By Deborah Kinnard
(I’m sorry for the late post. My internet connection has been down all day.)
“This way, then. Mind your step. These stairs are old, and not in the best repair.” From a pocket of her slacks, Sheila removed a huge cast-iron key and tried the lock. Jess expected the heavy iron-hinged door to creak in protest, but it swung open silently as if kept well-oiled. Sheila flipped a wall switch. “It’s not very well lit, either. We’ve neglected this part of the house. A pity, but family fortunes don’t grow on trees, do they?”
Jess followed her into a narrow passage that opened onto a large, high ceilinged room. Walls of the local gray stone formed bays along each side, with pointed arches framing doorways into other parts of the wing. A fireplace that could have cooked an entire ox took up one end of the room, its mantelpiece a narrow, angular funnel with carved corbels as trim. The roof beams, dim in the late afternoon light, appeared be hewn from tree trunks. Vagrant beams of sun slanted, dancing with dust motes, through narrow leaded glass windows. “Wonderful,” she breathed. “It’s the great hall, isn’t it?”
“Yes. The oldest remaining part. We think this range might have been a fortified manor house, but that portion’s long gone.”
“Those high windows look defensive.” Jess pointed. “Before they were glazed. And those squarish holes, up high on the wall? See the ones I mean? They could have held beams for a second story. That would be the solar, if this dates back as far as I suspect it does. ”
“My word,” Sheila said on a chuckle, “you are the genuine article, aren’t you?”
“I’ve lived and breathed the middle ages since I learned to read.” Jess turned three-sixty, taking it all in, breathing, getting the feel of the old hall deep into her bones. And yet the experience wasn’t entirely pleasant. Like a roller coaster—scary and exhilarating, and vaguely unnerving because it must end all too soon. “How can you bear to leave it unlived in? Not to use it?”
“Well, there’s a reason.” Sheila’s expression changed, took on a sorrowful air. “It looks long-abandoned because it was. Bertie’s ancestors had the money to restore it. They didn’t want to.”
She looked a question at her hostess. Sheila continued. “They feared the places in this wing where one can sense something.” The dog gave a fretful whine and Sheila reached to scratch her huge bristly head. “There now, Wenna. That’s the girl.”
The dog’s unease triggered Jess’s. “Something unpleasant?”
“Worse, I’m afraid. All these old piles have their ghost, their cold room—call it what you like. I almost think we English would be disappointed if they didn’t. As for Mossock’s, it’s no Victorian ghost. Ours goes back many generations. The tales Bertie’s grandmother threatened him with! That old harridan. She put fear into that boy, let me tell you. She warned him if he were rude, she’d let him spend some time in the old hall with the ‘Gray Lady.’” Sheila scratched the dog’s ears, making it sidle closer.
“What? Who was she?”
“Nobody now knows. But she’s called gray for good reason. Nobody’s ever actually seen an apparition, mind you. It’s more sensed than visualized. Those who report her presence call it an overwhelming feeling of displacement. As though she’s lost somehow, and grieves for someone. Yes, grief. Soul-deep and almost too much to bear.” Sheila’s eyes clouded and Jess wondered why, but in a second the look vanished. “According to legend, the Lady first appeared in the Trevorgas’ time. They held the manor in the sixteenth century. The Lady wouldn’t make herself known to just anyone. Only those of the family—and sensitives—could feel her.”
“Sensitives?”
“People like me, luv. And like you.”
“I’m not.” Jess took a step back. “There are no such people.”
“No, of course not. You’re a modern woman. Practical. Such stories are no more than rubbish, aren’t they? Feelings, impressions, these have no root in fact.”
Something motivated Jess to whisper, “And yet—I’ve always had the strongest possible desire to come here. To visit
“Yes.” Sheila sounded unsurprised. “You were called, maybe by the Lady herself. Maybe, in time, she will tell you why.”
A link clicked shut. “You spoke of passion, and how it’s not always easy.”
“I spoke on impulse, but it’s true. Even before you were stranded at Heathrow, I felt our paths would cross again.” She gave a grin almost impish. “My foolishness doesn’t always make sense, even to me. What your journey entails, I can’t say. But I do feel that in time, you’ll know.”
“God brought me here,” Jess said quietly.
“You’re a believer?”
“Yes.”
“Well, He has many mysterious ways,” Sheila replied. “Past finding out.” The dog gave a higher, more insistent whine. “But that’s a conversation for another day. Come, the old stables are out this way. Wenna wants to show you her new litter of puppies.”
* * *
Despite the “Gray Lady” and Sheila’s enigmatic words, Jess slept well that night. The disturbance of her inner clock meant that she snapped full awake at
The ocean muttered accompaniment below the cliffs. It waited to be explored, and she felt its pull as it beckoned. After a hasty shower, she pulled on jeans and a sweater—she’d already learned that here they were called jumpers—and went to make her own discovery of a Cornish morning.
