Backyard Brief: Little White King

The other day, my husband spotted another striking, first-time visitor to our house, a male white-crowned sparrow. One day in rain, the next in sunshine, he stuck to the grass to forage for fallen seed.

According to my slightly outdated North American birds guide, we’re in His Majesty’s winter range. Perhaps he has been dethroned and is migrating northward to a new seat of power. I wonder if he is related to the White King in my Alice novel. Look closely: This fancy little monarch even wears white eyeliner on his lower lids.

He must be French, or maybe Quebecois.

Camp NaNoWriMo: Song of Spring

For this month’s Camp NaNoWriMo, the first of two annual camps (also in July), I continue and hope to reinvigorate the process of writing my 2016 NaNo novel based on Lewis Carroll’s Alice books.

Currently, I have a detailed plot outline, my main characters are taking shape, and I’m zeroing in on the kind of story I want to tell. I’ve drafted almost the first half of the story, but many of those scenes and especially several pieces of exposition probably will require significant rewriting to match the second half’s focus and character arcs.

My Camp NaNo goal is to finish the first draft of the whole story by April 30–however disjointed, incoherent, or mediocre it might be. Forward momentum! The summary and excerpt below represent my latest clues to what the final draft may become.

To see hints of the slow, unsteady development of the project since last summer, see this seed, a snapshot on the cusp of its germination, and the small bud of a key scene‘s rough draft.


Happy writing and reading this month, which is also National Poetry Month. For ideas on how to celebrate poetry, visit my list of suggestions from last year. Poem in Your Pocket Day is April 27th this year. Whatever you’ve got going, I wish you the best. Enjoy!

Plus, nature lovers, don’t forget to watch The Zoo tonight at 10pm EDT on Animal Planet, and Wild Scotland starting tomorrow at 8pm EDT on NatGeoWild. My post from earlier this week about TV nature programs and Scotland nature tourism can be found here.


I’ll soon share some other projects seeking fertile soil.

Summary: Novel synopsis-in-progress (drafted 3/28/17, revised 4/1/17)

A fantasy tale based on Through the Looking-Glass, and What Alice Found There by Lewis Carroll, Hunted Song of Looking-Glass Land re-imagines the second of his two Alice books. Glimpses of original chapters and the use of characters provide a frame of reference for new adventures and insights about the true nature of heroics and villainy in Looking-Glass Land. The teenage girl Song Warber, a Jabberwock, or Wock, wields her singular music-making powers in the struggle of freedom and justice for all Looking-Glass Landers.

A little girl named Alice mysteriously arrives in Looking-Glass Land and stirs up trouble for Song’s family even as both her presence and Song’s threaten the monarchy. Yet, it is only by allying with this alien little girl that Song can fulfill a destiny she only begins to fathom when her family falls into the hands of those determined to tear them apart—the Royals, or chess pieces, of Looking-Glass Land. Alice’s destiny is also at stake as she awakens to the gritty realities of this ailing country. Her triumph will depend on new alliances, betrayals, comings of age, secret support, a bit of magic, open battle, overcoming tragedies, facing fears, and confronting the White King, the Red Queen, and a vengeful Humpty Dumpty.

Can two young girls of vastly different species, upbringings, and worlds ever hope to right the wrongs of the place they inhabit, however briefly, together? The good of parallel worlds may depend on it. And what will become of Song and Alice in the process? It’s a reversal across the chessboard of team loyalties and the realm’s purpose as a land of vivid dreams, uncommon reality, and infinite possibility. Will Looking-Glass Land survive the turmoil?

Hunted Song novel excerpt (3/28/17, rev 4/1/17):

A story was told. Another was told after that. A minimum of three short stories or two longer ones would always be spoken in any given sitting where storytellers and story hearers gathered together.

Every story told was a try on the part of a contestant. It was a storytelling contest. Each contestant was a member of the Looking-Glass Land community, a long-standing member of the fellowship of the realm. No one was new. No one was young. No one was particularly old. The Royals were an exception. The White Royals looked wizened. The Red Royals, middle aged.

Storytelling had once been merely a pastime as popular as baking and walking in Looking-Glass Land. As popular as tea time. In fact, stories were often told over hearths and tea tables and tea sets. Tea things were the natural scenery for a storytelling session. Like other pastimes, preoccupations, and cultural rituals, the tradition of storytelling in Looking-Glass Land came with many rules. There were particular steps to be taken in the telling of a story. Specific qualities each story must have. A certain size an audience must have in number, to represent a story telling properly. Like tea time in England, storytelling in Looking-Glass Land had a certain order of operations to it.

