Edit Your Writing For Clean Impulse-Development

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Editing For Clean Impulses

I cleaned off some emasculating incest energy, some spiritual possession shit, off one of my leading men during rehearsals for a show. He loved my guts ever after, and wanted to be best buds with manly kissing rights. He was a sweet and naive kiddo; he married soon after, and has not, I think, experimented with homosexuality since then. (If you were curious, I kept his greedy mitts off me, which he found infuriating.)

Editing Is Careful Work

Every time you write down any kind of thought, or description, or line of dialogue, your energy soaks into the writing, and imbues the phrases with a particular branding of emotion.

If your emotional packages build cleanly and organically, then the story flows, has excellent pace, and brings emotional satiety to the reader.

On The Other Hand . . .

If the impulse chains are broken, and the phrases are interrupted with wild, incoherent energy changes (which happens in most editing work, to be honest), the story becomes a mass of difficult-to-follow feel-nothing thoughts.

Was that paragraph confusing? Good.

The Editing Advice:

Now, how do you dig apart an organic energy chain? Take a piece of a clean draft, like so:

She had grown up near horses, when she had been a child in the far west, and though she had not been a horse trader herself, she was fond of the people who worked with horses. Horses reminded her of the time she had been free, before she had left her family, before she had been sold as a slave to the Eastern lands.

And Now, The Wrong Way

Now, here is some terrible editing that irretrievable disrupts the chain of impulses contained in that work:

The sweet child had grown up near many four-legged beasts. some of them horses, when she had been a little one in the farther west, beyond the oasis but not so far as the wilder places. Though she had never been closely associated with any horse trading families, or with those folk who bred and trained the riding and harness beasts used in those lands, she was still sentimental, and incredibly fond of anyone who worked with horses for their daily bread. Horses reminded her of the time she had been free, long, long ago, before she had left her poor family, and before she had been sold like a bundle of goods into the house of an Eastern merchant, to do his bidding and have no will of her own.

That was a shitty, painful piece of prose, wouldn’t you say? Unbearable.

And The Right Way

Now, by contrast, here is the same piece, edited with an eye to preserving the original impulse chain:

She had grown up near horses, when she had been a child in the far west, and though she had not been a horse trader herself, she was fond of the people who worked with horses. Horses reminded her of the time she had been free, before she had left her family, and before she had been sold as a slave to the Eastern lands.

If you look, there is only one word added. Of course, many paragraphs will need more adjustment than this, but for this particular chain of thoughts, one small correction is all that’s needed.

But Victor, My Writing Needs More!

What if your impulses are tangled before you started writing in the first place?

If you are like my wild stud-actor, the one who carried incest packages from his bitch mum, and who wanted to get in my pants more than anything in the world, you might be carrying impulse chains that scare you.

Victor, You’re Unbearably Conceited

Because, you see, when you were a tender thing, people touched your skin, and some of them were evil. The people were, I mean. When evil people hold a child’s hand, or tie their shoe, sometimes ugly energy soaks into the child’s skin. Children are incredibly absorbent, and are developmentally and psychologically designed to purge bad energy off their parents, in order to get grounding, rooted energy in their souls.

That’s Why Kids Love Unconditionally, At First

The part that’s important for today is that when you were a little kid, you picked up energy from people that was dangerous, and much of that energy is still tucked inside your aura.

So What Happens To That Energy?

When you write a genuine impulse chain, those dark energies loosen, and start to come free. You start, if you write what you really want to write, to chronicle frightening things.

In the process, the bad energy works free, and passes through your skin.

Yogis Call These Packages ‘Samskaras’

In an attempt to keep away from scary things, the vast majority of humans who write repress all their natural impulses, and write like frigid nuns.

And Now, The Editing Lesson

When you write, remember that you are, whether you try to or not, and whether you notice or not, writing down an unbroken chain of organic impulses, all in a row.

When you edit, remember that some of those impulses are foreign, evil, and genuinely frightening. If you edit them out, or away, or soften them, your work will suffer.

Many Of Them Don’t Come From You

If you try to heighten the effect of these foreign impulses, to make them seem more than they are, the work will suffer, and taste sour.

In Conclusion

Acceptance of the current state of affairs in your natural soul, and therefore, in your writing, is a good way to take a step towards cleaner work.

