universal truth, a human emotion, a philosophical idea? The art of description lies in what we make of a scene rather than what we observe. Powerful description suggests so much more than the words themselves. Powerful description layers and deepens our stories and their themes.

V. S Naipul once wrote, ‘Land is not land alone, something that simply is itself. Land partakes of what we breathe into it, is touched by our moods and memories.’ A reminder perhaps, that it is not possible to be objective in our descriptions when even the decision to include or exclude information is a subjective one. What we see inevitably changes according to our mood and our memory. We see what we feel and we interpret what we see through our emotions, our memory and the ideology which frames us and forms us. The way we describe the world is a political act, always subjective yet more often than not, heralding itself as objective. Yet most of the time it is unconscious. Most of us can only see the world in the way we expect to see it, limited and framed by our ideology, by our personal and cultural history, by our understandings. Perhaps it is enough to be aware of the restrictions within which we interpret and describe the world, in order to begin breaking free of these restrictions. In any case, it is certainly useful to be aware of these restrictions in order to make use of them when we describe the world through the eyes of our character/s.

If we describe how ugly someone is but neglect to notice the beauty of their expression, then we have missed an opportunity to deepen a character and extend our understanding further.  If we describe walking into a beautiful landscape that is filled with the stench of death or sewerage, we would most certainly need to call on our other senses in order to explore the contradictions and build tension into our story.  We see, feel, touch, taste, smell and intuit the world around us (see Writing Between Worlds – Describing the Indescribable), and recording these sensations helps us to bring our stories to life on the page. We also react to our environment, and those reactions are personal as well as cultural. Stepping out into the cold may be exhilarating for one person and terrifying for another, particularly if that person carries a traumatic memory that relates to the cold, or is being exiled from home, or simply, doesn’t have warm clothes. Returning to a childhood home or an old school will arouse different emotions in us, according to the memories we carry from our earlier time in these places. One person sitting on an outcrop of rocks, high up on a hill, might experience a peaceful summer’s day, the warm air sitting calmly in the valleys below, friendly voices calling out to each other, the smell of cut hay, sheep dung. . . yet another person sitting on that same rocky outcrop, might experience a day full of sinister overtones, the shadows in the valley too dark, the voices of others harsh and unfriendly, the sun burning. . . Through considering emotion, reaction and memory as well as the physical characteristics of a place, we can begin to build the tensions, the conflicts and the contradictions that will feed out story and make our characters plausible.  

In Bird by Bird, Anne Lamott wrote that ‘metaphors are a great language tool, because they explain the unknown in terms of the known.’  With metaphor we find ways of stepping beyond the limitations of language, of expressing meaning without reverting to cliché or telling the reader what really needs to be shown. If we describe a tiny plant struggling to grow through a crack in a concrete pavement in a busy city street, it tells us something about the power of nature over what is man-made. It also tells us about persistence and reminds us that strength doesn’t always lie in might. Perhaps too, it might tell us about a child growing up in a loveless family.

Nature acts as a powerful metaphor in storytelling. As Jung wrote in The Integration of the Personality, ‘all the mythological occurrences of nature, such as summer and winter, the phases of the moon, the rainy seasons. . . are symbolic expressions for the inner and unconscious psychic drama that becomes accessible to human consciousness by way of projection – that is, mirrored in the events of nature.’ In my novel, Flight, a journey into the wilderness in Tasmania is a metaphor for a journey inwards into the labyrinthine depths of the unconscious. Describing natures seasons in our stories also provides a deeper layer of meaning that links the cycles of nature to human experience, a link that reminds us of our connection to all life, and allows us to access and express universal truths.

We use description to provide information, to slow the pace, to build tensions, to provide texture, to break up monotony, to establish mood, ambiance and theme. But most importantly, description is a powerful tool that when used well, enhances and deepens our writing, helping us to create a convincing setting that transports the reader into the world of the story, enabling them to suspend disbelief until the end. Description isn’t easy but mastering it is worthwhile and rewarding. And the key to that mastery is in capturing detail, seeking simile or metaphor and avoiding self-indulgence. 

Copyright (c) 2013 by Rosie Dub. All rights reserved. You may translate, link to or quote this article, in its entirety, as long as you include the author name and a working link back to this website:http://writeonthefringes.blogspot.co.uk/

The Alchemy of Story: Initiation, Transformation, Revelation

'The journey into the Underworld is nothing less than a voyage into the heart of Being.’

Peter Marshall, The Philosopher’s Stone

 When I finished my PhD last year, along with the expected sense of completion, came a building excitement because already I could feel the tug of future journeys; new directions in my research were piling up, luring me to explore ever more widely and deeply.  I felt as if I had only just begun my research journey and this is a feeling I still carry with me; constant and tantalizing it speaks of knowledge just out of my reach, of further personal journeys I must take in my writing and my life, revelations that will transform my perceptions and my self. For the knowledge gained through reading isn’t enough. It must also be ‘realised’ in some way, taken in and understood in our hearts and through experience. Research is a fusion of reading and experience, it is something we must live. As Paolo Coehlo wrote in The Alchemist, ‘There is only one way to learn. . . It’s through action. Everything you need to know you have learned through your journey.’ Each of us is on a personal journey that links to but doesn’t follow exactly, the paths of those who have come before.  And each journey is an initiation of sorts, the plunging into darkness that is necessary in order to find the light.

