Learning from Critiquing

One of the best ways to hone one's writing skills is to critique other writers' work. Yes, I know I've said this before. But even after writing eleven books, and learning an incredible amount, it never hurts to get reminders.

I just completed critiquing seven manuscript submissions for several workshops. All of these were the opening pages of fantasy or science fiction works. These ranged from utterly beginner level to one that made me sorry the submission was only 20 pages. And I want to state right here up front a Bravo! for all seven submitters. It takes a lot of moxie to put your work out there for someone else to scrutinize. Some aspiring writers never get there...and they'll never get anywhere. Because as much as we must write for our own pleasure, publishing means communicating our ideas to someone else.

This exercise reminded me of several important lessons about openings.

1. Open with something important - the story!
2. Be specific
3. Go deeper - step back and view the big picture
4. Strip TV and movie cliches from your writer's vocabulary

1. Open with something important - the story!
   Even the most die-hard seat-of-the-pants writer [me!] knows a lot before beginning to write. Backstories of characters. World history. The nature of magic. You need to know those things. The reader may need to know them, too, but not necessarily everything, and certainly not in the first two chapters. Be ruthless. Get to story developments - events – in the first two pages. It is story that draws in the reader, not history. If it is page 16 before we know the gender of your main character or page 18 before the first “event” occurs, you will have lost most of your readers.
   



2. Be specific
   Specificity is what separates generic prose from vivid prose. Think about moving from place to place. Walk is a generic movement. It almost always requires an adverb to tell the reader what kind of movement we’re talking about, eg. walked slowly or walked briskly or decisively. English is rich with verbs, especially for something so basic as movement. Pull out that thesaurus - not to find hifalutin words your characters would never use, but to find the right word: stroll, meander, stride, trot. For nouns, don’t just say flower or cup or animal. Find a word that will evoke the world you’re describing or reveal something about the character who is describing it. Tankard and teacup give us more vivid scenes without excess verbiage. Think replacement, not addition. When your characters hear a prophecy, don’t leave us with generic, “Beware of the evil one. Shadows will drown the light,” come up with something interesting and specific to your story.
   



3. Go deeper - step back and view the big picture


What makes your fifteen-year-old hero different from every other fifteen-year-old hero in literature? Think of the heroic deeds he needs to perform…and then think of what seeds of personality or emotion exist inside your character that can emerge to support those deeds – or what the character lacks that he must develop to be able to do what you require of him. Sometimes you don’t know these things right away, but eventually you must. You’ll not only enrich your character, but you’ll get ideas for meaningful story events that will develop or expose these characreristics. And then look at the reverse to find interesting quirks and flaws. Maybe your female love interest doesn’t need to be highly literate, but she needs to be assertive, so let her lack of literacy be something that distinguishes her from other female characters or something that bothers her.


4. Strip TV and movie cliches from your writer's vocabulary
   
   How many people in the world can actually survive their boat going over a waterfall? A blow on the head severe enough to cause unconsciousness will generally cause a concussion. Look up the recovery time and symptoms of a concussion. Repeated concussions cause brain damage. [See the NFL statistics on players who are held out of games or retire because of repeated concussions.] Is it really possible to do the Jason Bourne thing and pick out the evil perpetrators from a mobbed train station? Visit a mobbed train station and try picking out one person! Labor almost never begins with one violent contraction. See what I mean? Don’t rely on film or TV for any medical advice, historical fact, or mechanical reality, ie. guns, bombs, car flipping etc. [Watch TV with a doctor, historian, or mechanical engineer and you’ll hear about it!] Besides being inaccurate, they are cliché. Boring. Unoriginal. And editors, agents spot them right away.
   
   

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Norwescon 1

First day of Norwescon.

It is chilly and rainy here in Seattle, but the trees are budding. The place is already greener than Colorado.

The hotel is nice, but crammed up here by the airport, so there's not much but junk food. Too bad for such an eating town as Seattle.

I've spent the day catching up with my friend Brenda. This evening I get to moderate a panel on violence, attend the opening ceremonies, and then go to a party honoring small publishers to cap off the evening.

Why would I end up on a panel about violence???? We'll talk about why we use it in our books, how we deal with it, and whether we impose personal limits on where we go. At least that's my plan!

My own reasons revolve around the need to challenge my characters enough to affect their behavior while in an "adventure" setting. But there are other reasons. The time periods I write about were pretty violent. Our own society is violent (I was just talking with a guy from Binghamton NY) and yet we live in a relatively peaceful era.