You’re reading Victor Poole. I’ve never written my little actor into a book. There is a whole lot of metaphorical coupling in this series, which I bet you are not patient enough to read. : P


There’s A Delay For My Next Book

So The Second Queen was supposed to come out last month, but my editor, bless his heart, had an epiphany, and metaphorically flung the book across the room, and now we’re into thematic rewrites.

Plus, it turns out I forgot to write in some sex that should have been there the first time around.

Ah, experience, you great teacher, will you ever cease to pummel me between the eyes?

In other news, here’s a rough mock-up I’m working on for Ethan and Mary.


last cyborg final

You’re reading Victor Poole. Don’t worry, the sex will be worth the wait, and by the way, Philas wants everyone to know that he’s decided to be in love with Ajalia after all. I wonder how his wife will react to this news. Happy Wednesday, internet-kin.

Splitting Natural Wholes To Create Magnetic Pairs

3and another one

Writing romance is easy when you begin with a whole energy, split it in two, and create of each part a character who naturally longs to reunite with their other half. (The drawing is a study of someone’s horse sculpture.)

Begin With A Whole, Balanced

You start with one being, a complete circle, and fracture it. For example, let’s begin with the perfect matching pair shown in Romeo and Juliet.

From The Balcony:

JULIET. I will not faile, ’tis twenty yeares till then,
I haue forgot why I did call thee backe.

ROMEO. Let me stand here till thou remember it.

JULIET. I shall forget, to haue thee still stand there,
Remembring how I Loue thy company.

ROMEO. And Ile still stay, to haue thee still forget,
Forgetting any other home but this.

And Then, With The Pieces

As soon as you’ve beaten your natural whole into parts, you separate them and begin the story. This creates built-in romance, because the base-line impulse of a fractured energy is to reunite with its other parts.


Fractured parts reunited creates a comedy; fractured parts sundered makes a tragedy. Romeo and Juliet is both a comedy (first half) and a tragedy (last half), because the two parts are joined and then parted.

Tension And Conflict Abound

If you ever stopped to reflect on the fecund possibilities for dramatic tension in lovers separated by trial and torment, you may have noticed an existential element to the longings experienced by both parts of the pairing. This occurs because a part of a whole, when isolated, begins to reflect on the meaning of life, and to wonder if existence, alone, is tenable.

After The Street-Fight:

JULIET. Take vp those Cordes, poore ropes you are beguil’d,
Both you and I for Romeo is exild:
He made you for a high-way to my bed,
But I a Maid, die Maiden widowed.
Come Cord, come Nurse, Ile to my wedding bed,
And death not Romeo, take my Maiden head.

And Now, For Our Purposes

How, might you ask, can I apply the principle of the split organic whole to my science fiction? Observe:

Two Distinct Personalities; No Romance:

Halbert and his girlfriend Xusa had been separated for many months in the starry byways; when they met at last on the deck of the luxury cruiser Hal-po-cxthe for their ten-year anniversary, neither could shake the feeling that this was as good as life could possibly get.

Xusa had a shining Ximosa in her hand, Halbert wore his thinnest tie, and the two of them watched the waltzing clockwork bears with peace in their hearts and love in their minds.

In the back of Halbert’s pocket was tucked an invisible Ring of Bonding; he had hidden it there in the morning, and he had yet to work up the courage to pull it out and press the Visibility switch. His throat was dry, and he ordered a SunSchotch to brace for the great moment.

Split Halves Of One Whole; Romance:

Halbert waited at the entrance to the concourse of the plaza, his fingers gripped around the invisible ring. He would give it to her, and she would be his; he had rehearsed this moment in his mind every moment since they had parted four years ago.

Xusa, for her part, had spent fifteen hours ransacking the Yeclian market for the jacket she now wore slung around her shoulders, and her knees were shaking so badly she had switched her hover-heels for plain flat shoes.

He won’t recognize me, she thought for the millionth time as she entered the wide stairs to the plaza. She felt so faint and hurried that she nearly walked out, but the thought of his shining bald head, and the glint that she knew would be in his eye, gave her courage, and she stared at the flagstones and walked in a straight line to the empty fountain.

And, In Conclusion

If you take a natural whole, fragment it, and assign the parts to lovers, your work will have a magnetic impulse that fires the blood and imagination of your reader.

You’re reading Victor Poole. The sculpture I drew can be found here. Editing on my novel is going spectacularly well.