 I have been reading Lindsay Clarke’s The Water Theatre, a beautiful and profound novel that explores this initiatory process. In it, Clarke refers to the Way of the Fool, a way that is sometimes hard and dangerous because it is a spiritual quest undertaken ‘without the protection and discipline that comes from membership of an order’. ‘On such a way one can get lost very easily. One can come to harm,’ warns a priest in the novel. Despite the difficulties and dangers of this path, for many of us this is the only way. With this choice comes an understanding that there is never just one journey, that each initiation leads us to another place from which we must plunge again into the depths as we seek the light. As Clarke writes, ‘though the journey is always inward, the outer journey – down and through and out again – is indispensable, for it is down there, in the darkness of the underworld that the sun at midnight shines.’

 Although I’ve already mentioned this in some of my earlier posts, I want to explore a little further the way in which mystical initiation can be mirrored in the structure of story and the inner journey of character. Initially it was my interest in the therapeutic nature of story that led me to explore the roots of and nature of shamanism. Unexpectedly, threads of my research began to appear in my novel in the form of references to shamanism and to the process of initiation that candidates are forced to undertake in order to become shamans. However, it wasn't until much later that I began to understand the shamanic journey as a metaphor for something that was reflected in the very shape of Flight, as well as in my own personal journey during the writing of it.

 According to Jungian analyst, Donald F Sandner in Sacred Heritage: The Influence of Shamanism on Analytical Psychology, 'the basic shamanic pattern is not a manifestation of a certain culture but rather an archetype, a constant and universal part of the human psyche'. Anthropologist, Joan Halifax refers to shamanic initiation as a metaphysical voyage, while Jung saw the patterns in shamanism as a metaphor for the process of individuation. These patterns are implicit in the structure of most stories: the symbolism of death and mystical resurrection, descent to the underworld, followed by magical flight. It is a turning away from what is known and a stepping into the unknown. It is a call to change and to adventure. To deny the opportunity for adventure is to deny life and in so doing to restrict the growth of the soul. 

 Religious historian Mercea Eliade, studied shamanism and myth and drew strong parallels across many cultures, parallels which are useful for exploring the relationship between shamanism and story. Of particular interest is his map of the structure of the shaman's world and the way in which shamanic journeying mirrors the structure of narrative. In shamanism there is usually an upper, middle and lower world, which mirrors the selves or the layers of the psyche. The middle world is the world we recognise, the world of ordinary events. The lower world or underworld is associated with death and shadow, as well as dangerous spirits and in Christianity is generally considered hell. The upper world is associated with light and ascension, it is 'the realm of transcendent consciousness' a realm that Christianity refers to as heaven. Crucially, however, one can only access the higher world through the lower world. We cannot ignore or bury what lurks in our depths without becoming weighed down, too heavy for the required ascent.  It is possible then, to extend this idea of an upper, middle and lower world to the structure of narrative, with the protagonist beginning in the middle world, journeying into the underworld, then, if the necessary lessons are learned, ascending to the upper world, before returning once again to the middle world to share his or her rewards.

 In Flight, Fern's journey is an initiation. I used the term shamanism and indeed, Fern's initiation pattern is very similar: a sickening, followed by a loss of self, then a journey into the underworld to face one's demons, followed by a regaining of power and flight. However, this is the journey of the soul and does not need to be labelled as a shamanic journey. When Fern expresses a discomfort about shamanism, Cassie tells her that it is just one of many paths, all of which bring you to the same place, your self. 'A shaman,' she says, 'is just someone who has healed themselves and because of this, they can heal others.'

 Following my instincts and the needs of the novel I am currently writing, my research has led me to begin exploring mystical initiation through the ages, in particular alchemy which can be interpreted on both a literal (physical) level and a metaphorical (spiritual) level. In The Philosopher’s Stone, Peter Marshall explains that ‘first and foremost alchemy is the art of transformation’ and goes on to describe the alchemical process as mirroring ‘the stages of the integration and realisation of the self’, something which Jung identified in his own studies of the art of alchemy. The parallels between shamanism and alchemy were immediately clear, as were the parallels between alchemy and story. In story, the external plot mirrors the inward transformation of character; in alchemy ‘the transmutation of external matter mirrors the inward transformation of the soul.’

 Initiation, Transformation, Revelation is a fundamental part of the alchemical process and something that is repeated again and again in our lives and our stories. The writing of a novel can also be an initiation of sorts, changing us fundamentally, as has happened to me with each of my books. In the preface to his novel, The Chymical Wedding, Lindsay Clarke describes the writing process as a discovery that a book about alchemy also needed to be a ‘work of alchemy’.  He writes, ‘I soon found myself getting lost again and again, like the alchemists before me, inside a bewildering labyrinth of images, as both the book and the author underwent a sometimes gruelling process of transformation.’ There are many ways to self, just as there are many paths to writing a novel. For each there are a multitude of guides, mentors and techniques acting as the threads to help us find our way blindly through the labyrinth, following the Way of the Fool in order to become ourselves.

