Dancing Priest

Author and Novelist Glynn Young

Characters

Sometimes Fiction Imitates Life

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You read a book like A Place on Earth by Wendell Berry, and you’re reminded of your own family and where you came from. Characters like Burley Coulter and Uncle Jack seem to be almost lifted wholesale from what I remember of many of the “characters” I knew as a child.

My father’s family lived mostly in the Shreveport, Louisiana, area, with a much larger group in Brookhaven, Mississippi (it was my grandfather who would wander away from Brookhaven and settle first in central Louisiana, in a town called Jena. He was working as a surveyor for a railroad company, and he lived in a boarding house operated by my great-grandmother and his eventual mother-in-law. 

My father and his three sisters were all born in Jena but had moved to Shreveport by the late 1920s. Rubye was the oldest, followed by my Aunt Myrtle, my father, and my Aunt Ruth. There would have been an Aunt Elouise, born two years before my father, but she died the same year my father as born.

Each summer, from the time I was 8 to about 13, I would fly to Shreveport to spend a week with my grandmother. My grandfather had died when I was nine months old, so I never knew him. My grandmother lived across the street from my father’s oldest sister (and the family’s firstborn) and her husband. Aunt Rubye and Uncle Revis were responsible for some of my most vivid memories of Shreveport.

Both were “characters,” Aunt Rubye only slightly more staid than Uncle Revis. She was famous for her looks of disapproval and her biscuits. He wore a cowboy hat and drove a gigantic Dodge that was a faded pink and only slightly smaller than an ocean liner. My grandmother usually ate her lunch and dinner with them, which meant I did, too, when I visited. My visits usually coincided with harvesting the acre of vegetable gardens they had behind their small frame house. I learned to dig up potatoes, pick corn (and when to know it was ready), pick green peans (and help shell them; no body ate for free). 

The Lennon Sisters

Saturday evenings were devoted to watching the Lawrence Welk Show on television. I wasn’t a particular fan, but the best part was the running commentary on the individual acts from Uncle Revis. My favorite part was when the Lennon Sisters performed. You would hear my uncle begin to mutter until he couldn’t stand it any longer. He’s shout “Ignorant!” at the television set. “They’re ignorant1” My grandmother would smile, my Aunt Rubye would roll her eyes, and I’d go off into gales of laughter. I suspect that his commentary was for my benefit and amusement.

He’d let me tag along with him when he ran errands. He always seemed to have a pipe in his mouth, even when he wasn’t smoking it. We’d go tooling all over Shreveport in that big Dodge. I’d go with my grandmother when she had errands to run as well. She drove a black 1940 Ford that always, always was breaking down, usually in a part of town you didn’t want to break down in. I met the most interesting people because of that car’s problems.

Uncle Revis hated one thing even more than the Lennon Sisters. 

Cats. 

When I was about 10, I was sitting with him on the back steps after dinner. For whatever reason, we had no garden duties that might. It was one of those beautiful Southern summer evenings, still light. He was smoking his pipe, and he was talking about his favorite writers, of which James Michener was No. 1 on the list. Suddenly, he grabbed a rifle from behind us (which I didn’t know he had at hand) and fired off a shot at the fence between his yard and the neighbor’s house next door. A cat went flying in the air. 

The next-door neighbor loved cats, with at least a dozen and often more roaming around. If they stayed at the neighbor’s house, Uncle Revis would have been fine. But, as all of them were outdoor cats, they roamed the outdoors. And they seemed to know that Uncle Revis didn’t like them. All the more reason to visit.

Aunt Rubye came flying on to the back porch, shouting at my uncle. This might have been Shreveport in the 1960s, but firing a firearm inside the city limits was something only the police could do. But that wasn’t Aunt Rubye’s issue. 

What she was upset about was the reaction from the neighbors. As it turned out, they were their son’s in-laws. And they might, she said, breathing fire, think it was an insult aimed at them.

“Well,” Uncle Revis said, “they’d have to be pretty smart to figure that out. That won’t be a problem.”

Uncle Jack and Burley Coulter up in Port William, Kentucky would be proud. Yes, sometimes fiction does indeed imitate life.

Top photograph: My father and my Aunt Ruth in Jena, Louisiana, about 1923.

Do You Outline, or Do You Write into the Dark?

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A problem developed while I was writing my fifth novel. The problem had to do with what I conceived as a minor character – a four-year-old boy who would grow to adulthood during the story. But he wasn’t the main character; far from it, in fact. He was supposed to have a bit role.

Unfortunately, he had a different idea.

I kept floundering with the manuscript because this kid kept sticking his head in. It was as if he was demanding a bigger part of the story. I was hitting dead end after dead end, and my writing was going nowhere.

To continue reading, please see my post today at the ACFW Blog. 

Photograph by Steven Houston via Unsplash. Used with permission.