You’re Not Getting Nearly Enough Out Of Your Existing Characters (And This Is Why)

horse practice2

Guys, Pinterest has some great resources for studying anatomy. I’m working on shoulders and hands right now. I’m like a has-been that never fully was. Oh well. Anyway, today I want to talk about how to dredge more juice out of your characters.

An odd thing happens when you have a familiar character about whom you write; you both know them well enough to feel cozy writing them, and frustratingly distant enough to be unable to force them to do what you need them to do in the story. (Kinda like when you’re the boss, and your underlings are stubbornly and slipperily evasive, instead of tractable and easy to command.)

I’ve heard people talk fondly about stubborn characters before; to me, they are nuts asking to be smashed open with a hammer. See, below:

An Uncracked Fellow:

Vince aligned the sights along the barrel of his ZQ-Bombast rifle (limited edition chrome) and waited for the fallow-parling to stand up from its nest. He fired, and the alien shrieked and crumpled out of sight. Vince slung the rifle over his shoulder and hoisted himself up the trunk of the F-aklen tree, which had oddly-curved rocks embedded in the bark.

He reached the nest and glared down at the bleeding parling; it was a female, and half her left shoulder was blown open. Vince dug for a bend-chip in his belt and knelt over the crying parling. She beat at him with her right palm, but her limbs were weak, and he pinned her and slid the chip into the opening under her skull. Her cries morphed slowly into words.

“Foolish ugly man-child,” she complained, “and after the season, you’ll be hunted by my brothers! They will strip out your lungs and use them as toys for our bargels!”

“That’s as may be, but I want your bones,” Vince said. She breathed in sharply, and her body grew still. Vince smiled at her, and pink tears sprung into her eyes.

“Mama!” she shrilled, her voice echoing through the copse with a ringing jangle.

“They can’t understand you anymore, darling,” Vince said. He pulled a leather belt out of his bag, and bound up the parling’s shoulder until the skin pinched white.

“No, no!” she screamed. “You must not take my wings.”

“Only your arm, lovey,” Vince soothed. “It’s hardly anything you’ll miss.”

“Mama, save me!” she howled, as he pinned her neck under his knee and unfolded his lapse-saw.

What An Unsavory, Uncracked Nut!

Here we see Vince wrecking mayhem on a winged lady on the planet Vhuar, and he seems quite a villain (from the perspective of the parling).

Now, if we tell Vince to let the lady go, he will laugh in our teeth and take her leg just to show that he cannot be controlled.

My Word, Victor, You’re Violent!

I won’t crack him in this scene; this would necessitate the addition of a third character.

We shall take him in a later scene, after he has obtained his ill-gained parling bones and is in the process of selling them on the Obloogo black market. We find Vince meeting with a new character, Hole.

Hole shall serve as our metaphorical hammer, and I shall bring him down resoundingly upon the unsuspecting Vince. See, below:

Vince, Smashed Into Docility:

Vince threw the black bag onto the table; the delicate objects within made a musical jangle.

“How many?” said a deep voice from the shadows.

“Five pieces,” Vince said. His eyes combed through the darkness; he could not see Hole, but he knew the ugly man was there.

“What kind?”

“Three arms, one leg, and a whole tail extension,” Vince said. He folded his arms; his Perso-fin pistol made a snug bump against his left hip. “All female, and pure through,” he said.

“They’ve been asking for the male bones particularly,” Hole said, coming into the light and lifting the bag. “Harder to fetch in the males,” he added, glancing up with a smile.

“I’ve no interest in killing,” Vince said.

“But at maiming, you excel,” Hole mused. He lifted an exquisite golden bone from the bag. “How did you clean them?” he asked.

“Trade secret,” Vince said at once. Hole fixed him with a beady eye, and snorted.

“I told Crikey you’d come in soon,” the hideous man said, as if offering a pleasantry. Vince’s shoulders drew together, and his palm twisted towards his gun. “It won’t work in here, my friend,” Hole remarked. He nodded at the pistol, which was disguised as a utilitarian flashlight. “These are wonderful, all of them. I’ll take the lot, and in exchange, I won’t kill you for Crikey,” Hole said. Vince launched himself forward, and smashed against a translucent force field. “Oh, these are new,” Hole said with a smile. He pointed at the ceiling, where a hint of green illuminated the boundaries of a square. “Thank you for the bones,” he added, dropping the delicate pieces back into the bag.

“He’ll kill me!” Vince shouted. His eyes had gone wild, and a peculiar, animal-like fear was in his whole body. Hole paused over the table, and took in the vivid terror in Vince.