Almost without intention, she strolled down the garden toward the ancient hall. All around her, wildflowers, colorful annuals and plants she didn’t recognize bloomed in a lush profusion of color and scent. Behind her, a premature sun crept over the horizon. This puzzled her until she remembered
Dew wet her sneakers from the thick grass near the old hall. Jess wished she’d brought her notebook to jot impressions as she strolled its perimeter. The architecture strongly reminded her of photos she’d seen. Mid- to late-thirteenth century, she calculated, not later. The long-and-short corner detail, the shape of the arched doorways, the slender semi-defensive window apertures—all these features shouted of its early date.
She stepped across the ruin of a stone wall to approach the hall more closely. Beyond one corner, a worn dirt path led to an area she hadn’t explored. Funny, how this path alone looked ungroomed, lacking the fastidious upkeep of Mossock’s other areas. Jess shook the dew off her sneakers and followed the dirt trail round the corner of the building.
Set exactly at the wall’s midpoint in the building lay an ironbound oak door. Smaller than the others, this door almost looked out of place. Jess tried the handle and it swung smoothly inward. She tiptoed in, afraid it might lead to an ancient privy or something equally uninviting. She looked around a cool stone corridor, as yet untouched by the warmth of morning. Faint, dust-laden dawn beams served as its only illumination. Though the passage obviously wasn’t often visited, it seemed tidy and maintained. Jess took a step away from the door.
Between one heartbeat and the next, the narrow hallway went cold. Mind-numbingly cold. Jess gasped and reached for support, her hand landing on the stones of the wall. She found it almost icy. No help here. The sensation lingered and deepened, and another overlay it.
Grief. A woman’s sorrow, too deep for tears.
She almost cried out, so overwhelming was the sensation. Around her something shifted and went dark. She felt consciousness ebb. Though she’d never felt faint in her life, the sensation was unmistakable. She sagged against the wall, both hands flat against it, searching for handholds the surface didn’t offer, afraid she’d go down.
She did not.
Instead, the blackness ebbed. Her head quit whirling and the wall stopped quivering. Her world righted itself into a normal Cornish early morning. Outside the open door she heard the birds’ random twittering. The impression of sorrow had fled, and the passageway’s cool was only the expected chill of a shaded stone building. Jess sighed. Wiping her clammy hands on her jeans, she strode back down the passage and out the door.
The man in the garden hadn’t been there a moment before. She stared, and the man stared back, his jaw hanging open. He looked a mess—tangled dark hair hanging onto the shoulders of a dirty loose shirt, slacks ending just below the knee, and bare, grimy feet. On his head sat a shapeless cap, looking like a chair cushion emptied of its stuffing. In his big, gnarled hands he pushed a crudely constructed wooden wheelbarrow with no sides. It overflowed with small wood and bare branches.
It cost nothing to be courteous. “Good morning,” Jess said.
The man jumped as if she’d thrown a rock at him. He gabbled something in a tongue she didn’t recognize, made a hasty sign of the Cross at his chest, dropped the barrow which dumped its contents, and ran.
She gaped after him. He ran as though he wouldn’t slow down ‘til
“Well!” she muttered, taken aback. It cost nothing to be polite, but apparently that small courtesy was beyond him.
Shaking her head, she rounded the building’s corner. And stopped dead in her tracks. Her heart sped up alarmingly and she thought again she might faint.
Mossock—the Mossock she’d slept in—wasn’t there.
In its place, she saw several ancient stone buildings attached to the great hall. Two-story ranges in the same architectural style straggled to the right, including a high, round tower with arrow-slits in place of windows. A single-story range off to the left backed onto wooden outbuildings with roofs of slate or thatch. The ruined stone wall over which she’d stepped had morphed into a wall higher than her head, enclosing a garden fragrant with herbs and undersized, richly aromatic roses. To her right, a horse stamped and blew through its nose in a wooden stable. The aroma of the stalls almost overwhelmed that of the garden.
She took another step forward, her heart hammering. Smoke rose lazily from the wooden outbuildings, carrying a scent of cooking food. Hens scratched, loose in the rutted yard. A rooster greeted both Jess and the morning in the usual way.
But this was not the morning that should be.
Again, I think the pace is good. There’s a good balance between description and action. And this twist at the end will push things forward nicely.