Copyright (c) 2013 by Rosie Dub. All rights reserved. You may translate, link to or quote this article, in its entirety, as long as you include the author name and a working link back to this website:http://writeonthefringes.blogspot.co.uk/

The Heroine's Journey

'The journey of the Heroine is about saying 'yes' to the true self and, in so doing, to become more fully alive and effective in the world.'

Maureen Murdock

For the past few weeks I have been writing about Joseph Campbell’s model of the Hero’s Journey and how it translates to the stages within story. However, many women are concerned that this model of the heroic journey excludes women, or at least doesn't allow for gender differences. Maureen Murdock, in her book, The Heroine's Journey goes some way towards addressing this problem by suggesting a useful alternative model for women which is similar to but in a sense more layered than Campbell’s model. I won’t go into the details of each stage in this post but they include:

Separation from feminine; identification with Masculine and gathering allies
Road of trials, meeting ogres and dragons
Finding the (illusory) boon of success
Awakening to feelings of spiritual aridity: death
Initiation and Descent to the Goddess
Urgent yearning to reconnect with the feminine
Healing the mother/daughter split
Healing the wounded masculine
Integration of the masculine and feminine

Unlike Campbell's linear structure for story, Murdock proposes a circular structure more appropriate to the inward seeking nature of the woman's journey. While, I agree with and appreciate the stages Murdoch lists in her model, I am not drawn to its circular nature. In some ways a circle might symbolically represent completion but it also represents the potential for nightmarish repetition; to end where you began is not what stories seek to do. As psychologist, Roger Woolger writes, 'psychologically, circles can represent every kind of self-perpetuating torment’. I prefer to imagine the journey as a double spiral structure, one that ensures a descent but also a return to a new position, expressing the symbolic death of the body and its spiritual rebirth through initiation. As a double spiral we are also left with the suggestion that there will be new journeys, taking us into new adventures, both internal and external.

 In The Heroine’s Journey, Murdock calls one of the stages, 'Initiation and Descent to the Goddess', describing the Babylonian myth of Inanna's descent into the underworld, to visit her sister Ereshkigal who has been raped by the gods and exiled to the underworld. On her way, Inanna must pass seven gates, at each of which she surrenders more of her identity, until naked she arrives in the Underworld where she is stripped of her life and left to rot, before being released once again, reborn. The myth of Inanna, is a beautiful story, a metaphor for initiation into the mystery of life and like many of the more masculine heroic stories, it also recognises the need to confront the darkness in our psyches. In my novel, Flight, this darkness is represented by the malevolence invading the protagonist’s dreams and threatening her life, as well as the surfacing of old memories, particularly of herself as a baby. There are parallels between the myth of Inanna and Flight, with Fern's stay in the psychiatric ward acting as a metaphor for the underworld. It is here that Fern begins to experience the malevolence attacking her. And here that Fern begins to surrender her identity, when in the mirror she comes face to face with her skeleton self. Later she dreams of her skeleton self, collapsing into pieces, symbolising the death of her old self. From there she must face the darkness in order to begin the restructuring process and eventually give birth to a new self.

Whilst accepting that there are essential gender differences and that it is useful to identify them, I believe, like Vogler, that despite a clear historical bias in determining the content of stories and the gender of its heroes, the structure of heroic myth maps a human process of evolution towards a potential that exists beyond these differences. Most stories involve a character's descent into their psyche in some way with their ultimate goal the balancing of the masculine and the feminine. Certainly some of the markers along the way are different, as Murdock identifies. In many respects, men and women do have different journeys: the masculine journey is usually an active, goal oriented quest, whilst the feminine journey is more internal, like the story of Inanna, a descent into ones depths. Yet, as Bruno Bettelheim points out in The Uses of Enchantment, 'even when the girl is depicted as turning inward in her struggle to become herself, and a boy as aggressively dealing with the external world, these two together symbolize the two ways in which one has to gain selfhood: through learning to understand and master the inner as well as the outer world.' While the plot in stories usually represents an external active adventure of some sort, the character arc generally represents an inner journey. So a protagonist might embark on an adventure in order to learn how to be active in the world but in so doing also be forced to confront his or her inner demons.

 Perhaps ultimately both journeys are a metaphor for the same goal, hence the 'active' and 'masculine' slaying of a dragon is a metaphor for inner change, for facing those things within us that we are most afraid of and for reclaiming our treasure. So while we should not deny the rich differences between genders, it is in these journeys that we reclaim our power, seeking to recognise and in a sense move beyond duality by balancing the masculine and feminine elements within ourselves.

Copyright (c) 2012 by Rosie Dub. All rights reserved. You may translate, link to or quote this article, in its entirety, as long as you include the author name and a working link back to this website:http://writeonthefringes.blogspot.co.uk/

The Hero's Journey - On Story Structure

The Hero's Journey is not an invention but an observation. It is a recognition of a beautiful design, a set of principles that govern the conduct of life and the world of storytelling the way physics and chemistry govern the physical world.'