“Yes, I think you’re right. But I’ve been promised a great deal of work out of you first,” Hole replied. “Rumor has it, Crikey is going to train you as a retrieval hound, and send you out hunting.”

“Hole!” Vince shrieked, throwing himself at the invisible barrier. It held like iron beneath his blows, and Hole chuckled as he turned away.

“I’m sure you’ll look very handsome as a hybrid,” the ugly man called.

Ha! Now He Is In Nutty Fragments

The key to breaking down a recalcitrant character is to force him (or her) up against the most formative, purely-instinctual fears in his physical being. Once your man (or woman, or thing) is in emotional shambles, you can build a great story around them, and use them without any holding back or irritating unwillingness on their part.

May you have much luck in your own smashing endeavors!

You’re reading a blog about writing by Victor Poole. My books are here. I’m about to fry some homemade burgers, with cheese and pickles on top.

Petty Relationships


I always feel as if I’m behind, and trying unsuccessfully to catch up. Sometimes I resign myself to the fate of the ever-behind, and sometimes I try to convince myself that all is humming peacefully along. I suppose the evaluatory criteria are so subjective as to be ultimately meaningless.

Today I’d like to talk about the petty relationships that can contribute to great characterization.

Rules For Petty Relationships

  1. The relationship must subsist on a mostly-unconscious emotional exchange.
  2. One half of the partnership has to be poor.
  3. A romantic interest must form conflict between the two halves.
  4. The relationship must be comprised of the same gender/orientation.

An Experiment

First, I’ll write a plain and unadorned pair-bond between two characters. I will then add, one by one, the qualifiers above, and you can judge for yourself the alteration in the resultant prose.

Plain Pair-Bond (Incorporating by Default Rule 4):

Otso and Benm carried their sticks over the mountain and searched for blue and green stones along the way. Benm claimed to have learned the secret of shaping the rocks, which he said were called mountain teeth, into razor points.

“We’ll affix them to our rods, and then we’ll be able to fight the groundlings in the caves below the lake,” he said.

“I don’t think we’ll find any of those stones,” Otso said doubtfully. He enjoyed carrying his stick, which he scraped in the failing light of the evenings until it was smooth and bright.

Plus Rule 1 (Addition of an Emotional Exchange):

“See if you can find any blue rocks,” Benm said. He walked far ahead of Otso, the two long sticks balanced over his shoulders. “I’ll make us spear tips out of them, if we can get any.”

“We’re not going to find blue rocks out here,” Otso called. He looked down anyway, and watched carefully over the mountainside as he rode their sickly pack mule.

“My grandfather taught me how to sharpen the rocks. Green ones would be all right, too,” Benm said. He rolled the wooden rods against his neck and studied Otso. “He called them mountain teeth.”

“All the rocks here are gray,” Otso called. Benm sniffed, and looked out over the expanse of mist below them.

“If we have spears, we’ll be able to fight and have adventures down there,” he said.

“You don’t know how to fight,” Otso mumbled under his breath. He kept his eyes fixed on the passing ground, which was uniformly gray and dull.

And Now, Rule 2! (One is Poor):

“See if you can find any blue rocks,” Benm said. He walked far ahead of Otso, the two long sticks balanced over his shoulders, his fitted jacket snug around his waist. “I’ll make us spear tips out of them, if we can get any.”

“We’re not going to find blue rocks out here,” Otso called, his own ragged cloak wrapped close against his body. He looked down anyway, and watched carefully over the mountainside as he rode the sickly pack mule. He kept his bare feet snug against her warm and fuzzy sides.

“My grandfather taught me how to sharpen the rocks. Green ones would be all right, too,” Benm said. He rolled the wooden rods against his neck and turned to face his friend. Benm’s supple leather boots made regular crunches on the slate as he paced backwards up the slope and studied Otso. “My grandfather called the stones mountain teeth.”

“All the rocks here are gray,” Otso called. He pulled his threadbare cloak more closely around his arms, and hugged his legs against the mule. Benm sniffed, and tuned to look out over the expanse of mist below them.

“If we build spears, we’ll be able to fight and have adventures down there,” he said.

“We don’t know how to fight,” Otso mumbled under his breath. He kept his eyes fixed on the passing ground, which was uniformly gray and dull. No hint of blue or green showed between the shattered stone. Otso tightened his grip on the coarse reins, and stared up at the mountain.

