478: Character Conflicts

This is mark Joseph “young” blog entry #478, on the subject of Character Conflicts.

With permission of Valdron Inc I have previously completed publishing my first nine Multiverser novels,

  1. Verse Three, Chapter One:  The First Multiverser Novel,
  2. Old Verses New,
  3. For Better or Verse,
  4. Spy Verses,
  5. Garden of Versers,
  6. Versers Versus Versers,
  7. Re Verse All,
  8. In Verse Proportion, and
  9. Con Verse Lea,

in serialized form on the web (those links will take you to the table of contents for each book).  Along with each book there was also a series of web log posts looking at the writing process, the decisions and choices that delivered the final product; those posts are indexed with the chapters in the tables of contents pages.  Now as I am posting the tenth, In Version,  written in collaboration with Eric R. Ashley, I am again offering a set of “behind the writings” insights.  This “behind the writings” look may contain spoilers because it sometimes talks about my expectations for the futures of the characters and stories–although it sometimes raises ideas that were never pursued, as being written partially concurrently with the story it sometimes discusses where I thought it was headed.  You might want to read the referenced chapters before reading this look at them.  Links below (the section headings) will take you to the specific individual chapters being discussed, and there are (or will soon be) links on those pages to bring you back hopefully to the same point here.

This is the second post for this novel, covering chapters 13 through 24.  The first post, #476:  Versers Deduce, covered chapters 1 through 12.  There is also a section of the site, Multiverser Novel Support Pages, in which I have begun to place materials related to the novels beginning with character papers for the major characters, giving them at different stages as they move through the books.

These were originally written entirely third-person, that is, both Eric and I were “he”.  Since the viewpoint characters were also always “he” in this book, that became very confusing, so I attempted to shift it back to “I/me/mine” for my contributions and “he/him/his” for Eric’s.  This was a rather late decision in the process, and hopefully I got them all.

History of the series, including the reason it started, the origins of character names and details, and many of the ideas, are in earlier posts, and won’t be repeated here.

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Quick links to discussions in this page:
Chapter 13, Kondor 225
Chapter 14, Beam 163
Chapter 15, Brown 248
Chapter 16, Slade 217
Chapter 17, Beam 164
Chapter 18, Brown 249
Chapter 19, Slade 218
Chapter 20, Kondor 226
Chapter 21, Beam 165
Chapter 22, Slade 219
Chapter 23, Brown 250
Chapter 24, Beam 166

Chapter 13, K225

At this point I converted the novel file itself and this supplement to *.docx format and uploaded the revised copies to Google Drive.  These words were a test to see whether I was able to work with the documents in Google Docs, before sharing them with Eric.  It appears that the answer is yes.

I had been contemplating what I could do with this, and it struck me that it was possible that the aliens weren’t interested in either contact or conquest, but were simply xenobiologists or the equivalent of anthropologists studying alien civilizations.  That gave somewhere to go here, and the rest I came up with while trying to get there.

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Chapter 14, Beam 163

Eric joined in a bit here.  I wanted some more flavor to the zombie world so Eric came up with a foodie-obsessed culture with some advanced bioengineering skills–at least enough to make crude chimera.  He’s trying to fit in with my style, to a large degree, but bring his own as well, which is a good exercise as a writer.

We had a bit of a dead end, as Eric created a very dramatic scene in which Turbirb’durpa ate one of the parasites and became infected and attacked Bron.  We agreed that that was a bad direction, and deleted it.

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Chapter 15, Brown 248

Eric wrote the first draft of this chapter, and the Slade chapter which followed.  It took the book in a direction I had not anticipated, and there was a lot of discussion on it.

When I was going over it to edit it, I felt strongly that there should be a chapter break when Derek leaves the house to go to the hangar; originally the next part was a continuation of the same chapter.  That created the problem that in the next chapter Slade reacts to events that were being moved–but this was resolved by also splitting that into two chapters, and placing a Beam chapter between the end of it and the return of Derek.

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Chapter 16, Slade 217

Comments on the decision to split what Eric originally drafted into two chapters were just made in connection with Brown 248.

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Chapter 17, Beam 164

One of the issues in the Beam story was how he was going to juggle his two jealous wives.  Thus the sleeping arrangements were a significant problem, and I thought about them for quite a while.  I also thought Beam was sharp enough to placate Sophia before dallying with Ashleigh.

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Chapter 18, Brown 249

Again, this was the second half of what was originally drafted as Brown 248, split off to create better story flow.  The combat is all Eric’s work.

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Chapter 19, Slade 218

This was the second half of what was Slade 217, written by Eric.  I changed one of the prayers.