When Your Characters Take Over the Story

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The title for this post is something of a “Well, duh” kind of title. For a story to work well, it’s the characters who have to take over and knock the author from his perch.

I’ve been reading Writing Better Fiction by Harvey Stanbrough, and he says that he almost called his book Writing Better Character-Driven Fiction, until he realized it was rather redundant. “All good fiction is character-driven,” he writes. He’s not big on outlines, plotting, character sketches, erecting signposts, or anything else that might smack of planning. Instead, he says, “like real life,” he says, “authentic fiction is not planned. Like real life, authentic fiction unfolds naturally.”

Stanbrough has an acronym for this – WITD, or “Writing into the Dark.”

As I’m reading this, I keep asking myself, is this how I write?

The answer is, yes, almost entirely.

I’ve written before about how a minor character became the heart of my fifth novel, Dancing Prince. He was supposed to stay in place. I thought I had a plan for the book in my head. But as I began to write, four-year-old Thomas kept sticking his head in where he was wanted or, I thought, needed. I finally relented and expanded his role a bit. That’s all the encouragement he needed. He took over. 

The book turned into a very different story from the one I’d originally intended. Good thing, too.

I’m currently in the thick of a new story. It’s a rewrite of an earlier manuscript that didn’t work. I’m not rereading the old manuscript as a guide. Instead, I’m letting the characters tell the story, and it’s becoming very different from that old manuscript.

But something similar to Dancing Prince has happened. A new character unexpectedly showed up. The main character is still the main character, but I was typing a scene where he’s leaving an apartment one morning. And for some unknown, crazy reason, this is what I typed next: “As he walked out the door, he saw a young man leaning against a motorcycle parked on the sidewalk.”

Where did that come from? I stared at the line. I read it out loud. I kept staring. And then I knew his name. I knew what he was doing. I knew what would happen next and how the entire story had just shifted. I set the characters free; they let me come along for the ride. Several complicated issues waiting for a solution suddenly were solved, because I let the characters solve them.

I said above that “writing into the dark” is almost entirely how I write. That qualifying phrase has to do with how a story forms in my head, long before (years in the case of Dancing Priest) before the first word lands on the computer screen. The stories I write essentially begin as short scenes in movies. I visualize them happening, slowly connecting the scenes until I can say a “whole story” has been visualized. 

But each scene in my head is character driven. And I mentally repeat each scene to watch what the characters do, and to see how the characters themselves change the scene. 

What’s clear is that I’m not the movie director. I may not even be the script writer. I think I’m more a technician standing in the shadows, assisting if needed, moving props around, painting a backdrop. 

But the characters are in charge.

Top photograph by Steven Houston via Unsplash. Used with permission.

Literary and Other Kinds of Fiction

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Wiseblood Books, which leans in the direction of being a Catholic publisher, has been issuing a series of novels and poetry collections that that interesting, thought-provoking, and broader than the idea of “Catholic publisher” might imply. Its novelists and poets include Dana Gioia, Marly Youmans, James Matthew Wilson, Samuel Hazo, Charles Hughes, Katy Carl, Sally Thomas, Glenn Arbery, R.R. Reno, and others.

What these writers have in common is that they write perceptively and unapologetically about faith, although it’s usually not that obvious. The fiction is serious, literary fiction; the poetry is just as serious, and just as literary. Both compare favorably to anything produced by mainstream, “secular” publishers. Wiseblood’s books aren’t out to score political points and tick the boxes of the latest social and cultural mania to seize the imaginations of what passes for America’s literary elites. 

Instead, they tell stories. They wrestle with what people wrestle with, including holding on to faith in a world growing more indifferent and more hostile.

I was reminded of this when I read a Wiseblood monograph, Christopher Beha: Novelist in a Postsecular World by Katy Carl. I’ve heard of Beha, a writer and novelist who served as editor of Harper’s Magazine from 2019 to 2023. He stepped down from the position for the best of reasons; he couldn’t balance his editorial duties with his writing.

Carl’s 32-page monograph explores Beha’s novels – The Whole Five Feet (2010), What Happened to Sophie Wilder(2012), Arts & Entertainments (2014), and The Index of Self-Destructive Acts (2020). And what she finds is that, in what describes as a “postsecular” world, raising the possibility of faith and belief is, well, okay. You can do it in serious fiction, and Beha does it very well, indeed. 

Carl is the editor in chief of Dappled Things Magazine. Her stories and articles have appeared in numerous literary publications, and she previously published the novel As Earth Without Water (2021) and a short story collection, Fragile Objects (2023). She was chosen as Wiseblood Books first writer in residence in 2020, and she is pursuing an MFA degree in creative writing at the University of St. Thomas in Houston., whose founding faculty were James Matthew Wilson and Joshua Hren.  