Throw in Rule 3, a Romantic Competition:

“See if you can find any blue rocks,” Benm said. He walked far ahead of Otso, the two long sticks balanced over his shoulders, his fitted jacket snug around his waist. “I’ll make us spear tips out of them, if we can get any. Marli would like that. She likes weapons.” Benm stretched his arms, and rolled his shoulders. Otso’s ears burned red at the mention of the tavern-maid.

“We’re not going to find blue rocks out here,” Otso called, his own ragged cloak wrapped close against his body. Marli had noticed his bad clothes, he was sure. If he found rare stones, Otso thought, he could sell or trade them for a better cloak, and shoes. He looked down and watched carefully over the mountainside as he rode the sickly pack mule. He kept his bare feet snug against her warm and fuzzy sides.

“My grandfather taught me how to sharpen the rocks. Tell me if you see a green one,” Benm said. He pretended to strike an enemy in the air, and let out an extravagant sigh. He rolled the wooden rods against his neck and turned to face his friend, his supple leather boots making regular crunches on the slate as he paced backwards on the slope. “My grandfather called the stones mountain teeth. I bet Marli would find that interesting.”

“All the rocks here are gray,” Otso called. He thought Marli would find colored stone fascinating, but he wasn’t going to say so to Benm. He pulled his threadbare cloak more closely around his arms, and hugged his legs against the mule. Marli likes me better, he told himself. Ahead on the slope, Benm sniffed, and tuned to look out over the expanse of mist below them.

“If we build spears, we’ll be able to fight and have adventures down there,” he said. Otso was sure Benm was thinking of how Marli would react to tales of their battles.

“We don’t know how to fight,” Otso mumbled under his breath, but he was thinking of Marli’s brown eyes, and the way her cheeks flushed when she was excited. He kept his eyes fixed on the passing ground, which was uniformly gray and dull. No hint of blue or green showed between the shattered stone. Otso sighed; he tightened his grip on the coarse reins, and stared up at the mountain peak.

I Would Call That A Resounding Success

Well, I wrote the damn thing, and I didn’t expect it to turn out that well. Let this be a lesson to me, then. I would like to add here that I think I write rather well. No qualifiers.

A Recap

Great characterizations are often founded on fundamentally petty relationships. The rules (that I just made up) for constructing such a pair-bond are as follows:

  • The relationship must subsist on a mostly-unconscious emotional exchange.
  • One half of the partnership has to be poor.
  • A romantic interest must form conflict between the two halves.
  • The relationship must be comprised of the same gender/orientation

May your own relationally-joined characters find a satisfying base of transferred emotion, economic disparity, and competitive love.

You’re reading Victor Poole. My books are here. I have a lot of editing to get through this week.

Why Your Point Of View Needs A Subterranean Motive

Caleb NEW

This is a cover I’m designing for an update to my sci-fi thriller, My Name is Caleb; I am Dead. I got a great review for the book from Taylor Morrison, and I’m softening up towards commercialism in my cover designs. I wanted to fully embrace commercial appeal from day one, but I didn’t know how. I am approaching market viability one step at a time.

I didn’t realize that I’d neglected to update the interior of the book with Vellum, so that’s also in the works.

In Other News

The ‘a’ key on my laptop has worked loose, and refuses to adhere properly to the little hook parts underneath. I am training myself to type gently over the key so that it doesn’t pop off with every vigorous ‘a’ stroke.

Funnily enough, this quirk has made me grow fonder of my laptop. I have one of the MacBook Air laptops with the shredding power cords. I was patching it diligently with electrical tape, but my beloved spouse, observing the sticky and disintegrating cord, carried me forcibly to the Apple store and bought me a new one.

Now, Ulterior Motives For Point Of View

Your novel is necessarily written from one point of view or another; I tend to favor third person omniscient, but there are many kinds of point of view, and they are all good for achieving different effects. What we are talking about today is the message relayed by the style of point of view. What are you telling your readers, subtly, about the overall meaning of the story?

Every book relays a conglomerate of messages; the most long-lasting and impactful communication is that portrayed by the overall implications of the point of view. We’ll look now at some broad examples, to give you an idea of what I mean.

Leo Tolstoy

Tolstoy’s Anna Karenina is (mostly) written from a bemused, factual third-person omniscient point of view that gives the novel as a whole a sense of inevitable absurdity and reverence; the novel mourns for, judges, and prods acerbic fun at the characters.