Christopher Vogler, The Writer's Journey

In the past few posts I've discussed the themes and motifs that are prevalent in mythic stories. This time I want to discuss something even more fundamental, though inextricably linked - mythic structure. As mythologist, Joseph Campbell asserted, stories wear countless costumes yet there is a fundamental commonality between them. Over time the costumes of stories have changed and certainly in western culture, stories are presented in a more complicated way than they once were. Frequent jumping between scenes and characters, and the juggling of time elements in plots presupposes a sophisticated audience with highly developed decoding skills. However, according to Christopher Vogler in The Writer's Journey, the fundamental structure of stories hasn't changed. Though sometimes more difficult to identify, there is still a three-fold structure in story, as well as the basic components of change and conflict. No matter then, how sophisticated our storytelling has become there remains a basic structure to storytelling that can be traced right back to the earliest stories - and by implication, to blueprints of humanity's common psychology.

Although the terms they use are different, many analysts of story refer to a three-part structure: beginning, middle and end; set-up, confrontation, resolution; and Tristan Todorov's, status quo, change, new status quo. Jung's theory of the process of individuation; ego, soul, self, mirrors in many ways the basic structure of narrative, as does anthropologist, Mercea Eliade's map of shamanic journeying; middle world, underworld, upper world.. In The Hero with a Thousand Faces, Campbell identified three major stages within the structure of stories - Separation, Initiation and Return - 'separation from the world, a penetration to some source of power, and a life-enhancing return'. Campbell linked these stages closely to the world of spirit and ritual, while Vogler labelled them Preparation, Journey, Return, recognising the potential for these stages to include a broader and more contemporary range of stories.

According to Vogler, most narratives mirror the heroic journey, in that the protagonist is forced out or willingly leaves their ordinary world and must undergo a series of adventures in order to attain a new status. The second stage of the journey involves accepting change, stepping into the abyss with no idea what lies ahead. Risks are taken and if successful there is a reward of some kind. The third stage involves returning to the ordinary world understanding and integrating the reward and using it as is appropriate. A new status quo is reached and the hero has changed in some way. I'll look more closely at Vogler's and Campbell's story stages in a later post.

The plot of Flight, is a linear one, the time line covering the space of a few weeks. There is a clear three-fold structure within the novel. In the beginning Fern has trapped herself in the attic and in so doing, separated herself from the world. The middle is an initiation of sorts, with Fern forced to undergo a journey and to confront her demons. The end is a resolution or a return but it is not circular. Fern is a different person than she was at the beginning and she will never return to the physical or psychological space that she left in order to undertake her journey. Instead she returns to the potential of a life well lived.

However, the structure in Flight is not as simple as the linear unfolding of the outer plot would suggest. The story reaches back across lifetimes and there are layers of themes and patterns that motivate both the plot and the characters. Information is fed into the story in the form of flashbacks and musings that explain Fern's early life and provide motivation for her actions as well as triggers for her development. There are also visions and dreams which are triggered mainly from past life memories and provide a building undercurrent of tension, as well as providing flashes of insight to guide Fern in her journey to release herself from the past and learn how to live again.

There are few stories in which change does not occur. If a character ends in the same physical or psychological situation in which they began it is usually: an existential story which shows a protagonist tossed about by fate, endlessly repeating negative patterns and unable to take control of their destiny; or a comedy (often a satire) in which the protagonist is revealed as a buffoon or a trickster, living outside the rules of society and thus making them visible; or a tragedy, which occurs when a character refuses to accept their call to adventure, is not strong enough to survive the journey, or chooses not to return and share their rewards with others. According to Campbell, 'tragedy is the shattering of the forms and of our attachment to the forms; comedy, the wild and careless, inexhaustible joy of life invincible'. These genres usefully reveal the dangers of becoming stuck caught consciously or unconsciously in negative patterns, just as a fly is caught in a spider's web.

Within the three part structure of story there is inevitably a theory of progress towards a goal, but this is not a closure or end itself, rather it is only one of an endless series of journeys in a perpetual evolutionary process. In the novel, Fern progresses towards a goal, or more accurately, towards a number of goals. Fern is seeking her father, seeking to hunt the hunter and survive. That is the external story, the plot. But she is also seeking to heal herself, to find her place and to live well. These are inner goals, relating to her own development. At the beginning she is unaware of her inner goals, knowing only that she is unwell and that things cannot continue as they have been. It is only through the outer journey that she is able to understand and achieve her inner goals.

At the end, Fern has finished an adventure but is about to start another, the adventure of childbirth and of living within a loving relationship. But eventually the wheel of fortune will turn once again and reluctantly or not, in the sequel to Flight, Fern will undertake another adventure. The universal theme of death and resurrection, of the natural ever-changing cycles of life, does not allow for stagnation. As Carol Pearson writes in Awakening The Heroes Within, 'as soon as we return from one journey and enter a new phase of our lives, we are immediately propelled into a new sort of journey; the pattern is not linear or circular but spiral'. The ability to accept and adapt to change is fundamental to all evolutionary processes, and thus this theme not only appears in the content of stories and myths throughout history and across cultures, but is written into their very structure. And this structure provides a map for each of us as we seek to understand who we truly are. As Vogler wrote, 'I came looking for the design principles of storytelling, but on the road I found something more: a set of principles for living. I came to believe that the Hero's Journey is nothing less than a handbook for life, a complete instruction manual in the art of being human.'