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Chapter 20, Kondor 226

At this point I proposed the subjects of this plus two more chapters, to go from Joe taking care of Derek (who, it occurred to me, was currently Morach) to something happening with Beam, possibly the appearance of a herd of cattle, to Slade’s confrontation with the “Big Guy”.

I made more of bringing them together than I had expected, so cut it short and decided to pick up the next chapter, maybe Kondor or maybe Brown, with treatment of the wound.

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Chapter 21, Beam 165

I wrote the opening of this chapter, but left it hanging without resolving what Beam would cook; Eric took over and added the descent into the basement.  However, he had Beam take only Ashleigh, and I could not imagine Beam not taking his sorceress with the light spell.  I personally don’t like candlelight–I feel like I can’t see beyond the candle, and it does more to make me visible than to illuminate anything–so I nixed that.

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Chapter 22, Slade 219

Eric specifically suggested I write this fight scene, but it had a few complications.  There was no reason to imagine that the “Big Guy” had a sword, so Eric suggested a gunfight; but the only gun Slade carries is his kinetic blaster, damaging +2DC makes it lethal, one hit could kill most ordinary people.  It doesn’t have a recorded repeat factor, but it fires twenty shots fully charged.  That made it challenging.

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Chapter 23, Brown 250

I wanted the medical treatment to be realistic despite the use of the futuristic medical kit.  I almost forgot the leg, which is why it’s last, but to excuse it once he turned into Morach he didn’t use it all that much.

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Chapter 24, Beam 166

I wrote the opening paragraphs trying to capture Beam’s thoughts and feelings, but then passed it to Eric to continue from his door-opening cliffhanger.

This was Eric’s story, but it was largely his second story, as I had a lot of trouble with the first one.  Both of us edited it several times before we were really satisfied, and we left it as an open problem for a future chapter.

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This has been the second behind-the-writings look at In Version.  If there is interest and continued support from readers we will endeavor to continue with more behind-the-writings posts and another novel.

#477: The Song “Step by Step”

This is mark Joseph “young” blog entry #477, on the subject of The Song “Step by Step”.

This is undoubtedly the longest song yet published, and I do not anticipate posting a longer one.  Yet it is a good old-style rock song with an interesting story behind it.  The dramatic opening moves into the slow pounding forward movement which eventually segues through gentle voices into the frantic cadenza building to a climax that brings it back to the beginning, and a denouement capturing the first part as the last.

Part of that story was already told in web log post #462:  John Three (linked below).  There I tell about how Jeffrey Robert Zurheide and I started writing a rock opera.  This song is primarily sung by the commander of the soldiers who nailed Jesus to the cross, although there are parts (in very operatic style) attributed to John the Baptist and the Prophets and to The Church.  It also contains several instrumental stretches including a drum solo, although this recording is another vocals over midi instruments work.  Although I wrote it alone, I incorporated scraps of melody from at least one piece that Jeffrey had written, the Carpenter’s Song melody at the end.

My impetus for recording it was that a paper copy of the lyrics with chords would not preserve the intricacy at all.  When I originally wrote it, at Gordon College probably in the spring of 1976, I recorded it in my dorm room using a Sony reel-to-reel deck that let me record one channel while playing the other, but that tape had been lost, so having the software to do so I reproduced it.  I have often thought that the second half of the section given to the Voice of the Church should break into SATB, but I’ve never taken the time to draft that.

It has a lot of excellent images, although at least one part I always liked turns out to be historically inaccurate (they did not drop crosses into sockets; they nailed criminals to the crossbar and hoisted it onto the scaffold, then affixed the feet).  But the picture of the steps throbbing in the brain of the soldier, the phrase “Jesus walked to the cross” suggesting that it was voluntary, and the notion of the earthquake waiting for Him to nod His head as a cue, have always struck me as gems.  (I had probably heard the notion that walking to the cross was voluntary before this, but it was worth including.)

When I played it for Jeff, he was thrown at the end, because when I sang “Today we killed a carpenter” he thought it was the carpenter he’d invented at the beginning who, in fairness, I’d brought back into the story in the song sung by Caiaphas.  I thought that connecting the carpenters together gave some cohesion to the song.

Step by Step.

So here are the lyrics.

(John the Baptist and the Prophets)

Behold the Lamb of God, who takes away the sin of the world.

(Soldier)

Step by step He walked to the hill.
His shredded back was bleeding still.
Step by step He carried the cross;
I felt so helpless, so blind, so lost.

Step by step He plodded along,
This man in whom we found nothing wrong.
Step by step He came to die.
I had the feeling only He knew why.