I'm going up now to try to finish off this scene with the nasty little attack. Hmmm...

More reports later. Read more of this post!

Traveling

So, the Exceptional Spouse and I are taking a little family spring break jaunt up Chicago way this week. Though I don't expect much time to work, I don't feel as if I can leave writing totally behind. So what pieces can I do while traveling?

I usually take too much, but I want to allow for "how the mood strikes me." I will always take along:



1. a laptop in case I want to enter edits, update the website, blog (!!) or just check email. Since Christmas, I've had a tiny laptop for traveling in addition to the sturdy Sony that I live with. This is my first air travel with the little beastie, and it is great. Very lightweight. Fits on the tray table without any worries that the person in front of me will lean the seat back and crush the screen. Nice.

2. Something of the current WIP printed on paper (for the times with no electronic devices, at the least, or in case I run out of battery power). This time, I brought the first two chapters of The Soul Mirror along. Also, despite my intent not to revise for a while, I brought a few middle chapters of The Spirit Lens that I hadn't looked at in a while. Just in case...

3. Other pages I have for review. I completed the reviews I was doing for a writers conference. So I brought the three page sets I'm reading for the Norwescon Writers Workshop. I've done a first read on two of them. Still one to read fresh, and then the actual review and writeup to go for all three.


So what won out on the trip up here? The internal chapters of The Spirit Lens! They're some I haven't looked at in a while - and presage an important turning point in the book (and they're some I really like - Portier is in real trouble). I did some word tightening and cleanup. A little updating according to the new things I learned by the time I got to the end. Best of all, I had an insight as to the climax...not of The Spirit Lens, but of the new book. Somehow, having been immersed in the new book and going back to a place where I sort of strip Portier down and learn what he's made of, gave me an idea about the destination for his character arc in the second book - which meshes nicely with Anne's arc and several others. Yes, Yes, I like it.

If I get all these edits put in before heading home later in the week, we'll see where the muse might take me as I journey home. I'm glad she was along for the ride!
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Beginning Again

OK, it's time to get serious about The Soul Mirror. For a couple of weeks, in between life and the short story, I've been dabbling with a couple of opening chapters that I wrote WAY a long time ago when I was first developing the proposal for the series. Originally I had thought I might begin the series with this piece of the story. But it turned out there was too much backstory...and so I developed that into The Spirit Lens. But, of course, now that I'm back to these chapters, they don't quite fit anymore. Not so much that the story left them behind

- the narrator is the same person I had envisioned (her name is Anne and she is 21).
- the place she finds herself in chapter one is the same (a graveside in a ravine).
- her "life predicament" is the same (that is, she is very much alone, because her family is scattered to the four winds: one dead, one missing, one held hostage, one confined because of madness. Whew!)

but because...



...the circumstances that underlie all of this are much richer (a euphemisn for more complicated!) I know about spectres, hauntings, pendulums, religious beliefs (or lack thereof), the illicit practice called "transference," and who the bad guys really are. I know the circumstances of her family's dissolution. And I know Portier.

Portier started out as a "device" - a surrogate observer to tell us the story of The Spirit Lens. As seems to happen with me (see Seyonne!) my narrative observers take on an importance of their own in the story. So the first thing I have to do is decide whether I'm going to time share the narrative duties. Which means I have to do a lot of thinking about the coming story... I HATE that.

There are some other reasons I have to give more careful advance thought to a sequel story...

1. I will have a limited window to make needed alterations in The Spirit Lens.


2. My hands are overflowing with character threads, mystery threads, unanswered questions, who knows what lists, and other hard little nuggets that have to be accounted for. A first book has infinite flexibility. A middle book is a pipeline between the first and third and must take the outflow from the first and make an exciting and sensible transition to the climactic events of the third (while have its own climax.)


3. The schedule is tightest for a second book, as I'll have first book revisions to deal with and third book development to deal with all in the same year.

So I've written an eight-page list, including

1. incidents that have to happen


2. questions that have to be answered


3. things that I don't know yet


4. what has been happening in the four years between books

More later on how it works out!
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Writing Short

So what have I been up to since turning in The Spirit Lens? Besides catching up on some business around the house, I've been working on several writing projects.

First, despite my best intentions to avoid looking at The Spirit Lens for at least a month, I spent about a week rewriting those last 30K words. I sent it in having scarcely read it over, so there was lots to do. It is now much cleaner and I've put it aside. Giving yourself time away from a manuscript is the first rule of Revision.

