The idea for GOTS was conceived in 2010, on my second run through How to Think Sideways. The first attempt (called The Bird Story) ended with me realizing that though I loved the premise and though the characters were charming, I was not loving the idea of writing a kids’ chapter book. I enjoyed reading them with my kids, but was finding myself simultaneously bored and hemmed in by the restrictions of a young audience. So lightning struck with GOTS not long after making the decision to drop the project. Some time after I read the Grimm’s fairy tale, The Frog Prince, my Muse-mind said, “I like fairytale retellings, hint, hint,” and I listened. GOTS itself is VERY loosely based on the fairytale; the primary relationship is that the fairytale provided the seed of an idea and I ran in another direction. But my Muse was good with that.
Originally my main character was a young girl – she started out around five or six years old because of what I assumed to be the necessity that she not be too psychologically distant from the fairytale realm. I also located the story in the Central Valley of California. As I was planning, she kept getting older, wavering around ten or eleven. Likewise, I couldn’t get the setting to cooperate fully. After a hiatus where I found myself challenged again by my inability to inculcate good boundaries while my kids were on summer vacation, I revisited the idea and found that I had resistance to the story for some important reasons. I didn’t love the location one bit and my main character was not a young child even though I kept trying to make her so.
I didn’t give up at that point, though – something I might have done with an earlier attempt. Instead I started asking questions and to my surprise and joy answers arrived. “Remember,” said my Muse, “that I really like myths?” I nodded. “Well,” he said, kindly not calling me doofus, “what is your mythic city?” And I realized that one of the locations I’d love to write into a story is San Francisco.
This is important because place-ness and landscape intersect boldly with meaning making in my perception of the world and so story setting is one of the things I can’t ignore or gloss over. It remains to be seen if I can create dialogue and scenes with great conflict with the enthusiasm I hold for landscape symbolism. San Francisco, it turns out, is even the city I dream in.
Simply switching out Stockton for San Francisco, a five/six/ten year old for a sixteen/seventeen year old, and contemporary times for the 1930s has me reinvigorated about GOTS and has my Muse willing to talk to me.
If I can maintain that, I’m happy.