As times grew harder, the wizened, middle-aged and neither youthful nor old inhabitants of the land grew more serious, less playful, less tolerant of creativity, invention, new ideas, new characters, or, eventually, any new stories. The only stories permitted were stories that had been told many times before. Known stories. Stories people had heard over and over again. Stories that became in their telling like the reciting of a pledge each morning in school or the swearing of an oath for public office. Familiar, unoriginal, the same–always the same. Even the wording had become regimented so that each well-known story could only be told in exactly one way with exactly the same words from start to finish, every time.

The contest continued, however. It became a competition in style of delivery. The stories never changed, so contestants needed only to memorize the content, and the rest could take on a variety of bellowing, shrill screeching, whispering, and outrageous inflections, dramatic pauses, vibrations and other sound effects, as well as musical accompaniment of every kind. Even a technique such as ventriloquism had been a trend at one time, but eventually, the crowds began to crave more elaborate movements on the part of the storytellers and from any actors they chose to act out the events of the tale.

You may think, So what? Stories are popular because they are told over and over again. When a story is repeatedly shared, it means it is popular. This can be true. However, the people of Looking-Glass Land took repetition to a whole other level. There were never to be any new stories of any kind for any purpose. Even recounting the events of one’s day to one’s family came to carry with it very strict rules and restrictions. Such recollections could only be so long and would not be permitted to be repeated outside the family circle within hearing range of other families or anywhere in public.

This was at first very difficult for people to comply with, as you might imagine. But over time, with practice, and a few minor adjustments to the rules, as with many things grown easier with habit, recitative storytelling in Looking-Glass Land came into its own. Upon visiting the land at such a time, you would note that it was as if no one had ever heard an original story, so much so that it mattered little who had originated the stories in the general repertoire. The creators had been forgotten, and no one mourned the loss of their memory. Memory instead became less and less important, and forgetfulness became au courant and du jour, as the French might say of more benign customs.

As a result, even short-term memory became devalued and less tenable among the people. This had reached a level of such ridiculousness that an outsider would find it absolutely comical how poorly the people held facts, events, even names in their memory, how few things they remembered while traveling from point A to point B, even just down the road from their houses. A side effect of this was that the Looking-Glass Landers were constantly getting lost in their own neighborhoods and villages, and needed help from a kindly neighbor they’d sought help from a thousand times before but whom at the moment they could not recognize. They could only hold so much information in those dry, unused brain muscles, you see.

The lack of need for invention, creativity, new ideas, or any kind of refreshing of activity had an even more devastating impact. It created scores of demented community members, folks with early onset Alzheimer’s, as it were, though they wouldn’t be able to spell that word let alone hold their own attention long enough to grasp its meaning. To try to remember the term? Forget it! And so they would.

This chronic, permanent forgetfulness applied to all things. There were occasional anomalies among the villagers in the thoughts they managed to commit to memory in their own clandestine ways, even while original storytelling became illegal, in both spoken and written form. Mainly, though, among most of the population, to forget was to comply, and to recite was patriotic. It was a way to pay homage to the stories the kingdom had declared the best, most worthy tales to be passed down from generation to generation in Looking-Glass Land. It could therefore hardly be noticed when the variation in delivery of these rote storytelling activities gradually lessened as well.

Like the flappers on the floating island world discovered by Gulliver, the people of Looking-Glass Land devised a means of support for their forgetfulness, to steer them aright and keep them from wandering forever aimlessly amidst their brooks, woods, and meadows. One of these devices was a system of concrete roads on which were painted in permanent pigments instructions to every destination known in the land to every other destination, as well as labels several points in advance of reaching a destination to remind the traveller that the arrival was imminent.

This worked even in cases where the person was in fact closer to their point of origin than they were to their designated destination. With abysmal short-term memory, the misguided could be guided best only by counter-factual signs and directions exaggerating the distance, the nearness, the direction, and the size of the places people sought to reach.

In fact, in our land, with our far superior short-term remembering skills (trust me, even you with poor short-term memory have nothing on these characters), we would interpret these overdone instructions as patently false, utter lies, and deep absurdities.

And who made such systems, you ask? Why, the government of course! They were naturally exempt from the restrictions they decreed. They became the parents, nurses, and shepherds of their people, and they could do very much as they liked, always, without challenge or correction or fear.

Such was the state of Looking-Glass Land in the years around the time Alice made her historic visit.

Actually, that would have been her second visit, if memory serves. Alice had been to Looking-Glass Land before, and the results of the first visit differed greatly from what that old fart Charles Dodgson professed them to be in his famous novel Through the Looking-Glass, and What Alice Found There. It’s really quite funny. For a man who treasured his memories of childhood and later friendships with children so dearly, he proved to have significant memory problems of his own when it came to the fictional worlds he himself had created.