Katy Carl

Her essay on Beha’s novels repeatedly made me think about my own writing, and how I would describe it. I don’t write literary fiction. I can’t say I write “popular” fiction, or mass market fiction, either. When asked, I’ve said “contemporary fiction.” A few people have suggested “alternative history” or even “alternative future history.” More recently, it’s been historical fiction – no doubts about what to call a novel set during the Civil War and 1915. And now a new one is underway, and it’s definitely contemporary fiction. 

It may be a copout of sorts, but, setting labels aside, all authors have to write the story that’s asking to be written, because it’s a story that the author has to tell. 

I’ve gradually learned the importance of trusting my characters and writing like the writer Harvey Stanbrough describes – WITD, or “writing into the dark.” That means writing with no set outline but trusting your characters enough because they know what they’re doing. I learned that lesson with my last novel, Dancing Prince. One character refused to stay in the minor role I planned for him. I finally surrendered and gave him his head, and he took over. 

And it worked.

Related:

Fragile Objects: Short Stories by Katy Carl.

Wiseblood Books monographs.

Top photograph by Aman Upadhyay via Unsplash. Used with permission.

Christmas Oranges

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I have a new short story, “Christmas Oranges,” published today at Cultivating Oaks. It’s based on a work-in-progress, tentatively entitled Brookhaven. You can read the story here; the entire Christmas issue can be accessed here. 

The story, like the work-in-progress, is historical fiction, set in 1863 to 1865 during the Civil War, the Reconstruction period, and 1915. It is loosely (very loosely) based upon events in my own family, although the characters are entirely fictitious.

Photograph by Leonardo de Assis via Unsplash. Used with permission.

A Leprechaun for Christmas (a short story)

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It was the worst Christmas ever.

Eight-year-old Chris Hunter was facing the first Christmas without the person he loved most in the world, his Grandpa Malcolm O’Brien. His grandfather had died two months before from a heart attack. 

His grandparents lived in a large, two-story stucco home on East Ardennes Avenue, one of the oldest streets in Stonegate, a close-in suburb of St. Louis. Built in the 1910s, the house had tall ceilings and Frank Lloyd Wright-type mantles, lighting, and overall design. It was utterly unlike the large, contemporary ranch home his own family occupied in Woodfield, a far western St. Louis suburb some 20 miles from Stonegate and 35 miles from downtown St. Louis.

Chris loved exploring his grandparents’ house. From the attic to the basement, the home was filled with boxes, trunks, and old wardrobes full of magic. At least, that’s what his grandfather always told him. Magic was everywhere. And he’d let Chris loose to search, and sometimes join him, for the leprechaun’s pot of gold. 

Since the time when Chris was old enough to listen, his grandfather had told him stories about the leprechauns, the small little people who loved to commit mischief and kept a pot of gold at the end of a rainbow. Together, Chris and Malcolm would search the lawn for shamrocks and especially the four-leaved clovers. His grandfather would read stories about leprechauns. 

Of the three Hunter children – Ross Jr., Emma, and Chris, the youngest – it was only Chris who would listen avidly. The two older Hunter children would roll their eyes and slip away, looking for something else to do. Chris alone would stay, grinning and laughing at the Irish accent his grandfather affected when reading the stories 

“This is our secret, Chris,” his grandfather would whisper. “You and I are the only leprechauns left in St. Louis, and we have to find our pot of gold that someone’s hidden from us.” 

In looking for the gold, they’d find old clothes, books, toys, and photographs from decades earlier. Each new find prompted new stories from Grandpa Malcolm. And Chris was captivated.

Ross Jr. was older by six years, and Emma by four. Ross Jr. was tall and blond, like their father. Emma and Chris looked more like their mother’s side of the family. His father often called Chris “Little Malcolm,” which Chris wouldn’t understand until years later. The youngest Hunter strongly resembled his grandfather, with black hair and brown eyes so dark and deep they looked almost black. He didn’t know why, but Chris knew that his father and his grandfather did not get along. The boy wasn’t quite sure what to make of his father’s regular references to “Little Malcolm,” but knew his father didn’t mean it in a nice way.

The annual Christmas feast was always held at the O’Brien’s house. Chris’s mother was an only child, so the celebration would usually be his grandparents and his family. The Hunters would arrive by noon, everyone would open presents, and then they’d eat at 2 p.m. sharp. Chris’s mother and Emma would help in the kitchen, Ross Sr. and Ross Jr. would head outside to throw a football or play basketball at the hoop Grandpa Malcolm had had installed for Ross Jr. in front of the garage. Chris had once asked to play with them, but his father said that he was too little, and he could watch them.

When his father had told Chris he could watch but not play, Grandpa Malcolm had frowned.  He took Chris by the hand and led him back inside the house. “I have a story to read to you,” he’d told the boy. And that started the leprechaun stories.