Copyright (c) 2012 by Rosie Dub. All rights reserved. You may translate, link to or quote this article, in its entirety, as long as you include the author name and a working link back to this website:http://writeonthefringes.blogspot.co.uk/

Breaking The Curse: Making Myth Our Own

'All we can do is keep telling the stories, hoping that someone will hear. Hoping that in the noisy echoing nightmare of endlessly breaking news and celebrity gossip, other voices might be heard, speaking of the life of the mind and the soul's journey.'

Jeanette Winterson, Weight

In previous posts I have discussed the ways in which myth enables us to reconnect with a different form of knowing, one that is more intuitive and that embraces mystery rather than fact. Using mythic tools/elements in our writing helps us to create timeless and universal stories, living stories that are steeped in authenticity and that encourage us to grow into individuals. In this post I want to look more specifically at ways myth might be used in story, by rewriting old stories, taking specific elements from myth or even simply using the themes that are predominant in myth.

We can use myth overtly in story by taking the structure and storyline of ancient myth and translating it into a contemporary setting or even a different point of view. In the Myth series Margaret Atwood wrote Penelopoid, the story of Odysseus from the perspective of Penelope and her maids, Alexander McCall Smith rewrote a Celtic myth in Dream Angus and Jeanette Winterson wrote Weight, her own version of the Atlas myth. In the introduction, Winterson wrote, 'the Myth series is a marvelous way of telling stories, re-telling stories for their own sakes, and finding in them permanent truths about human nature.' Winterson wrote Weight from her own situation, stating that 'there is no other way'. So Weight became a 'personal story broken against the bigger story of the myth we know'. When we rewrite myth in this way, we inevitably make it ours and we also see how easily any story can carry the timeless themes of myth. The ancient stories of the battles amongst the Norse Gods might be translated into contemporary stories about the battles between the heads of powerful corporations, or the story of Theseus entering the labyrinth to kill the minotaur can be written as a modern day story set in war torn Vietnam where Captain Willard is given the assignment to journey deep into the jungle (psyche) and capture Kurtz (a renegade Colonel). This is of course, Apocalypse Now, a story that was drawn from Conrad's, earlier novel, Heart of Darkness, but whose themes reflect the mythic journey of Theseus to kill the beast.

While Flight is not based on a single myth, it does contain a number of mythic references: to Theseus slaying the Minotaur in the labyrinth; to Orpheus returning from the underworld with Eurydice but unable to resist looking back; to the Babylonian myth of Gilgamesh and Enkidu; to the Greek myth of Cassandra. . . The characters Cassie and Hector represent Cassandra and her twin brother Helenus who as children were left overnight at Apollo's temple, where serpents licked their ears, endowing them with the power of prophecy. Cursed by Apollo for not returning his love, Cassandra found that although her prophecies were true, they were not believed. Cassandra and Helenus share the power of prophecy, but their skills and methods are different. For Cassandra the prophecy is received intuitively, while Helenus reads signs and portents in the things around him in the natural world, for example, the shape of clouds or the flight of a bird. In Flight, Cassie (like her namesake) is overcome by the knowledge she receives intuitively and is disbelieved by others, whilst Hector is a meteorologist, using computers and satellites to forecast the weather. In a sense, Cassie and Hector represent the extremes of the right and left brain modes, or intuitive and intellectual thought. Together they maintain a vital balance.

Curses, or inherited patterns of behaviour are themes that appear in all three of my novels, and again and again in ancient myth. In Nowhere Man, Ivan is psychologically trapped within patterns that he unconsciously repeats over and over. In Gathering Storm, four generations of women have been trapped by a Romany curse, though in actual terms they are trapped in inherited patterns of behaviour. In Flight, the idea of the curse is explored in mythic terms, in relation to the classic pattern of heroic myths, identified by Otto Rank (see Writing Myth). I did not set out with the idea of writing about a curse, instead it arose about halfway through the novel when I stopped what I was writing and wrote the prologue in a different voice and with an explanation of Fern's origins. Fern is born to a powerful man, her birth is accompanied by a prophecy, she is abandoned and brought up by strangers, unaware of her identity. Myths such as Oedipus and Perseus explore the journey of the child to the father. This is generally an arduous journey, involving great dangers, but the greatest danger lies in the meeting with the father, who may or may not deem the child fit to accept. In myth, the child, if ready for the confrontation, generally brings about the death of the father, often without being aware of their father's identity. This is retribution for the father's unnatural desire to halt change. It is only natural for the child to step into the father's shoes in adulthood, or on a cultural scale, for a new king to step into the shoes of the old king. When this potential is denied by the father then the cycles of life have been denied and stagnation sets in. It is the child's role to force change.

For the most part, Flight follows Ranks pattern of heroic myth. In the opening pages, Simple Simon, a gardener in the Botanical Gardens, utters a prophecy, saying that Fern would cause the death of her father. The prophecy quickly becomes a curse as Fern's father, Eric, responds by trying unsuccessfully to kill his unborn daughter, the prophecy 'eating away at him, turning him into its slave'. Although the curse is delivered to Fern and her mother, it is directed at the father. Fern is the arrow, charged with delivering the curse. Eric is a powerful man, born with great gifts, but he has abused these gifts and this is a crime for which he must pay. There is no humility in Eric, no respect for life, no compassion and no humanity. But there is pride. As always it is hubris which activates the curse.