Agatha Christie

Christie’s The Murder of Roger Ackroyd, on the other hand, embraces a first person, past tense point of view, which turns out wonderfully in the final chapters when you find out the doctor’s been (spoiler, spoiler, spoiler). In this book, the subterranean message is one of deceit, danger, and false jollity. The book would lose much of its marvelously eerie, suspenseful quality without this point of view. The underlying message, that of the intensely personal and permanent nature of homicide, makes the scenes excessively memorable.

Victor Hugo

One more example is The Hunchback of Notre Dame. If you haven’t read the unabridged novel, you’ve missed most of the point of the book, which is a third person omniscient impassioned ode to the architecture of Paris. Quasimodo, Esmeralda, and the emotionally impoverished Frollo are incidental to the main story, which is a very long and loving treatment of the city. This point of view creates a backdrop against which the characters move like miniatures picked out against an expansive landscape.

What Does Your Point Of View Say?

Books that have no second or third meaning, and that do not contain an overt message about life, art, and humanity, are books that do not last. The best and surest way to convey such a message is like this:


Message: Life is hard, and people are corrupt inside.

Point of View: First person, present tense

I’m getting ahead of myself. I started to tell you about the day that I died. It was an afternoon, of course, broad daylight. Not at all the sort of scene you imagine, when you picture yourself dying suddenly. I always thought I would go in a car accident, if I died early. I hadn’t even found a girlfriend. It was incredibly ironic. I’d gotten away from my parents, I had a house that I almost owned, and I was current on my taxes. Plus, I’d just gotten a raise at work, and my boss liked me. I thought it was one of the best days of my life. Well, I wasn’t thinking right at that moment, this is the best day of my life, but I did have that feeling of something really great starting. I felt like I had been digging my way out of a deep hole, and I’d finally reached the surface and started to make some kind of genuine progress, and then Bam! Dead. Heart failure, or something. You don’t really find out, when you die like that, and are taken up right away. You don’t find out what it was that killed you. I suppose most people do some sort of hovering deal, you know, their soul hanging around over their corpse for a few days before they figure out that it’s time to move on. I would’ve found out what killed me, if that’d happened, because the ambulance would have come, and the people would have said to each other what killed me.

This is a passage from a book I’m writing about a young man who is enslaved by a goddess, and made to act as an undead guardian to humanity. This example is tricky, because it almost reads as first person past tense, but it is technically present tense, as Paul is speaking in the moment and telling the story.

I think I need to talk myself down from trickiness. I am apt to be too complex. In the meantime, here is another example:

Message: People are good inside, and honesty always pays off.

Point of View: Third person, past tense

Going inside the castle, she rummaged in the junk room until she located a putty knife. She took it out to the front steps and began scraping the wall until she hit smooth stone.

“Much better,” the princess said. The blackened goop peeled away in reams of thick, greasy sludge that dripped and seemed almost alive.

“No, no, please, oh please, no,” groaned the voice from the door. “Not my beautiful lovely sludge! I have been cultivating that sludge for decades, and now you mean to peel away my protective skin with a putty knife? What kind of a princess are you?”

“A cleaning princess,” she said, and got to work with the putty knife. After a few minutes she had cleared a sizable chunk on the wall, and she retrieved her rag, rinsed it clean, and scrubbed the stone. “That’s more like it,” she said, as she saw clean, bright white stone emerge.

And Now, For Contrast, A Terrible One

Before I jump into the bad example, remember that when you choose no message, your message is chosen for you by your psychological precedents. A message will be conveyed, whether or not you formulate one. Is it not better, particularly in the realm of art, to make a choice, and control the emotional outcome as far as you are able?

Bad Writing:

Message: I’m a super cool storyteller, and my readers love me!

Point of View: Psh! I don’t need a point of view! I’m a genius!

The house was dark; she held the phone against her chest, waiting until the time arrived. I knew he would come for me, even though there wasn’t any light to see by.

I’m outside the house, and there are no friends with me this time. I’m going to get that magical necklace she’s got. I don’t know where she got it from. It’ll be mine soon.

Her heart beats, and her knees shake. She doesn’t want to open her eyes.

I open the door. Then I realize I can’t, because it’s locked.

I hear the doorknob jiggle. My opening eyes take in the light from the desktop alarm, and the modem blinks. They aren’t afraid. Not like I am.

He goes to the window, and tries the casing.