Somehow I think He died for me;
Can’t you see, He took my place?
I should have been nailed to that tree;
Instead, I spit in His face.

Somehow I think He died for me;
Can’t you see, He took my place?
I should have been nailed to that tree;
Instead, I spit in His face.

Step by step–it stays with me yet.
This was a man like none I had met.
Step by step, it throbs in my brain.
How could this man bear so much pain?

(Voice of the Church)

And Jesus walked to the cross–
He didn’t have to do it,
But He thought of me
As He faced that tree,
And for my life He went through it.
Jesus walked to the cross–
One little word would have saved Him,
But His love was why
Jesus chose to die.
The cross was mine, but He gave Himself for me.

He died for me.  (Repeat and under)

(Soldier)

Somehow I think He died for me;
Can’t you see, He took my place?
I should have been nailed to that tree;
Instead, I spit in His face.
I felt so guilty as I watched Him walk along,
And He was still alive–He must have been remarkably strong,
But any minute I was sure that He would fall–
We beat Him so hard, I’m surprised He walked at all–
And so I grabbed a man who stood beside the road
And made him carry Jesus’ awful, awful, awful load,
And made him carry Jesus’ awful load, but what can I say?
I thought I was the one who should have led the way
To take the cross, to die myself, to set Him free,
To bear the cross on which this Jesus died for me.
The cross He bore–I felt it was my own,
But one man just can’t stand alone
Against the people and against the rulers at the top
And tell them all they’re wrong, tell them to stop, stop, stop, stop, stop–

Stop this madness, stop this madness,
Can’t you see you’re plunging us in darkness and sadness?
But still we nailed Him to the cross, and dropped it in the socket,
And grumbled that His garment didn’t have a pocket;
But I did give Him a drink before He died.
When He was dead, I plunged my sword in his side,
I don’t know why–somehow I knew that He was dead.
When He died, He prayed, then He dropped His head,
Then came the earthquake, yes, it seems it waited for His nod.
Surely this man had to be the Son of God.
Oh, tell me Jesus, tell me, please tell me why,
Why did we hate you, why did we beat you, why did we crucify?

(John the Baptist and the Prophets)

Behold the Lamb of God, who takes away the sin of the world.

(Soldier)
Today we killed a carpenter–I guess I don’t know why.
Can someone tell me why this Jesus had to die?
He’d been a nuisance, and we’d fin’ly had enough.
But for a righteous man, we sure did treat Him rough.
We bit and spit on Him, we acted just like swine,
And yet it seemed that He forgave us for our crime.
I meant to ask Him to explain some things He’d said.
I’m kind of sorry that the carpenter is dead.

(All)

Step by step.

*****

Previous web log song posts:

#301:  The Song “Holocaust” | #307:  The Song “Time Bomb” | #311:  The Song “Passing Through the Portal” | #314:  The Song “Walkin’ In the Woods” | #317:  The Song “That’s When I’ll Believe” | #320:  The Song “Free” | #322:  The Song “Voices” | #326:  The Song “Mountain, Mountain” | #328:  The Song “Still Small Voice” | #334:  The Song “Convinced” | #337:  The Song “Selfish Love” | #340:  The Song “A Man Like Paul” | #341:  The Song “Joined Together” | #346:  The Song “If We Don’t Tell Them” | #349: The Song “I Can’t Resist You’re Love” | #353:  The Song “I Use to Think” | #356:  The Song “God Said It Is Good” | #362:  The Song “My Life to You” | #366:  The Song “Sometimes” | #372:  The Song “Heavenly Kingdom” | #378:  The Song “A Song of Joy” | #382:  The Song “Not Going to Notice” | #387:  The Song “Our God Is Good” | #393:  The Song “Why” | #399:  The Song “Look Around You” | #404:  The Song “Love’s the Only Command” | #408:  The Song “Given You My Name” | #412:  The Song “When I Think” | #414:  The Song “You Should Have Thanked Me” | #428:  The Song “To the Victor” | #433:  The Song “From Job” | #436:  The Song “Trust Him Again” | #438:  The Song “Even You” | #441:  The Song “Fork in the Road” | #442:  The Song “Call to Worship” | #445:  The Song “How Many Times” | #447:  The Song “When I Was Lonely” | #450:  The Song “Rainy Days” | #453:  The Song “Never Alone” | #455:  The Song “King of Glory” | #457:  The Song “Greater Love” | #458:  The Song “All I Need” | #462:  The Song “John Three” | #464:  The Song “The Secret” | #466:  The Song “In a Mirror Dimly” | #468:  The Song “Present Your Bodies” | #471:  The Song “Walkin'” | #473:  The Song “In the Light of His Love”

Next song: They That Trust