9 comments:
Paragraph 12: This gets off in to passive writing at a point where the reader will have a hard time believing the story. When you say “those who report her presence,” I can’t help but ask who these people are. Are the creditable? Perhaps they are drug addicts. I don’t know, but I have no reason to believe them. Instead, have Sheila give a personal account of experiencing the “Gray Lady.” Give details of the experience. Make sure there is a clear association between the Lady and the feeling. Perhaps Sheila was looking at the Lady’s picture. Perhaps she was sitting in a chair that was a favorite of the Lady when she felt an overwhelming feeling of grief. Then have Jess dismiss it as completely unbelievable.
Paragraph 17: Even in fantasy, the reader needs time to get used to the idea that the world in the book is different from the real world. The reader has just been presented with an idea that most people will not find believable. Having Jess validate this idea at this point will make people question her intelligence. Many people have a strong motivation to visit places without the calling a ghost. Let Sheila go on assuming that her being there is quite ordinary, but if the ghost called her then slowly start revealing that there may be something more than just a desire to see England. Let the reader suspect that it is the ghost before Sheila does. If Jess is a believer and it is God who brought her to this point then she should never suspect that the ghost is involved.
Paragraph 27: “premature sun” “This puzzled her until she remembered England lay at a higher latitude than Chicago.” I think I would just delete this. Differences in when the sun rises and sets is caused by many different things. The sun rises in St. Louis earlier than in Kansas City, because Kansas City is farther west even though they are near the same latitude. Terrain makes a difference as well. A person on the top of a mountain will see the sunrise sooner than someone in the valley.
Paragraph 28: “jot impressions” As a historian, Jess should be more interested in facts than impressions. As someone interested in architecture I would expect her to be interest more in the details of how the building looks. We might expect to see her with a camera or doing pencil drawings to record the architectural details of the building.
Paragraph 29: An ungroomed path is not unexpected at this point, since the reader was told that there is not enough money to keep some of Mossocks older rooms cared for.
Paragraph 31 and following: I like the timing on this ghost experience in the overall story. It comes at a time that in not completely unexpected, but when the reader is not looking for it. It might be improved by putting more emphasis on the grief and less on the cold. If a person suddenly feels cold, she will respond by shivering and wrapping her arms around herself for warmth. She may decide to go back the house for a jacket. She won’t be placing her hand on a stone wall, which she knows from experience is going to be even colder.
Paragraph 32: How do we know this is a woman’s sorrow? What makes a woman’s sorrow different from a man’s sorrow?
Paragraph 33: If you separate this paragraph from everything else, it appears that she is experiencing shock rather than sorrow. Intense sorrow comes over us suddenly, but it never shocks us. We tell ourselves that we don’t want it, but we hang onto it rather than pushing it aside. We don’t want to give ourselves permission to let it go. When it comes, we slip it on like and old comfortable shoe.
Paragraph 41 and following: It isn’t exactly clear at this point whether this is a ghost story, a vision or a magic portal type story, but I don’t think any reason for Jess to faint. Fainting is usually caused by fear, great pain, the sight of blood, etc. Most people in a strange place who round a corner and find a wall they don’t recognize and buildings they haven’t seen are going to assume that they took a wrong turn somewhere. I would expect her to retrace her steps (even if she only turns around to look), looking for the correct path, before she comes back to this place and realizes that she is looking at the right place, it has just changed. Depending on how long Jess is going to spend in this place, you will want to be careful about talking about her fear of being here. If she is afraid she won’t get back home then the readers will be too worried that she won’t make it back to want to explore this strange place.
Fascinating! Very well written, moved forward nicely, and a good twist at the end. Now I'm really intrigued. :)
Tim, I'll answer some of your concerns about both this excerpt and the previous one.
The impression of driverless cars comes from my own experience in the U.K. On our first trip, we decided we could handle driving on the left without any problem (!) so we hired a car and took off, right off the plane. I've never been so unnerved and tense in my life. And the cars, to me and my party, DID look driverless...in the U.S., you look at the left side of the car through instinct. It was a thoughtless thing, to glance inside an oncoming car for the driver, and see none in the expected place.
The sunrise/sunset thing comes also from personal observation. In Cornwall in midsummer, it stays light until almost 10 PM, and the birds start their predawn greeting closer to 4 AM than 5. I'm just extrapolating from personal experience.
I'll look for the other items you mentioned, also.
Thanks, everyone, for commenting!
It was the last section of the previous posting and this one that really got me interested.
I wonder if the pacing could be sped up in the first section. And add some flavor of what is to come. I had no idea we'd be reading a time-travel novel, which I find intriguing. Maybe have the woman hint while they're still on the plane about knowing Jess will be going home with her. More strange looks or oddness with meeting the family. Like a, "Oh, she's here finally, is she?" Keep me off balance from the beginning instead of presenting a normal young-woman-comes-to-a-new-understanding-of-herself-by-traveling story.