Today’s Takeaway

The point of view that you choose inevitably creates a rhetorical framework, and determines the most lasting impression your story will leave on the reader. For example, in my very long and gradual fantasy series, the point of view is third omniscient, past tense, and the framework, the purpose of the novel and the overall message is about sex. Ajalia starts out as a severely-traumatized woman, and the whole impetus of the nine books, the through-line, is her sexual development. The moment she can get busy with Delmar, the story ends, because the point of the story is that sexual trauma is real, lasting, and possible to work through and heal from.

Well, Victor!

I’ve said this before, but I used to work every day with actors, and I found that every single one of them (yes, really) had severe energy blocks through the pelvic cradle. They could not bring their true selves onto the stage, and they could not mate. Their creative selves were almost completely obliterated. More to the point, they were incapable of love.

What Do You Mean, Incapable Of Love?

This problem fascinated me. I chose a female protagonist (Ajalia), because the damage in the women was incredibly worse than than in the men, and I framed the series as a practical exercise in releasing and integrating pelvic trauma. I gave Ajalia a perfect energy match (Delmar), and I went to work on their bodies.

The book unfolds slowly, and gently, because opening and integrating the pelvic cradle is delicate work, and it is dangerous. The characters heal, one piece at a time, and the series ends with a satisfying fade out on the wholly-integrated Delmar and Ajalia about to finally have sex.

The Ultimate Fade-To-Black

There’s a good deal of kissing, and even more talking, but the purpose, the sole motivating factor in the series, is real sex. By real sex, I mean sex in which both partners are whole, complete, and volitional in the practice.

The next time I produce a show, and I end up with three young women sitting forlornly in my living room and asking me to teach them how to date, I will be ready. And the next time I have a probably-gay actor following me around like an abandoned puppy, I shall have something more useful to offer him (because I cannot adopt the whole world, or my entire cast).

And Yes, Actors Have Tried To Move In With Me

The biggest obstacle in the past has been time; I can heal individuals, but the work often takes weeks, if not months, and everything moves like sludge because the subject has to understand what is happening in order to maintain the new energy forms after I’m out of the picture.

Because If Healing Doesn’t Last, It Does More Harm Than Good

Therefore, I wrote an extended analogy. If I meet an actor who is damaged, and longing for more, I can hand off a tidy pile of novels, and then have a ready lexicon for the eventual dialogue and individual work to follow.

This type of thinking may appear ludicrously long-term to some of you; I don’t know, maybe it doesn’t. I am satisfied with all of my preliminary trials of the novels; they appear to function as I intended them to. You, of course, are welcome to try them out yourself, but be warned that they are rather long, and will make a lot of anger and heat rise through your physical shell. Releasing old injuries often manifests as sudden rage, or as a fever.

You’re reading Victor Poole. Don’t buy Caleb until I’ve updated it, okay? And many thanks to Taylor, who took the time to read and review my science fiction novel!

Totally Off-Topic Today


So I was raised to pretend that I had no emotion. Lately, because of yoga and therapy, my emotions are surfacing, and I am all out of sorts. I don’t want to have any emotions, because the mentally ill people that I knew for most of my life prey on people who have feelings. My main protective measure was to not have any. Of course, I had emotion all the time, but it was buried pretty deep.

Too Many Feelings

Therefore, my life currently sucks. Because all the violent feelings of sadness and anger and weird, inexplicable happiness go surging about, and I don’t feel very safe when I have emotions.

Hopefully You Have Nice Parents

I keep telling myself I’m never going to tell stories about my unfortunate beginnings, but then I get stuck, and what, after all, is the point of a personal blog if you cannot, from time to time, talk endlessly about yourself?

But Victor, It’s A Writing Blog!

Yeah, that’s what I told myself this morning. It seems I did not listen to myself. My brain is circling over and around my past, and I am thinking of ways my stories reflect my early trauma. I have weird superpowers, because my parents wanted to kill me, but didn’t have the guts for prison, so they tried to get my violent brother to snuff me, but he only wanted money and attention from my parents (neither of which he would have gotten in juvie or prison, so that never worked out the way my mom wanted), so he just made unfortunate accidents happen around me from time to time. I had a lot of fake-accidental baseballs to the face in my early years.

Oddly, My Parents Really Liked Me

It took me a long time to put together that they wanted me dead. My mother, you see, really wants to hold court over a funeral for one of her kids before she gets dementia. She’s pretty sure to get it, since her mother had it, and she’s been laying plans for the plausibility of such a condition developing at strangely convenient times.