Psychologist, Liz Greene identifies a number of features that appear consistently in myths about family curses. According to her, the curse is usually linked with the abuse of children in a pattern that repeats itself through generations. 'Each generation has the opportunity to reverse or transform the curse by perceiving and acknowledging the pattern of destructiveness and transcending it, but fails to do so because the individual cannot resist indulging in fear, greed, anger, or the desire for personal vengeance'. Instead, the individual responds instinctively, refusing to acknowledge the pattern or take responsibility and transform it. So, as Greene states, a curse can run its patterns through generations, both inherited genetically and taught through the behaviour of the parents. This is something I had already explored in Gathering Storm, but in Flight I looked at patterns of behaviour that have been repeated through many lives, ideas that are expounded by Jungian psychotherapist, Roger Woolger, who suggests that childbirth triggers karmic residue and the choice of parents reinforces the patterns from one life to the next until the person is finally able to break free of that pattern.. This is exactly what happens to Fern who finds herself abandoned at birth, threatened fundamentally by her birth father and psychologically abused by her adopted father, so that she carries a heavy burden of guilt and grief that parallels the burdens she carries from past lives.

Woolger wrote of 'patterns in remembered lives', explaining that they can become compounded into a repetitive cycle of hatred and revenge, the players 'drawn to each other karmicly' in roles from which they cannot escape'. Fern and Eric are caught in a destructive pattern that has persisted for hundreds, perhaps thousands of years, and which always involves an abuse of power and some form of injury to a child. In this life, Fern is once again given the opportunity to break free of that pattern. Through the course of the story, Fern is forced to face memories from a number of lives, but it is not the stories of these lives that are important for Fern's transformation. As the Bear Handler tells her, 'only the patterns matter, for it is in those that you will see the places that you are caught, repeating yourself, lifetime after lifetime'.

A good friend and editor, Teresita White, surprised me by pointing out the parallels between Greene's analysis of the family curse and the events in Flight. 'Paradoxically,' she wrote, 'any attempt to cheat the prophecy usually results in its fulfilment'. Eric tries to destroy his own daughter, which results in her mother hiding Fern from him, by having her adopted and not putting his name on her birth certificate. His violent attempt to kill Fern, results in the shutting down of her psyche, so she does not know who she really is. When Eric seeks Fern out he unwittingly awakens her spirit and bit by bit, her memory. When he attempts to frighten her, he awakens her courage. When he draws Fern to himself he unwittingly invites destruction into what he believes is impregnable. When Eric shows contempt for Adam and his qualities, he sabotages his seduction of Fern. And when he causes another's death, believing he can sabotage the prophecy, he provokes the final confrontation in which he is destroyed. Although Eric does not die, he is left hovering on the border of life and death and his power is spent. In the end, following Ranks patterns of heroic myth, Eric is crushed and Fern is liberated.

Myths remind us that life is all about change, that the wheel of fortune turns and we must flow with it. For Eric the prophecy is a warning. He has become corrupted by power and he must let go of it in order to restore the natural flow of life. Instead, he holds onto his power and the result is a living death. For Fern, the prophecy is a blessing as it gives her an opportunity to free herself from a pattern of behaviour she has become enmeshed in, to find the courage to become a fully conscious individual and rediscover the gifts she had turned away from. But myths also remind us that there are no 'happy ever after endings'. Whatever position we find ourselves in, it is wise to remember that 'this too shall pass', that at any moment the wheel may turn and we will be called yet again, to adventure.

Copyright (c) 2012 by Rosie Dub. All rights reserved. You may translate, link to or quote this article, in its entirety, as long as you include the author name and a working link back to this website:http://writeonthefringes.blogspot.co.uk/

Seeking The Paradox Within Story

'Most fables contain at least some truth, and they often enable people to absorb ideas which the ordinary patterns of their thinking would prevent them from digesting.'

Idries Shah, The Sufis

As I have mentioned in other posts on this blog, I am fascinated by the fundamental paradox that I see within story, in that while it encourages us to conform to society, it also encourages us to become true individuals by shedding mindless conformity. And it is this aspect of story that I keep returning to, asking myself how a narrative can enable us to evolve as individuals. I believe there is an alternative knowledge structure deeply embedded within story, a structure that enables and encourages personal transformation, and that echoes thousands of years back to the first stories of the shamans and the ancient myths of indigenous peoples around the world, as well as being evident in many contemporary narratives. People write, read and listen to stories, not because they wish to escape from themselves, but because they wish to find themselves. So perhaps then, a key to self transformation is embedded within story.

The idea that stories might contain hidden meanings is not a new one, stretching back to the interpretation of early religious texts across many faiths and persisting to the current day through continued scholarly analysis of literature. These theories are also rooted in mystical knowledge associated with Sufism and other esoteric groups, some of this knowledge dating back thousands of years. The ancient Aesops Fables which are popular in the West, are an example of stories that are designed to jolt us out of the boundaries that restrict our thinking. In his book, The Sufis, Idries Shah writes that the popular and humorous Nasrudin Stories which date from around the thirteenth century, 'may be understood at any one of many depths. . . and the experiencing of each story will contribute towards the 'homecoming' of the mystic'. Perhaps then, rather than reinforcing blind acceptance of society's constructed realities, stories might use hidden meanings in order to innately question them. Idries Shah goes on to explain the use of humour in the Nasrudin tales, saying that 'humour cannot be prevented from spreading: it has a way of slipping through the patterns of thought which are imposed upon mankind by pattern and design.' While humour is not a strong element in my writing at present, I agree that it has great power, encouraging us to question and laugh at what we hold sacred or simply take for granted.

