I have completed the painting for the cover art of the fifth book in the Meniscus Series … Meniscus: Karst Topography!
Here is a sequence showing my process in doing the painting:
The painting ‘walking among the stars’ shows my character Kathryn as she navigates a holograph of the galaxy and finds the planet Meniscus.
When the Slain return from an excursion, they discover the women of the Village have been taken by a Dock-winder transport. They set out on a dangerous journey to Prell-nan to find the women, risking their lives in the dirty streets, sordid brothels and creepy buildings of Dock-winder-run Prell. They find Vicki, Madoline, Kathryn and Meghan, but where is Odymn?
The use of symbols is a key element in creative writing.
Symbols are settings, objects, characters or events containing layers of meaning. Beneath any literal meanings are figurative meanings that imbue the symbol with depth and significance. A common symbol encountered in literature is the ‘owl’. On one level, the owl is a feathered creature with big eyes and amazing head-turning capability; on another, figurative level, the owl is symbolic of wisdom.
Mention an object once and it’s a prop, sometimes with associations. Mention it twice and the reader remembers the first mention, loaded with its connotations and denotations. Mention it three times and the associations can scream, suggest elements of plot. The object has become a symbol.
The use of symbols deepens meanings and helps the plot reverberate throughout the writing.
In the book I am currently revising (Meniscus: Encounter with the Emenpod, publication date July, 2019) my male character Rist wears gloves when he is with other people. Mentioned once, they are part of his wardrobe. Mentioned twice, the gloves are associated with his inability to touch the woman he loves. Mentioned more often, those gloves are a symbol of his separation from anyone he cares about. Even when other characters wear gloves, the reader is reminded of this separation, and all the associated history.
When I wrote the first draft of this book, gloves had no role in the story. As often happens, the symbol, the wearing of gloves, solved a plot problem. Once I had added the gloves, their mention had strategic importance. I also realized that gloves had already been included in the plot, in an entirely unrelated way. Once the gloves became a symbol of one character’s separation from others, their further mention built on the idea of separation and lack of understanding between cultures.
Symbols operate like mini sub-plots throughout story. These mini-plots echo the main plot, and, during the story, the objects change in a way that illuminates it. The mini-plots also tend to occur in three ‘beats’, providing a beginning, middle and end. For example, gloves are at first worn in every circumstance; when they are occasionally removed, risks are taken; later, when the gloves are removed forever, intimacy can grow between characters.
To strengthen the use of symbols in my work, I use tables. Once I have decided which symbols will be important to my story, I build a table of symbols and note where the symbols are mentioned (the three beats) and what mini-plot is suggested. Gaps in the table suggest possible revisions.
Rist must wear gloves to avoid transfer of elements of body chemistry to other people; removing the gloves represents a step in committing to Tagret.
the dinner bell is introduced in Meniscus: Karst Topography (September, 2018) as a symbol of missing loved ones. In Meniscus: Encounter with the Emenpod, bell ringing is the first warning the Village is in peril; later, the ring of the bell is a sign community members will return.
the cooking kettle was introduced in Meniscus: South from Sintha and has accompanied my characters on their various adventures. When tragedy occurs, a search for the kettle is representative of a search for a missing child; when the kettle is found, there is hope for the restoration of family.
Symbols seem to take on exaggerated importance in science fiction. Perhaps this is because of the association with fantasy where objects often have magical significance. Fantasy and science fiction plots often involve the ‘quest’ for a significant object. Although I am sure other story-telling includes powerful symbols (for example, the ‘car’ in The Great Gatsby, symbolic of wealth), science fiction and fantasy genres are particularly proud of theirs (for example, the ‘One Ring’ in Lord of the Rings). All the more reason to embed symbols with maximum significance and meaning.
Food is one of the most basic Human needs, necessary for survival. But what do Humans eat on an alien planet? What do they eat when they escape from the tyranny of the Dock-winders and have no access to the high-tech resources of the planet?
Odymn, the heroine of the Meniscus stories, is skilled at finding edible wild plants. This is in part because her father taught her the basics of natural history at home on Earth. She also uses her curiosity to discover the edible among the plants she finds.
from an unfamiliar plant.
Takes a nibble.
Shoos Madoline’s hand away.
“I test new plants I find,”
“Just one per sun-reel,
so I know
which leaves or roots or berries
make me sick.”
(Do not try this at home on Earth!)
When they combine Odymn’s knowledge and the wood lore of the furry Argenops, the Humans of Themble Hill have a range of foods to choose from:
roots – arbel corms and ransindyne
fruit – spenel berries, yarnel, thief-bush berries and sloe
seeds and legumes – gettle gourds and grammid beans
greens – slag-fern, glasswort, ishlin, and zill
and the sweet sap of the pilinoth tree
The Slain hunt for wild kotildi meat and have access to the Dock-winder markets, so they add to the variety of the diet. Items include oranges (brought from Earth since they will not grow on Meniscus), MRE (meals ready-to-eat, also from Earth) and chocolate (no diet is complete without chocolate).