Second, I've been dabbling with the opening of The Soul Mirror. I've written some notes in the line of "Unanswered questions" and "What's been happening in the four years between the books?" Much more about that in another post.

But my most serious work has been on a short story for the Rocky Mountain Fiction Writers' 2009 anthology called Broken Links, Mended Lives. This is a 5K word story, as opposed to the 25K word novella Unmasking (Elemental Magic, Berkley 2007). As you may have guessed, I just don't write short, mostly because I don't read short. I like to get invested in characters, and I just hate it when I've just gotten involved and it's over. But I agreed to do this story - the editors are my excellent friends - and I had to do it quick. And my enjoyment in writing Unmasking had a lot to do with my agreement to do this!

So 5000 words. Not much time for world building. Not much time for character development. I am convinced that people who write excellent short stories are akin to poets. Because the trick seems to be, Make every word count. No time for those wishy-washy verbs or weasel words like very, quite, half, really, almost. No time for a plethora of adjectives or extra dialog tags.

Even more difficult, you still have to produce a story arc. Some kind of beginning, middle, end that incorporates a fundamental change. My first draft turned out flat, a young woman in a post-apocalyptic world finds out something stunning that changes her life, only...I didn't show it. Her reaction was so subtle, her character so accustomed to holding everything in that she...held everything in. I knew it. I felt it. My critique group confirmed it. And...

I fixed it! It only took a few extra words. A few reactions on her part. A clearer presentation of her choice. A slightly more visible struggle. And just three or four words at the end that demonstrated her fundamental change. And it came out 5017 words.

Want to read a teaser?

At Fenwick Faire

My parents never told me I had Talent. Perhaps they thought it undignified for the daughter of a city magistrate, or felt it might frighten me or make me insolent. Or maybe they just left it too late, and had the lack of consideration to die of plague before warning me.

Now don't think me unfeeling, but when one is ten years old and the whole world seems to be dying of plague, or slaughtering each other for fear of it, or taking flight to escape it, one has little time to grieve, or even to recall why one should. When civilization has erupted into chaos, the next meal looms much larger in importance than past grieving.

Six years I spent scrabbling in search of that next meal before I trudged up a rock-blasted hill and through the iron gate of Fenwick Priory. By that time I had seen far more of men and life than was really necessary, and taking up residence with a group of similarly exhausted women seemed sensible. The sisterhood grew vegetables, kept to themselves, and did no good works to speak of. I had no illusion that this would be a permanent situation. The sisters didn't seem that agreeable, and entanglement of any sort made me want to cram a shiv in someone's craw.

"You'll tend a plot, Girl," said the bony Prioress, licking the beaded honey from a suckle blossom grown right out of the crumbled courtyard wall. "Each of us has one."

"Don't know how," I said and scratched my itchy foot on a cracked step. "Not opposed, but I never learnt. My parents called planting hireling's work. I'll scrub for you. Fetch and carry. Steal, if you want. I'm good at those."

"You don't tend a plot, you don't eat. Go or stay, as you will."

I stayed. The road had got tiresome of late. My boots had fallen to pieces, and a thieving tallyman had jacked my knife. Bare hands or sticks weren't enough to fend off the skags now I was ripe. Last thing I needed was a squaller planted inside me. My own belly was empty half the time.

Early on my second morning, Prioress marched me down the long valley back of the priory, past twenty or so vegetable patches. "Choose," she said, waving her hand around the empty scrubland.

I didn't know squat about gardens, but I walked about and settled on a spot. "Here."

With sticks and knotted string pulled from dead women’s dresses, the Prioress staked out a square of hard gray dirt. "There's wood in the shed and a chisel to make your tools. When you're ready to plant, we've seed stock in the vault."

One of the sisters, digging nearby, mopped her sweat and snickered. She sounded like the cicadas rasping in the dry brush. "Can't eat the weeds, stupid Girl. Got to pull them before you can plant. You just chose yourself more work."

So I had. Spiky thistles and snarls of threadweed littered my plot. Thistles would sting, and tough, fibery threadweed would cut my hands, but it made sense that if something grew there now, something other might.

To be sure, the cultivated plots roundabout looked little better. Stunted beans. Wilted greens. The sisters saved them from parched oblivion by hauling water from a nearby stream, doling it out drop by precious drop. The stream itself was scarce but a trickle of spit.

You see, our land had been thirty years without rain...
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Demons and Shapeshifters

I am a guest blogger today on Authorial, agently, and personal ramblings, which is my agent, Lucienne Diver's blog. The topic? Gargoyles, and Demons, and Shifters, Oh My!