Much of our interpretation of a text relies on how we read. Joseph Campbell emphasised the importance of poetic interpretation, as compared to literal reading, warning that 'wherever the poetry of myth is interpreted as biography, history or science, it is killed.' Karen Armstrong too, wrote passionately of the need to re-engage with story, using 'intuitive, mythical modes of thought' instead of the 'more pragmatic, logical spirit of scientific rationality.' When I was writing Flight, I began to wonder how I could layer the story in order to encourage different interpretations on the part of the reader. I wanted my readers to read intuitively, to find a story a that spoke to them in unexpected ways. In the end though I found myself unable to plan a novel in this way and decided instead to trust my unconscious to do this for me through the use of symbols and metaphor, as well as through the way in which the story structure formed itself around the character arc.

While it is clear that stories can and do contain hidden meanings, Campbell went further than this in his analysis of heroic myth, by suggesting that the very structure of story has a hidden meaning, that it is a metaphor for Jung's individuation process or the journey to self. Now that Flight is complete and published, and there has been time to receive reader feedback, it has become clear that the novel does act on a number of levels: as entertainment, as a psychological study and as a document of a spiritual journey, one in which readers can find themselves. I have always felt strongly that in my writing I am holding a mirror up to readers and helping them remember who they are, perhaps because this is what I seek from my own reading. However, my motives are not entirely altruistic, because first and foremost it is myself I am finding, both through the process of writing and through the mysteries of the unfolding story. It is my own past I am exploring and my own scars I am acknowledging and releasing, as I seek to uncover the treasure within me, the essence of self, by breaking down my fixed thinking patterns. Perhaps ultimately this is what stories are for.

Copyright (c) 2012 by Rosie Dub. All rights reserved. You may translate, link to or quote this article, in its entirety, as long as you include the author name and a working link back to this website:http://writeonthefringes.blogspot.co.uk/

Telling Tales – Exploring Elements of the Fairy Story

'If you don't know the trees you may be lost in the forest, but if you don't know the stories you may be lost in life.'   Siberian Elder
                                                                                                                                           
Once upon a time. . .
These familiar words have such power. They evoke a stillness, a bating of breath, an eager air of expectation as we gather around them, waiting for their magic to transport our imaginations to far off worlds, and their wisdom to help us understand the world in which we live. In The Uses of Enchantment, Bruno Bettelheim wrote, 'for those who immerse themselves in what the fairytale has to communicate, it becomes a deep, quiet pool which at first seems to reflect only our own image; but behind it we soon discover the inner turmoils of our soul – its depths, and ways to gain peace within ourselves and with the world, which is the reward for our struggles.' Fairy tales are timeless stories, traditionally passed down orally from one generation to the next. It is only relatively recently that they have been written down, reinterpreted  through the moral filters of those who recorded them, and consequently changed, sometimes almost beyond recognition.

Myth and fairytale are a rich source of material for authors and their form and content resonate with readers; both adults and children. Some writers, such as Angela Carter, have rewritten existing fairy tales applying their own personal interpretations. Recently in Bitter Greens, Kate Forsyth rewrote the Rapunzel story, enriching it with a historical setting and vivid characters. Other writers take elements from fairy tales and/or write their own tales that mirror the structure of older stories. This is what I have done in Flight in which there are a number of references to both myth and fairy tale, most of which were not consciously intended on my part, only recognised by me when they appeared, revealing that like most of us, my personal history is steeped in the stories and religion of my childhood. In the first draft of Flight, I signaled the use of these references as they arose but during a later edit, decided it would be better to cut out these signals, allowing the reader to identify the references themselves. As I write Falling Between Worlds, I can seen that fairy tale and myth will also play a role in this novel, though I seem to be incapable of planning the inclusion of these elements or planning the structure of my stories. Instead I ask questions and leave myself open to whatever answers arise, letting them find their place on the page and within the story.  For me and for many writers, asking questions is an important part of the process of writing. In so doing we discover what our story is and why we are writing it. As Clarissa Pinkola Estes says, 'asking the proper question is the central action of transformation – in fairy tales, in analysis and in individuation. Questions are the keys that cause the secret doors of the psyche to swing open.'

Initiation is a common element in both myths and fairy tales and a major part of novels which we call 'coming of age'. Jones writes that in the myth, the initiation is a spiritual one, whilst in the fairytale, the initiation is 'into a greater awareness of ones own desires and fears'. I'm not sure it's necessary to distinguish between them in this way, as the fairytale initiation is a necessary part of the spiritual initiation. In Flight, Fern must face her fears in order to be initiated into the spiritual world. And indeed, Bettleheim writes that myths and fairy tales 'derive from or give symbolic expression to initiation rites or other rites de passage such as a metaphoric death of an old, inadequate self, in order to be born on a higher plane of existence'. In Flight, Fern is undergoing an initiation as she is forced to let go of her old way of being, in a sense dying to her old self, in order to find a new way of living. This is an initiation of the soul but it can also be read as simply a rite of passage from one stage of life to the next, a coming of age or perhaps a 'coming to self'.