Grandpa O’Brien would read from the big book of Irish folklore he kept on the shelf in his study. Except at Christmas, when he would read an original leprechaun story he’d written himself, with the main characters being Chris the Leprechaun and his sidekick Old Malcolm. And every story was about Old Malcolm always getting them into trouble, and how Chris the Leprechaun would rescue them from a fate worse than death.

Whenever Chris was at their home in Stonegate, he and his grandfather managed to find the time to explore for that mythical pot of gold, which Grandpa O’Brien insisted was hidden somewhere in the house. They never found the gold, but they would often find peppermints, candy bars, and packs of gum. Once, on Chris’s seventh birthday, they found two silver dollar coins, which Grandpa O’Brien said meant they must be getting close to the gold. “And that’s one each for Chris the Leprechaun and Old Malcolm,” he’d said.

His parents thought his grandmother, still grieving her loss, might skip the Christmas feast this year. After the funeral, she spent several days with the Hunters at their home, usually with Chris by her side. He had her smiling and even laughing when he read the Christmas stories to her, using an Irish accent like his grandfather, and told her the stories of their escapades searching for the pot of gold. 

But she insisted that the Christmas feast at her house in Stonegate would continue. The only change was that they ate at 1 p.m. and would open presents afterward. 

They arrived at 11. Ross Sr. and Ross Jr. went straight to the basketball hoop outside. Chris followed and watched them for a time, but then went inside. Emma was helping his mother and grandmother prepare the meal, so he went exploring on his own. But it wasn’t the same without his grandfather. No new leprechaun story. No searching high and low and finding something sweet to eat. No pulling of pranks on the rest of the family. The boy felt almost desolate.

They ate their dinner, with dessert being the favorite of Grandpa O’Brien and Chris – mincemeat pie with a big dollop of whipped cream on top. Then it was on to the Christmas tree and opening presents.

Even that wasn’t the same without Grandpa O’Brien. Chris liked his presents, mostly toys and books, including a set of Hardy Boys mysteries. But he could remember sitting next to his grandfather, listening to him utter a smart quip about each present. And smelling the ever-present Old Spice aftershave. 

“Well,” Grandma O’Brien said, “we’re done. Anyone for coffee or tea?”

“Wait,” said Ross Jr., sitting closest to the tree. “There’s one more.” He reached underneath and retrieved a smallish present, wrapped in a dull green paper and green ribbon. “It’s for Chris. And there’s a message. It says, ‘Look Hard.’” He handed it to his brother.

“What on earth,” Grandma O’Brien said to their mother. “I don’t remember you handing it to me when I put the presents under the tree.”

Chris’s mother shook her head. “We didn’t bring it. I’ve never seen it before.”

“It wasn’t there,” Emma said, somewhat red-faced. “I looked at all the presents before we ate. It wasn’t there.”

Ross Jr. handed the present to Chris. “Well, open it up and see what it is.”

Chris looked at the present in his hands. He handed it to his grandmother, pointing to the gift sticker. 

Grandma O’Brien gasped. “That’s Malcolm’s handwriting. I’d recognize it anywhere.” She handed the present back to Chris.

The boy carefully removed the ribbon and paper, and then he opened the plain cardboard box. 

Inside was a small metal kettle with a lid. Chris lifted it out of the box and removed the lid.

The kettle contained several chocolate coins wrapped in the gold tinfoil. Chris stared in wonder, and then grinned. “It’s the pot of gold, the one Grandpa and I were always looking for.”

He looked closely at the candy coins. He pulled out one, and then he saw something else glinting among the pieces of candy. He pulled it out and held it up between his thumb and index finger. 

“It’s a gold coin,” he said. “A real one.”

“What?” his mother said.

“Let me see it,” Ross Sr. said, and Chris handed it to him.

“It’s a $2.50 gold coin,” his father said, “with a Liberty head, dated 1842.”

“There’s another one,” Chris said, extracting a second coin. He emptied the kettle on the floor, but no other coins were mixed with the candy. 

Ross Jr. was looking at his mobile. “I googled it. People are selling them for anywhere from $2,000 to almost $100,000, depending upon the condition and where it was minted.”

“Did you say 1842, Ross?” Grandma O’Brien said.

He nodded.

“That was the year the O’Brien family came to America, fleeing the potato famine.”

The family stared at each other.

“And there are only two coins?” Ross Sr. said.

Chris examined the coins again and looked at his father. “Just two.” And then he smiled, remembering. “One for Chris the Leprechaun, and one for Old Malcolm. They always split whatever they find.”

The worst Christmas ever had become one of the best Christmases ever.

Top photograph of a leprechaun via Wikimedia Commons. Used with permission. 

Photograph of shamrock by Amy Reed via Unsplash. Used with permission.