In my offering, I list my four rules for story development, especially when incorporating some fantasy trope like shapeshifting or the fae or demons. And these four are...

1. Make things really bad for heroes (could you have guessed this?)
2. Make things different than in other stories
3. No black and white
4. Reverse it all

I illustrate these points with the rai-kirah books.

Over the past week, Lucienne has hosted guest blogs from a number of her writers who do shapeshifters and demons and other beasties - including Lynn Flewelling, Faith Hunter, and Susan Krinard.


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Grammar and Usage Peeves

As I was typing today, my fingers accidentally stuck an apostrophe in a plural word. I caught it instantly, breathing hard. It is one of my pet peeves. I'm starting to see it everywhere, as in, The Markowski's went to the store or Stock up on the advantage's of insurance. Aarrgh.

Apostrophes are used for contractions:

it is = it's
is not = isn't

Apostrophes are used for some possessives:

Mary's ball, The Fratellis' horses, the nation's president, the Markowskis' house or George Markowski's house

Apostrophes are not used for possessive pronouns:

his horse, her horse, its mother

And apostrophes are certainly not used for plurals.

Here's a usage blooper I caught in a news article the other day:
It doesn’t take a musical scholar to deduct all of this wasn't as 'artistically significant' as what came after.

Ouch! We deduct charitable donations from our income taxes, or deduct the cost of goods sold from the sales price to calculate our profits, but we deduce conclusions from evidence using our reasoning processes.


Here are a few more things I'm seeing everywhere lately.


troop: Since when did troop come to mean an individual soldier? Troop is a collective noun. Like Girl Scout troop. If you say "five troops were injured in Afghanistan today," that's really more than five individuals.

I think perhaps our news people are shying away from soldier. Or is it that they're trying to be gender inclusive? Well, soldier or sailor can be either. How odd would it be if we said, "George is an army troop"? But that's what we're implying when we talk talk about troops as individuals.

momentos: No such word! Keepsakes have to do with memory. Thus even if they are fleeting keepsakes, they are mementos.

graduate high school: Graduate is not a transitive verb. It does not take a direct object. Thus one "graduates from high school."

decimated: I'm thinking that people are confusing decimate with devastate, as in this quote from CNN: "Australia's raging wildfires have decimated massive spans of land."

Decimate actually implies a much sparer kind of destruction. OK, we don't have to limit its use to exact 1 in 10 destruction as its origins specify. To decimate derived from the Roman custom of killing one in ten rebels in the army. But decimate certainly implies a more selective destruction.


I'll bet the rest of you have some pet peeves, too. Let's air them out!
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Reprints

Just saw something very cool today - a 14th printing copy of Transformation. This is very cool, even in the day of better technology so that publishers can reprint in smaller, more $-efficient quantities.

So, here are some questions I'm often asked:

How can you tell what printing?

Is a 14th printing the same as a 14th edition?

If one of your books is only in 2nd printing, does that mean it's less popular than a book in its 14th printing?




How can you tell what printing?


For some books you can't tell by looking at the book. But for many books, including mine, you can look at the copyright page in the front of the book. Look at the list of numbers in reverse order. Something like this

20 19 18 17 16 15 14

Look at the last number, and it will tell you which printing. This list says 14th.

Is a 14th printing the same as a 14th edition?


Nope. An edition is a typeset version of the text. So a new edition is something that requires re-typesetting. That is, the text is revised in some way, such as the "2010 edition of Rick Steves' Europe Through the Back Door, or the text is typeset for a different format, eg. a mass-market-paperback edition or a trade paperback edition." A reprint is just a new batch of the same book, and usually does not include any revision of the book's text. It just signifies that the publisher is getting low on the book in the warehouse and needs to print up some more to keep in on the market. A 14th edition would have been revised at least 14 times, and I've not touched the text of Transformation since it was published.


If one of your books is only in 2nd printing, does that mean it's less popular than a book in its 14th printing?


No. If an author's books do well, then chances are that the first printing of subsequent books are larger than the first printing of previous books. So it might take longer to empty the warehouse and get to that second (or later) printing. Breath and Bone reprinted within a month of its initial release - which is great.

My current tally on the rai-kirah books (which have been out longest):

Transformation 14
Revelation 11
Restoration 8

Some others: Son of Avonar - 7th, Breath and Bone - 2nd.

All of my books, have gone to multiple printings, which is very gratifying. It shows that my publisher has faith that readers will continue to buy my books and tell other people about them.

