The Journey of SILVER BROWN

On Characters That Speak No Recognizable Human Language

In many a blog post of yesterweek, I’ve mentioned Act One of SILVER BROWN is pretty much complete. I’m not ruling out the possibility that it still might undergo a few more nips, tucks and organ transplants, but at least it’s at a point where I’m more or less satisfied with it. Acts Two and Three are both in an early-to-intermediate stage of their development. Like literary vestigial limbs. They will surely evolve into glorious eldritch tentacles dripping with digestive sucker juices and territorial musk, but for now they’re just stumps. Act Two is a little bit more than a stump, though. It’s the one I’m presently editing.

These chapters have something of a different feel to them compared to Act One. Act One details a critical moment in Florys MacNab’s career as a witch, and most of the supporting characters are other witches. Act Two sees Florys venture out into worlds beyond the Sisterhood to learn a host of horrifying cryptic truths her Lodge has hitherto kept from her. The supporting cast has almost completely changed. Characters that were only mentioned in passing or casually alluded to in Act One become much more prominent in Act Two. This blog post will focus on one of those characters in particular. Kent Fairholt’s trusty sidekick, the utility program Sherman dot Quebec Lima niner.


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This is an approximation of what Sherman looks like, although it might not be an actual picture of him.

It was established from the earliest drafts that Sherman can and does speak. His function within the narrative is as a voice of reason. A foil and counterpart for Kent Fairholt, frequently correcting him when he’s wrong. Kent’s conscience, personified. Or more accurately, mustelified. When Sherman speaks, Kent is the only human who can understand him. To Florys and other humans, Sherman’s utterances just sound like a series of clucks, squawks and chirrups. Hence, Sherman’s brainy sayings (at least the ones relevant to the plot) must necessarily be translated and interpreted for Florys (and ultimately the audience) by his significantly less brainy friend. The results may vary.

Throughout the editing process, I experimented with several different approaches trying to find the best way to represent Sherman’s utterances in the text. The earlier stages of the book’s evolution would feature Florys including phrases like “the ferret clucked and squawked” or “the ferret clucked and squawked some more” in her narration of the story (she seldom refers to Sherman by name, mostly out of disdain for Kent). The result was that Sherman came across like a one-dimensional character, saying the same old shit over and over again. After about the fifth time the ferret clucked and squawked, he started to get on my nerves. So in order to make him less Jar Jar Binksy, I found it necessary to expand his vocabulary a bit. That, and to present more of his lines of dialogue in an onomatopoeic manner as opposed to giving verbal descriptions of his utterances – a cue I probably took from the fight scenes in that old Batman series from the Sixties starring the late great Adam West…



His vocabulary would be expanded further still when Our Lady of 420 whispered in my ear one morning and casually suggested that he ought to be equipped with a vast internal library of sound effects. An idea completely compatible with the nature of the character and the premise of the book.

Sherman looks like a ferret and is frequently referred to as such by Florys, but beyond superficial appearances there is nothing ferrety about him. He’s actually a musteline utility program running within the Environment. An artificial intelligence, in other words. Like a walking Siri with fur. Hence, having a library of sound effects tucked away somewhere in his brain wouldn’t disrupt the suspension of disbelief too much. The sound effects come into play when Sherman is trying to accentuate a point he’s trying to make to Kent, using them almost like auditory emojis. Any selections from the library that take more than one word to convey are given in parentheses in the text. I think I recall J.K. Rowling using a similar technique a few times in the Harry Potter series, although I couldn’t tell you off the top of my head specifically in which chapters of which books.


Squawk! Roar, meow. Bark! (Screech of an eagle). Chirrup, cluck-cluck (something that vaguely sounded like a dump truck backing up). Coo, squeak.

– Sherman dot Quebec Lima niner

 

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The Bullhorn of SILVER BROWN

Now Playing: Chapter 5 (and maybe 6)

Chapter Five of SILVER BROWN is currently being scattered into the fiery Twitterverse at a rate of a page a day. For over forty days. I’ll throw in Chapter Six as well during this cycle. Because why not? Five and Six form a distinct two-part story arc within the larger narrative, but the latter is much shorter. Only a few pages long, but an important chapter to the overall plot.


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The Bullhorn of SILVER BROWN

It’s The Great Autumnal Molting, Charlie Brown

We have arrived at another spoke on the grand geological wheel of time. Hence, a brand-spankin’ new edition of the SILVER BROWN e-book has been published. This one includes three new chapters. All relatively short, chock full of exhibition and a few flashbacks and general dafuqitude. There’s also a creature in there that’s something like the Sarlacc off Return of the Jedi, only it lives inside a toolshed. In its belly you may or may not find a new definition of pain and suffering, depending on who you ask.


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Tapclick on the GIF to be dragged into the download page’s maw.

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