In The Beast to the Blonde: On Fairy Tales and their Tellers, Marina Warner writes that 'shape shifting is one of fairy tale's dominant and characteristic wonders'. There is much slippage between fairy tale and myth where shape shifting is a common element, the gods and goddesses frequently shifting form in order to confuse and dazzle humanity. Shape shifting is also an integral part of shamanism, with shamans sometimes transforming themselves into creatures in order to traverse the underworld. Shape shifting plays a role in Flight, with Fern at one stage slipping inside the skin of a bear, then later, growing wings and perceiving herself flying. The novel also contains shape shifting in the form of slippage between lifetimes, with both Fern and Eric maintaining their essence and their enmity whilst regularly shifting costumes.

Aside from these general themes of initiation and shape shifting, there are also references to some well known fairy tales. There are some parallels between Fern and Rapunzel. Fern is a reluctant soul, not wishing to inhabit her body or this world, so in a sense, the tower, or attic in her case, is Fern's attempt to escape. Paradoxically, Fern is also a prisoner. She might have chosen to stay in the attic but she is still trapped, held prisoner by herself. Rapunzel must literally let her hair down in order to find a new life. Fern is chased from her attic but she too must embrace life, and it is Adam, her true prince, who helps ground Fern and teaches her to live. In a sense, Adam too is blinded in the novel. He can't see what Fern can see, he can't look into minds or enter her dreams. Instead he must trust her and his own role in the story.

In Fern's penchant for sleep, there is a reference to Perrault's 'Sleeping Beauty'. Bettelheim writes that Sleeping Beauty is the classic coming of age story, reminding us 'that a long period of quiescence, of contemplation, of concentration on the self, can and often does lead to the highest achievement'. In our modern world this has largely been forgotten and withdrawal from life is viewed with suspicion. After spending months in solitude, Fern prematurely re-enters the world only to be forced into solitude again, this time in the psychiatric ward where she has been placed because her mother and society in general, misguidedly interpret her symptoms as an illness that must be treated, rather than as the welcome first steps in an initiatory process. Sleeping Beauty is a tale of sexual awakening, while Flight is a tale of awakening. Fern has been asleep all her life and her awakening doesn't come at puberty but when she is called to an adventure. Fern must reawaken sexually, as she does with Adam, but it is her whole libido that must awaken, not just its sexual aspect. It isn't a man that Fern needs to bring her back to life, but it is the masculine. Fern is out of balance, overtaken by the shadow side of her feminine aspect and terrified of the masculine. Her journey is to seek balance. In a sense the prince is simply a part of herself, the active masculine side that she must embrace.

There are other, more minor references to fairy tales in the novel. Early in the story, Fern falls down some steps and descends into the underworld, just as the shamans do in order to retrieve souls, and as Lewis Carroll's Alice did when she fell down a rabbit hole and found herself in Wonderland. Like Alice, Fern finds that this world is very different from her own, with a new set of rules that are not entirely rational and which she must learn in order to find her way. Later there's a  reference to Cinderella when Fern is dressing for dinner in her father's house and slips on the stiletto shoes her father has selected for her. I have used the shoe as a symbol of power, the power of a man over a woman. Fern tries the shoes on and to her surprise they fit almost perfectly. This suggests that Fern's father, Eric is her prince, something that almost becomes the case, when he later attempts to seduce her. Fern obediently wears the shoes but can hardly walk in them. The stiletto heels are crippling for her, sending her off balance, which is exactly what Eric hopes to achieve. Later, after rejecting her father, Fern kicks the shoes off and frees herself from his influence.

In our writing we can make specific references to known fairy tales and myths, we can mirror their structure (something I will explore in a later post), and we can also draw on their themes which are often powerful explorations of life and its necessary transitions. According to Steven Swann Jones in The Fairytale: The Magic Mirror of Imagination, 'the objective of the myth is oneness with the divine . . .The objective of the legendary quest is social harmony. . . and the objective of the fairytale quest is personal happiness'. So if, on one level, myths are the mega stories that societies tell about themselves, then fairy tales are the micro stories. Fairy tales address everyday problems in a fantastical way, giving a nudge to a child unwilling to move on to the next stage of life, providing guidelines for understanding the dangers one faces in life (Red Riding Hood) and exploring notions of good and evil. With their emphasis on moral behaviour and rewards, fairy tales both define the world and hint at the possibilities of breaking free of those definitions. Characters, such as Bluebeard's wife are both punished and rewarded for breaking the rules. Warner writes that fairy tales 'offer a way of putting questions, of testing the structure as well as guaranteeing its safety, of thinking up alternatives as well as living daily reality in an examined way'. Perhaps then, fairy tales are a way for us to understand and accept the paradoxes of life; pointers to the lessons which are able to be learned through myth. As Hans Christian Anderson once said, 'life itself is the most wonderful fairytale of them all'.

Copyright (c) 2012 by Rosie Dub. All rights reserved. You may translate, link to or quote this article, in its entirety, as long as you include the author name and a working link back to this website:http://writeonthefringes.blogspot.co.uk/