Of course the back cover copy and a GREAT cover would clue me in, but we don't have that advantage yet.
I really enjoy your writing style, Deb! Great visuals. I want to see more.
The only things I see are...
1) the repetition of "it cost nothing to be courteous"--once, that's a good phrase. Twice, it sticks out.
2) You have Jess mention that she'd never felt faint in her life, but before this reference, it seems to me, there are at least a couple of references that would indicate otherwise. Watch out for having a person feel one thing in one chapter, and then a chapter later relate that they've never encountered that sensation in their lives. :-)
As far as some of the other comments go, I have to take issue with a couple.
I have no problem relating that the sorrow she feels is a woman's sorrow--so to me, the question "How do we know it's a woman's?" is irrelevant. We know because we're in deep POV here and the heroine knows it. That's good enough for a reader.
You could say a word or two about HOW Jessica knows this is a woman's sorrow, but it should be bare minimum explanation--a word or two, a sensation or two. Otherwise, we run a strong risk of violating deep POV and verging into "telling," and this whole thing is written so beautifully in deep POV that we don't want to wreck that.
As far as her having a notebook to record "impressions" rather than "facts"? She may be a historian, but her first knowledge of a place isn't going to come from ascertaining facts. It's going to be experiential. That's in fact the reason she's HERE. To EXPERIENCE the place where the historical facts took place. This is a passion, this is something of a dream come true, so it's going to be "impressions" she's into, not "facts." And that's as it should be.
Knowing several professional academicians, researchers, and the like, I can't imagine any of them going to a place like this and thinking, "I wish I had a notebook to record some facts right now." They'd be thinking, "I wish I had a notebook to jot down what I'm feeling and experiencing right now. It's better than any textbook could be." :-) I do like the idea that she could be sketching or the like, but "jot down impressions" covers all that without bogging us down in excessive detail. There's a delicate balance here, as there is in all historical/time travel fiction, between richness of detail and clogging up the story by stopping too many times to show us every little thing. This excerpt, to me, already strikes the balance slightly toward "moving story along," and therefore, it succeeds. If it puts in too many more details and insists on clarifying everything, it risks the danger, once again, of getting out of deep POV and into the realm of "this is what my research showed me would be here." That's author intrusion, and it'll stop a story cold, so you want to avoid it as much as possible.
My take--and does anyone else here realize just how ridiculously GOOD this is on a first draft????
Janny
I do, Janny! I do!!
Being waist deep in a tough first draft myself right now, I've been very impressed with this first draft. That's why my comments have been so few. Sure, I've noticed a tiny thing here and there, but not worth mentioning.
I applaud Deb. And I'm buying this book when it comes out. If the first draft reads like this, the final will be excellent.
Janny,
I was just stating my "impressions", but let me clarify why I stated what I did.
My problem with saying that it is a “woman’s sorrow” is because I have never experienced a woman’s sorrow and when I start trying to guess what the author means I am left with more questions than answers. Does Jess suddenly feel sorrowful for losing a husband?, losing a child? Not finding a pair of jeans on the sales rack at Sears? I don’t know anything except it is apparently something that men don’t care about.
Concerning impressions vs. facts, I am not saying that a historian would not gain her knowledge from experiencing the place, what I am saying is that her experience will tend to focus more on facts than impressions. Instead of thinking, that section looks funny because it doesn’t match the rest of the house (impression) she would probably think that section is made from a different kind of stone, so it was probably built after this other section (fact that needs looking into). She would probably take a picture of the section, the stone, etc. so that she can research why the stones they uses are a different color, smaller, courser, etc. (facts) Instead of staying "I wish I had a notebook to record some facts right now," a better statement would be “I wish I had a notebook to record my observations.” Historians tend to be more into observation than forming impressions and yes, a lot of them will fill notebooks full of facts, like when the house for built, how many additions there are, who lived in the house, how many rooms there are, where the stone came from, etc.
Tim, we'll have to agree to disagree about some of this. Jessica is a historian by career-choice, true, but as Sheila already pointed out, she's far from being a totally analytical type...she's a sensitive. They respond differently to stimuli than "just the facts" people do. And this is how she knows the sorrow is a woman's. In second draft I may flesh these things out a bit more--or I may leave a bit of mystery in these early passages. Such things make for a stronger story in its entirety, don't you think?
A person's career choice can can say a lot about what is important to that person, what that person enjoys and how that person looks at the world. While stepping away from the stereotype can make a character more interesting, the reader needs to be able to see how that makes the character different. Perhaps being sensitive means that she is able to sense that another person is having a bad day, when others can't. Having Jessica stop and take the time to give one of the minor characters some encouragement will help to show that this is more than just an ability to sense ghosts.
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