Suzerainty (Avarr’s Theme – Remastered Arr.)

Composed by Kaiter Enless.


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The Dauntless Rook (Waltz Leitmotif)

Composed by Kaiter Enless.


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The Dauntless Rook (§.01)

The aristocratic coterie padded the twisting rain-slick cobblestones of Ersentwyer, nattering beneath gaudy paper parasols as disjointed crowds of performers, merchants, day laborers and vagrants moved about them like minnows round the smooth-hewn rocks of a rambunctious stream.

“Now I’ve a proper clarity of thy fresh attire,” Aldwyn Blythe declared, taking in Oeric Adair’s onyx feathered overcoat, “I must remark upon its extraordinary character.”

Oeric nodded, bemused.

“Outlandish, isn’t it?”

“I should say! Never wert thou so coxcombly. Wherefore this downy curiosity?”

He paused and adjusted the curious garb with wry amusement, feet shifting nervously over the scuffed and gamol folde, “It was a gift from Cerelia,” Oeric Adair responded with a sigh, casting his hands up into the air, as if dispensing grim confetti, “Its style wars dreadfully with my own, but how could I decline? Especially when our wedding wends so near? Imagine her reaction were I to pawn it; to say nothing of what the other Wealdmaer’s would think, sour as they are with our union. Merely forgoing its flagrant display might prove sufficient to prompt an unseemly reaction; and so I’m featherbound; fated to foppish plume; gaoled in tufted geomor.”

“Wise it were. Had thou peddled it, she’d have cawed louder than the beasts from which it were fashioned,” All the men laughed boisterously, save for Adair, whose visage grew increasingly glum.

Edlin Boyce continued with a wide, mischevious smile, “Worse, that old codger Grædig would use it as yet another reason to declare thee unfit to agan his fruit.”

“Such churlishness ill-attests thy station.” Adair snapped dourly, crossing his arms and looking off towards the old theatre at the far northern end of the thoroughfare.

“Let him perturb thee not; I think it wonderful,” Bullard Kyne responded, moving to stride in tandem with the other men, “Mayhaps, if the other members of our circle had greater familiarity with the fairer sex, they would understand it is not the thing itself that is important in a gift, but the sentiment with which it is selected.”

“Aye. Well said. For my dear Cerelia, I would bare the burden of every feather in the world!”

Even Boyce could not help but smile at that. Shortly thereafter, the four men moved past a series of stalls whose ferverous throng had overflown into the central thoroughfare and there vanished into the crowd.

*

A man watched the aristocrats at a distance, his garb drab, hair long, gray and ill-kept, his manner martial, yet ferine. He looked down at the sketch of his target with cold eyes, and then again to the man in the corvine coat.

An exact match.

The stalker smiled and folded the parchment back up and slid it into his dusty coat pocket.

“Enjoy thy frivolity, Oeric Adair, whilst yet it is afforded thee.”

*


Continued in §.02.

Simple Schema For Fiction Note-Keeping

§.00 I’m very partial to note-keeping and have consequently developed a note-keeping method specifically tailored for fiction.

§.01 Consideration in my schema is first given to character(s), since once one has assembled their principal character or characters, the setting and plot can be developed more naturally. Next, principal setting(s), then theme(s) (since once one has the setting and character the theme will be able to be developed, but not before, unless one is writing story expressed primarily as a internal monologue), plot(s) (as one needs the characters, setting and theme before the plot, of necessity) and finally dialogue(s). The aforementioned entries can be ordered in the way the author finds most desirable but this was the order which works best with my own process.

§.02 Outline of written schema:

  1. CHARACTER(S)—a. character 1. b. character 2. c. character 3. d. etc…
  2. SETTING(S)—a. primary setting. b. secondary setting. c. tertiary setting…
  3. THEME(S)—a. primary theme. b. secondary theme. c. tertiary theme…
  4. PLOT(S)—a. primary plot line. b. side-plots…
  5. DIALOGUE(S)—a. narration and/or character 1: “[dialogue].” b. n/character 2: “[dialogue II].” c. n/character…

§.03 Regardless of the original manner in which the schema is created (word processor, paperback journal, etc) it is important to secure a back up (as one would with a manuscript) via cloud storage services, jump-drives and print-copies/scans.

A Consideration of Wenclas’ Vodka Friday Night (2019)

Kirk Fannin was the dangerous one– yet for a moment Stacey Shemke was the aggressor. (Wenclas, Vodka Friday Night)

§.00 Karl Wenclas’ short fiction Vodka Friday Night was the first incarnation of what the author has described as the ‘3D Story,’ a self-conscious attempt to generate a new, vitalistic literary model.

§.01 The plot—sharp as a razor—revolves around a rogues gallery operating in the seedy underworld of Detroit after the murder of ruthless gang leader named Lenny Z.

§.02 At the first, the style is breathless, almost entirely (and presumably intentionally) devoid of punctuation save the period mark and the occassional comma and features a interesting utilization of bullet points (1. 2. 3.) to delineate character perspective (which I induce to be the genesis of the 3D label). The brisk yet vivid characterization and punchy, clipped descriptions like “He looked mean, and was.” or “Kirk drove hard. Night fast.” harken back to the pulp neo-noir of the 60s and 70s from magazines like ADAM. However, certain lines stick out like weeds on a manicured lawn, such as, “Kirk knew Lenny Z’s reputation and knew the man was serious. He looked serious. Deadly and serious.” If a man looks serious the reader will internalize it the first time. Other lines appear to have been missed in the editing process, such as, “The opera had been a modern updating-.”

The gunman in the car behind Boyd’s took more deliberate aim, his gloved hand– an expensive yellow soft leather glove– squeezing the trigger red jets of flame glimpsed within the barrel gun kicking a row of shots sent off like hopeful children toward their destination. (Wenclas)

§.03 Despite these minor problems, the overall effect is one of tension, speed and intensity. Its a thoroughly rousing tale of egoism, crime, passion, loyalty and betrayal with a colorful cast of characters, told in sparse, machine-gun’d prose and one which I would highly recommend.