As an outsider myself, from the next country of Wonderland, I saw what went on in Looking-Glass Land with my own eyes. I possess certain . . . powers that made these observations easier. Because of my unique circumstances and close investigation, I can tell you how it really happened, and I will very shortly. I only hope your memory is not so short. I hope that you will be able to learn and benefit from this history–for everyone’s sake. Perhaps having this written form to re-read and refer to will aid you in that endeavor. I bid you good luck and urge you to make an effort, if you can.

An Outlander Tourist in Scotland, Part 2

Last time, I showed you Outlander-related tourism destinations in Central Scotland, specifically the Edinburgh and Firth of Forth areas. In that post, I also laid out my plan for this series: (1) introduce the site options, (2) share my husband’s and my Outlander tourism goals and results, and (3) lend some advice and resources for planning your own Scottish Outlander tour. The process continues with (1) site options in Central Scotland.

For Part 2 of this series, we travel to Glasgow and environs, home of the Outlander Studios, and then we’ll dip southward to Ayrshire and then Dumfries and Galloway, birthplace of actor Sam Heughan, our beloved Jamie Fraser. Remember you can go on VisitScotland.com for regional maps to follow for context, including the one for Greater Glasgow & The Clyde Valley.

This collection mixes the easily accessible with the off limits and forbidding. Glasgow is a tourist city, Troon a resort town, the country estate of Drumlanrig Castle visitor friendly, and Dumbarton Castle an underrated attraction. By contrast, Hunterston House is closed to the public, Torbrex Farm is private property, Outlander studios are tightly secured, and the treasures of Finnich Glen are guarded by dangerous pathways.

Tourism can take many forms, however, including the virtual. Therefore, I do not exclude the beautiful and interesting just because they shy before visitors.

The Central Sites (Continued):
Show Filming and Book Story by Region or County

City of Glasgow, West Dunbartonshire, Stirling, and North Lanarkshire

City of Glasgow      →      Outlander Settings

George Square, in the city centre of Glasgow, saw the filming of Frank’s surprise proposal to Claire → the Westminster Register office, a flash back to the future at the start of ep107, “The Wedding.”

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Claire and Frank in “Westminster.” Image by STARZ/Sony Pictures Television, courtesy Outlander-Online.com

Glasgow Cathedral, on the east side of town, accompanied by its Necropolis, a vast cemetery on a hill. → Interiors served in the scenes at l’Hopital des Anges, the hospital where Claire volunteers her nursing skills in 1740s Paris, eps 203, 204, 206, 207. This beautiful church is a magnificent tourist attraction in its own right.

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Claire nurses at l’Hopital des Anges. Image by STARZ/Sony Pictures Television, via Outlander-Online.com

Pollok Country Park, south of Glasgow’s city centre → The park doubled as the grounds of Castle Leoch and the area where Claire harvested mushrooms when she met Geillis Duncan, ep102, aptly titled “Castle Leoch.” Later, the show used it to stage the duel between Black Jack and Jamie in ep206, “Best Laid Schemes” (an homage to Robert Burns’ poem “To a Mouse,” which I analyzed in another post). The setting for that was the Bois du Boulogne of Paris. Pollok Country Park was used in episodes 101, 102, 103, 104, 105, 107, 109, and 206.

Pollok House and the Burrell Collection are popular tourist attractions on the grounds. There’s a playground, a lake, some sculpted gardens (also used in filming), a golf course, and pasture of Highland cows as well. Several bicyclists roamed the park on the rainy day we went there.

* * *

Stirling (SW)     →     Outlander Settings

Finnich Glen, a.k.a. the Devil’s Pulpit, near Drymen (pron. DRIM in) just south of the Trossachs National Park in southwest Stirlingshire → St. Ninian’s Spring, a.k.a. the Liar’s Spring, where Dougal takes Claire in ep106 after he stops Black Jack’s brutal interrogation of her. Visitors to the site note that it is difficult to access but worth the effort. For important safety notes about the area as well as directions, see this TravelChannel.com page. For precise location details and map coordinates, go to the Finnich Glen profile at Gazetteer for Scotland.

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Claire and Dougal, at “the Liar’s Spring,” discussing her fate, ep106. Image by STARZ/Sony Pictures Television, via Outlander-Online.com.

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Finnich Glen. Image 10 of 15 in the Outlander tourism gallery at TravelChannel.com.

Torbrex Farm, Stirlingshire. Domick Hill, Stunt Coordinator,
 says of it, “Being the Stunt Coordinator, my favorite location was a large tent in a very wet field, near Torbrex Farm, which is a few miles from the studio. The reason being that it’s where we filmed the majority of the Battle of Prestonpans—not very glamorous, but we had a lot of fun in that smoke filled, muddy marquee!”