Thanks, all of you!

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The Right Ordering of Endings

Having so recently emerged from the boiling kettle of devising an ending for this book, I thought it might be well to speak to some ending considerations.

I think of endings as a ziggurat - a stepped pyramid. Once the rising action of the climax begins, there is no going back down to the beginning level. Of course, there may be several parts to an ending, and you can have a short breathing space between them, but you don't want to let down and rest, as you might with story arcs earlier in the book. And the level step, or breathing space, should be short, compared to the elevation gain with each piece of the climax. Never let yourself lose the elevation gain.

Once you've reached the summit--the final battle, the climactic confrontation, the split, the bomb, the rescue, the cataclysm, the unveiling, the kiss, whatever it might be--it's time for a brief denouement. Contrary to popular misconception, the denouement is not the climax itself, but the winding up of threads, the actual resolution that follows upon the climactic events of the story. It is what you find on that summit, not the climbing action of getting there. And you notice that the actual area at the summit is much smaller than the base of the pyramid, and much smaller than the combined effort of getting to such a height. The harmonious shape of the ziggurat demands it.

So what are my rules of thumb wrt endings that my recent efforts (and six chapters in two weeks is definitely an effort for me!) recalled to me?




1. Don't introduce something new - a new power, an artifact we haven't seen, or a new character who is the exact locksmith needed to work things out. It's too convenient. It smacks of deus ex machina - and readers will throw the book across the room. You might get away with such a thing earlier in the story (though you shouldn't) but never, never at the end. Many people consider this a common flaw of fantastic literature - "oh, the author can make anything happen at the end, magic, reconfiguring the tachyon particles, or whatever. It's just too easy." I believe you have to make the rules of your magic or science or culture or alternate reality so clear that your climactic events can most definitely lead to failure. DOn't let it be easy.

2. Use people and events from earlier in the story to bind the whole thing together. If your story starts with a book (like Valen's book of maps in Flesh and Spirit) think carefully about what part the book plays in the climax. If you need an unlocking spell, make sure we know they exist in this magic system. If a dead body turns up, make sure your readers know the significance of that person (hmmm...oops...a matter for revision) and can feel the emotions you want to drive the conflict and climax.

If you are lacking the particular whizbo, person, or talent you need to feed the action, go back and put it (or him or her) in earlier - but seamlessly please. Don't hang a bright red arrow pointing to the golden ball that's just the right shape to plug the dike! The ball needs to serve a function in the earlier part of the story, too.

3. If you find yourself explaining too much, stop. Remember those short steps on the ziggurat? If you make one step horribly wider than the others, you've thrown off the balance. So look at what you're trying to explain and figure out how to salt in the explanations earlier, so that the reader will say, "Ah, yes. Wow! Of course!" as she is swept to the ending.

4. Be meticulous about your characters' decisions that lead them into and get them out of the climactic events. Explore all options. Why did he choose just the right path that would get him out of a jam? Let the climactic events flow naturally out of the building tension of the story, and your characters' dramatic reversals - maybe the thing they said they would never do - build upon the trail of evidence you've laid.

5. Did you tie off enough threads? Endings should not be a checkoff list, but don't leave the reader hanging with the big stuff. You want to leave readers with the feeling that life goes on, but you want to satisfy their most urgent questions. "Well did Gerick stay in Avonar or go back to where he had been living?" "Did Valen ever get a chance to have that great party he kept hankering after for a THOUSAND PAGES?" "Did Seyonne get it back?" (Well you have to leave some questions open...)

6. If there is to be a sequel, did you leave the right threads open? Is there a spooky undertone to the denouement? Check out the ending of The Soul Weaver (D'Arnath Book 3). At one time, it was the third of three books. When I discovered the "story arc" of Daughter of Ancients, I went back and modified the denouement. I'll bet you can pick out the pieces I slipped in.

Once you've completed those last chapters, reread your first chapter. Consider balance and symmetry. What were your hero's emotions, expectations, and opinions. How have they changed?

Consider the mood. Did you start off writing a farce and end up in a deadly, gripping battle for survival? Is your reader going to be confused that you started off a bedroom farce and ended up with a serial rapist threatening your heroine?

Or if your opening posed a mystery that turned out to be much wider and deeper than the original question, did you set the spooky music playing early on? Yeah. I think so. Cool!


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Titles Redux

This title search was truly difficult. I made word lists. I brainstormed combinations. I searched language dictionaries and pulled out my trusty thesaurus. The problem was, of course, that I was trying to think while madly producing words to reach the end. Until early last week, I could not have told you what the blasted stories are truly about.

