Off Shore Wind,
Francis Lee Jaques,
oil on canvas, nd.
I am as a chatelaine beseiged.
Though it will be driven back, more snow crept over the battlements last night and lurks in the outer bailey.
These are the days when I stand at my narrow window and search the southern sky.
Straining to hear the first faint call of the legions marching on the wind.
Sounds to signify the dominion of the white demons is at an end, that I may take seisin of my keep and fief once more.
Hurry, my brothers.
I yearn for your wild shout, the beat of your wings, to see you drive northward in triumph while the enemy fades before you and dissolves in mist.
I am sick of prisonment.
Soon, I tell myself -- for today the wind weeps, not in sorrow but in relief.
I have an atavistic relationship with geese. They represent the necessary duality of pen and sword.
There are other sounds, of course, many of them, that kick my unconscious awake and alert: a tolling of bells, the sound of a horse ridden hard, the surge and retreat of surf, the cadence of marching feet, bagpipes, a train challenging the lonely night, yet one with it.
So many. Sentries of my imagination.
PBW put up an excellent post yesterday on secondary characters, complete with a brilliant example.
Seondary characters shouldn't just be inserted so the MCs and plot can bounce off them like a backstop.
I rather think most writing advice is fairly bland and useless -- all tell and no show -- unless so illustrated by a specific example.