I Was The Most Useful Kid

My mother saw me as the most expendable of the children, because my father was obsessed with me, and because I didn’t complain very much about pain. She tried, more than once, to get me into unnecessary surgery as a child, because she has a thing about doctors, and she also really likes playing at the personality-disordered version of Florence Nightingale. Unfortunately for her, and luckily for me, I am a sturdy person, and she couldn’t justify the expense when my body kept healing from the minor injuries she wanted operations on.

And They’re Too Poor For Optional Medicine

I have several brothers, but most of them don’t speak to my mother anymore. They pretend she doesn’t exist. The strangest thing about my experiences is that only another person who grew up around severely disordered individuals would believe that what happened to me was real. We have ideas, socially, about what grossly abusive families look like, and most of those ideas aren’t accurate, at least for me.

Surely They Didn’t Want To Kill You, Victor!

Well, it’s a lot of things, you know. They tried starving me, but I’m so damn resilient. I didn’t start going through a proper physical adolescence until I was in my late twenties, because I never had access to enough food. There was always a lot of food in my parents’ house, and everyone else ate it. I wasn’t supposed to eat a lot of food. And again, I feel like a crazy person, because none of this was ever said out loud. There were a lot of unspoken rules about what I was allowed to do, and what everyone else could do to me. The one time my parents were pretty upfront with their desires (aside from the unnecessary operations with my mom) was when one of the other kids was trying to cultivate an aesthetic depression. Wait, I should back up and explain.

For Some People, Depression Is A Satisfying Lifestyle

My father’s side is a sort of menagerie of depressive individuals. Everybody is supposed to be depressed, and there are cozy family get-togethers where everyone who isn’t present is stripped down and discussed with all the empathy and affection one might proffer a serial killer. They get hold of the little kids as early as they can, and train them to hate themselves. Mostly with religion twisted upside down.

Ah, Mental Disorder Mixed With Worship!

On another awful note, my father believes he is a god. No, really. He also really wants to divorce my mother, but he is afraid of courthouses because of a misspent youth, and he also doesn’t want my grandfather to cut him off from the inheritance my dad has deluded himself into thinking is coming his way someday. Divorce is not allowed.

They Also Steal And Cheat

My parents live like professional beggars. I don’t really want to talk about this anymore, but my blogging gear is stalled, and hey, backstory is always fun, right? I’ve been trying to write a useful post for several days now, and all I can get out is that I hate myself and I have a lot of problems.

Except I Don’t, Really. Only Kinda

Ironically, I don’t have many problems anymore, but I’ve never let myself feel all the things that go along with people trying to kill you. The goal, you know, was for me to develop some kind of plausible disease that would require endless doctor visits, and hopefully surgery. One of my aunts has a very ill child, and my mother has never gotten over her jealousy. Second best would have been me dying in a car accident or from plausibly-deniable suicide. Fortunately for me, my parents are stupid, and my dad has been afraid of me since I was pretty little. He figured out when I was about five that I would turn vicious on him if he hurt me openly, so he settled in to screw with my head.

Which Worked For A While, As We Can See

Anyway, lately I’m trying to decide if my acting career has been formed on the basis of my parents’ rejection and abuse. You know, am I trying to win acceptance by proxy from strangers? That sort of thing. I’m really not sure. The element I like so much about writing is that I can control the process; I don’t need to coordinate twenty people’s schedules and then coax their personalities into cooperating together. Characters, you know, are less recalcitrant than live persons, and I also have no budgetary constraints for set dressing and properties. Ironically, I have more resources now to do the work I was doing before with theatre, but my will to do so is wavering. It’s just so calm and peaceful in the evenings these days, and no one knocks on my door at nine at night, wanting to hang and chat about their life. Okay, let’s be serious here, no one came to chat about their life; they came for therapy. I’m like a psychology vending machine for surface ills. I am pretty interested in fixing my own problems right now.

On A Lighter Note

I’m trying to work up the nerve to study perspective and composition more thoroughly. One of the rules of my upbringing was that I could never be competent at math, because it made my father feel inadequate. He can’t do algebra. I did advanced maths in school, but I wasn’t supposed to remember or apply any of them. The angles and measurements of perspective work terrify me. Exposure therapy!

You’re reading Victor Poole. This book is the most accurate portrayal of my folks. Hopefully tomorrow I’ll be back to writing about fiction. Go me!