Kathryn, who escaped a transport crash to join the Humans of Themble Hill, is an artist and she has drawn many of the plants in the Themble Woods.
The nodding arbel is the first edible wild planet introduced in the Meniscus Series. The plant produces an edible corm and its leaves can be used to make an analgesic tea.
Gnaw of an empty stomach.
A cluster of arbel flowers,
green and nodding.
She digs with her good hand.
Finds the corm, rubs it white,
slides it into her mouth.
In Meniscus: Crossing The Churn Odymn uses her parkour skills to reach the branches of yarnel and its juicy fruit. The bark of yarnel is bulbous, depicted on the cover of Meniscus: The Village at Themble Hill.
A glimpse of crimson,
high in the canopy.
Rolls to running. Two steps on a trunk.
Grabs a branch. Swing and push
Yarnel kernels gleam.
A pomegranate turned inside-out.
Tart and juicy.
The gettle gourd is first introduced in Meniscus: Winter by the Water-climb as a staple in the gardens of the furry, friendly Argenops. The seeds are a major food-source. The gourds can be used as an odd-shaped ball in a game or as a substitute for a jack-o-lantern.
arranged at intervals.
Belnar picks one up.
a half-burned candle.
to her people.”
I hope you have enjoyed this brief look at the vegetation on planet Meniscus. If the plants resemble some of Earth’s plants quite closely, just know I am a strong believer in convergent evolution.
I have published four books in my science fiction series Meniscus. The fifth book (Meniscus: The Village at Themble Hill) will be released on April 14, 2018. I have four other books in DRAFT. Keeping them straight has become a bit of a nightmare!
The planet Meniscus, with its interesting landscape and biology, suggests many possible adventures. A while ago, I began to think about a ‘spin-off’ featuring the stories of different main characters. I also wanted to include characters from the first books, to give them more background and a better chance to ‘speak’.
To weave the stories together, I realised I would need to create a time-line for my books. This would help me to situate the new characters in time and avoid character collisions. I did not want characters who were supposed to be in Prell to show up in Sintha. I did not want dead characters to live after their demise.
The time-line shows the books in the series, the number of days covered in each book, the seasons and the years. The first eight books are consecutive, flowing from one to the other.
In my next book, I want to introduce some of the Human recruits to the Village at Themble Hill and tell about them when they were still captives of the Gel-heads. So I knew the next book would start before the end of book Four and continue until the beginning of Book Six when Don’est’s continuous, banshee scream splits the air of the Themble.
Plotting the time-lines helped me know what characters I could include, the seasonal components of the setting and how to merge the stories. It also suggested to me that I should re-number Meniscus Six, Seven and Eight to better reflect the time-line.
If you are writing a series, I suggest you add time-lines to your process. Think of your story in terms of time. Determine how many days pass during the story. Plot the sequence of your stories with respect to one-another. This will help you to avoid inconsistencies and incongruencies. It will also help you be accurate if your setting has a seasonal component.
If you are dealing with time-travel, causality and paradoxes, considering time-lines is essential!
Hope this helps you with the writing of your series!
Meniscus: South from Sinthais FREE on Amazon (worldwide) for the next five days (June 1 to June 5).
Odymn wants the Slain to return his ‘aquisitions’ (a wolf-like Kotildi, a Grell-swallow chick, a beautiful human woman, a Dock-winder child and another genetically-enhanced Slain) to their homes. The Slain wants to try, to make Odymn happy, but the task might not be so easy!
The second book in the meniscus series is now available on Amazon, in Kindle and paperback formats! Meniscus: South from Sintha tells the continuing story of Odymn and the Slain.
On a planet where Humans are slaves, Odymn is free. Her companion, the Slain, was once a trader in sentient beings. Now, for love of Odymn, he has agreed to change his ways and to return his former captives to their homes. Together, he and Odymn travel the urban alleyways and wilderness woodlands of the Southern District of Prell-nan, risking everything. They must battle wild life, outsmart power-hungry Dock-winders and dodge the grasp of ruthless Gel-heads. But in spite of good intentions, will the Slain be able to right the wrongs of the past? Or will the consequences of his actions outweigh the good he and Odymn want to do?
In the second of the Meniscus series, South from Sintha tells the continuing story of Odymn and the Slain. Odymn loves her silent companion, but trying to help his former captives may be a challenge she did not anticipate.
You can try to mend the broken, to right the wrongs of the past, but sometimes you can`t go back.