Source: http://www.travelandleisure.com/culture-design/tv-movies/outlander-cast-and-crew-favorite-locations 

Dunmore Park  Falkirk, Stirlingshire →  The bombed-out hospital in ep101 where Claire, in flashback, treats the wounded on V-E Day, the end of World War II. Source: http://www.travelchannel.com/interests/arts-and-culture/photos/get-inside-outlander-on-a-tour-through-scotland

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Claire, Allied hospital, post surgery, V-E Day, May 1945. Image: STARZ/Sony Pictures Television, via Outlander-Online.com

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UK cheers V-E Day, 1945. Image: STARZ/Sony Pictures Television, via Outlander-Online.com

* * *

West Dunbartonshire     →     Outlander Setting

Dumbarton Castle in West Dunbartonshire, overlooking the Clyde River just west-northwest of Glasgow, is a medieval stronghold and center of the ancient Strathclyde kingdom. “Sam [Heughan] was photographed there on set by Just Jared magazine, published on August 5th 2014.” Source: https://wizzley.com/starz-outlander-scottish-filming-locations/. West Dunbartonshire, a local council area of its own, also “borders onto Argyll and Bute, East Dunbartonshire, Renfrewshire, and Stirling.” Source: Wikipedia

The Dumbarton Castle address is Castle Road, Dumbarton, Dunbartonshire, G82 1JJ.

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Dumbarton Castle. Image by Historic Environment Scotland

See the rest of the gallery on the Historic Environment Scotland site of Dumbarton Castle. Learn more at VisitScotland.

* * *

 North Lanarkshire          Outlander Settings

The Outlander studios are situated in the area of Cumbernauld (5th largest town in Scotland) & Kilsyth, North Lanarkshire, to the northeast of Glasgow. The sound studios reside in a warehouse complex where most of the indoor settings and scenes in Outlander are constructed and filmed. The official address of the studios is LBP Outlander Ltd. (Left Bank Pictures), 2 Wyndford Rd, Cumbernauld, Wardpark North, Glasgow G68 0BA, UK. It is the site of the former Isola-Werke factory. Security is tight, but you can drive by and stop briefly at the labeled gate.

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Signed gate at Outlander studios. Image by C. L. Tangenberg

* * *

The Southern Sites: Show Filming by Region or County

North Ayrshire, South Ayrshire, Dumfries and Galloway

North Ayrshire      →      Outlander Settings

The Hunterston House interiors  the Reverend Wakefield’s Inverness rectory in eps 101, 108, 201, and 213. This is where, in 1945, Frank Randall and Reverend Wakefield talk genealogy; Claire has her tea-leaves and palm read by Mrs. Graham; the Reverend Wakefield, Graham, and Randall convene along with wee Roger to search for the missing Claire; and where Frank and the Reverend discuss matters upon Claire’s return in 1948, including the shot of Frank running down the stairs after hearing her biggest news.

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Frank and Claire at the Reverend’s, 1948. Image by STARZ/Sony Pictures Television, via Outlander-Online.com

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Frank and Reverend Wakefield, his study, 1948. Image by STARZ/Sony Pictures Television, via Outlander-Online.com

It is, of course, also where we meet adult Roger Wakefield and Brianna Randall at the end of season 2. The site is closed to the public, but they have an ample gallery on their website. Exteriors were filmed elsewhere. Go to the Hunterston House website for more information. Their address is Castle Avenue, Hunterston, West Kilbride, KA23 9QG, Ayrshire.

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Roger, Reverend’s funeral, in his study, 1968, start of ep213. Image by STARZ/Sony Pictures Television, via Outlander-Online.com

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Roger Wakefield, Claire, Brianna, foyer, Reverend’s house, 1968, ep213. Image by STARZ/Sony Pictures Television, via Outlander-Online.com

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Roger and Claire talk living through loss, ep213. Image by STARZ/Sony Pictures Television, via Outlander-Online.com

* * *

South Ayrshire     →     Outlander Setting

Troon, coast of Kyle, South Ayrshire. Troon is a resort town on a headland at the north end of this council area and of Ayr Bay, about 35 miles southwest of Glasgow. Coastal shots where Claire, Jamie, and Murtagh depart for France, ep116. You can learn more at VisitScotland.com and Gazetteer for Scotland.

* * *

Dumfries and Galloway     →      Outlander Setting

Drumlanrig Castle, Thornhill, Upper Nithsdale, Dumfriesshire Season 2 filming location for the estate at Bellmont, England, the Duke of Sandringham’s last residence. Ep211, “Vengeance is Mine,” script written by Diana Gabaldon.

Contact address: Thornhill, Dumfries & Galloway, DG3 4AQ, Scotland

Come back for Part 3‘s review of Highland tourism sites for Outlander filming, book story, and Scotland fans.

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