First iteration - a set of Latin titles. I wanted to introduce a Renaissance feel to the names. The books are set in a world on the brink of an explosion of scientific advancement. I came up with Latin titles I loved for the second and third books, but I couldn't find one I liked for the book I was working on. A little survey on my Warrior of Two Souls Forum bore out my editor's conclusion - the only title that had come to mind-and wasn't in current use!-would not mean anything to readers who hadn't come across the term somewhere else. It could actually lead to the wrong conclusion. Bummed. (I still love Ars Maledicta, my planned title for Book 2, though!)


But as I neared the end of the book, it suddenly dawned on me that everything in this book...and the series...had to do with seeing. Both physical and metaphorical. Seeing into secrets. Seeing through deceptions. Seeing into hearts and souls. Seeing through lenses - spyglasses, prisms, spectacles. Looking through a device and seeing something wholly unpredictable. There is even a scientific demonstration of "the nature of light" in the book (based in part on a historical demonstration of Isaac Newton's). And this started me thinking about optical devices.

Second iteration - Despite what I said in the earlier post about shying away from objects in titles, I realized that "seeing devices" could represent the "scientific side" of the Sabrian world. But if I were to go in that direction, I wanted to juxtapose a word that would convey "magic" or the "spiritual" side of the world, referencing the balance and harmony of the two sides (or lack thereof! Picture evil grin here.)

After much whirling, I came up with "The Adept's Lens," adept being the reference to magic. But I didn't like the specificity. This story isn't about one person or one instrument, and certainly not about one person's instrument.

I finished the book at 1am last Wednesday. And Thursday I woke up with the titles. And they are...

The Spirit Lens

The Soul Mirror

The Daemon Prism

This story is about seeing. Each title is an object, but each is also a metaphor for seeing, so you can expect that each part of the each title has multiple references. And to impart a slight flavor of the Renaissance, instead of a series title, each will be appended with

a novel of the Collegia Magica

I am happy. My editor is happy. The marketing folks are happy. So far, so good.

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Done!

The new book is packaged and sent off to New York!

Is it finished? No. Lots of work still to do.

Is the story complete? Probably so. All the elements are there and set down in a reasonable ordering.

So why the vast quiet of the past two weeks?

The ending kept slipping farther away. With a multi-layered story such as I like to write, the writer ends up with LOTS of threads to tie off - or deliberately NOT tie off. I had three main pieces in mind for the ending.
1. A big BAD
2. A big GOOD, involving self-realization one of the main characters
3. A big, dark REVELATION to carry us into the next story

I accomplished them all, but it will take another post to explain why that took six chapters and twenty days!

Right now I want to celebrate and get the cobwebs out of house and head.

More soon!

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Science and Magic

One of the "themes" of my world in the new book is that of science overtaking magic. As I've been working on the grand finale - getting there S L O W L Y - I've had the need for some examples of the scientific revolution. The opening half of the seventeenth century is truly remarkable. Astronomy, physics, mathematics, optics...one discovery following on another...one theory proven, one debunked, ideas... I don't know that I ever appreciated it before. One guy figures out how to create a vacuum. Seems small, and yet, people hadn't really believed there COULD be such a thing as a vacuum. Another person figures out how to generate static electricity, not knowing exactly what it was. Another person realizes that balls rolling downhill accelerate at a uniform rate that can be calculated. One person starts thinking systematically and realizes the liver couldn't really produce enough blood as people had thought...and so develops the theory of the circulation of the blood...and does everything he can to find out if it's true. These things seem so simple and obvious now, but were like magic then. They required leaps of understanding.

And the most amazing thing to me...

...was the people who did this. It's easy to picture scientists who make marvelous discoveries as dedicated, focused nerdy people. But you look at the people who caused this great revolution and they are all writers, translators, clergymen, physicians, musicians, or any number of other things. Some made their own instruments. The guy who invented the barometer built telescopes and taught mathematics. And Isaac Newton...did everything from running the English Mint (and doing all sorts of things to reform the currency and punish counterfeiters) to laying the foundation of physics and calculus, to writing religious and philosophical works, corresponding and collaborating with other scientists and mathematicians, writing books, teaching, etc. etc. We really do stand on the shoulders of giants. As they did, too, of course, as much of what they started with came from Aristotle and all those others who asked questions and formulated some kind of answer.

Makes me feel like a real intellectual wimp! Read more of this post!