Mardi Gras is coming! Laissez le bon temps rouler! (Let the good times roll!) Time to get out your krewe masks and your beads. Time to be more (or less) than normal. Find your identity. Be your own phantom. Discover yourself and don your best mask.

Much of who we are comes from how we humans design identities to our bodies. And beyond sexuality (a discussion for another day), much emphasis is placed on our various body parts but most of our identification comes from our faces. Our face is our “self.” Age and biological features such as “you look just like your Mom,” are often obvious ways we mark our identities. Other symbolic identities like our social identity and status require our face in order to express or alter our identities. How is this done? By adding or subtracting something like cosmetics, costumes, hairstyles or masks. Or a combination of all of those. Our masks therefore, are important.

A mask completely or partially hides the face. Did you know that the word “person” comes from the Greek word meaning “mask,” or the role played by an actor in a performance?” So our faces reveal our social self, who we make ourselves in relation to the role we choose to play in society and in relation to other people around us. Our persona, or mask, is related to and is revealed in the personality, the self or the ego. Masks give us the ability to transform the “person” behind the image into someone or something else. This “else” makes our masks playful and powerful and can relate our new “else” to myth or ritual. Masks allow us to pretend. Or “become” new.

As an example, what child can put on a Halloween costume and not carry through the mask identity? A dragon must roar, a vampire must bite, and a fairy must wave a wand. For a moment in time, an hour, a night, a child has taken on the personal of the dragon who loves tacos, of the scary count vampire or the good witch from Oz.

Adults do no less. I have seen fully-grown women in a witches black gauze, cackle through the night and mature men in grey robes brandishing a staff yell, “you shall not pass!” I have watched teens suddenly become orcs and mothers of little tykes become Mothers of Dragons.

These new identities allow children and adults to become something beyond who they are or can ever be. Then how much more powerful is a mask when the transformation feels real?

Great civilizations of the Old and New Worlds made and used masks daily. Death masks accompanied the Egyptian mummy to the tomb, and allowed the soul of the deceased to recognize its body after it returned to the tomb in the evening. The Aztecs and Maya of Middle America, and the Inca and other civilizations of the Andes used masks. The Chinese, Indians, and Japanese used masks from ancient times in a variety of different ways including theater, as did the Greeks and Romans. Finally, tribal and elder societies continue mask use in today’s rituals.

The early Christian Church took a dim view of masking and suppressed it whenever possible. This was partly due to masks’ association with pagan rites, and partly because of the immoral behavior that was often released through the anonymity afforded by the mask. However, the Church’s efforts at suppression were not entirely successful. In rural Europe, masking customs survived as Carnival and Mardi Gras; with the rise of the Commedia del’ Arte during the Renaissance, and the subsequent popularity of secular theater, masking firmly established itself in European traditions.

Arizona

The Milwaukee Public Museum has more than 300 masks on exhibit, and at least twice that number in its stored collections. Every continent except Australia is represented, as well as every medium from leather to clay. The masks come in all sizes, all shapes, encompassing all levels of social and economic peoples from the Eskimo to the Japanese. They also “do” a great many different things, and this “doing,” or function, is further complicated because the same mask can do several different things at different times and for different activities.

Historically, Greek drama, which was and is a masked performance, began as a masked ritual. Over time, the religious aspects of masked drama gave way to a more secular function of entertainment. In Indonesia, India, China, Japan and Europe, masked theater continues to be performed, either with religious or semi-religious overtones, while masked festivals are found throughout Europe, Central and South America and often coordinate with significant Church holidays.

One of the most important things that masks do is transform the identity of the wearer, and changing identity is not the same thing as transforming it. Take ceremonies in New Guinea, West and Central Africa, and North America where masks are used in “rites of passage.”

These rituals mark important transitions in the life cycle of individuals, or classes of individuals, in a society. Initiation into adulthood or a secret society, marriage, movement to a higher social rank, and funeral ceremonies are events that are often marked by masked performance. Death and rebirth are common themes in rites of passage, and masks help the visualization. In a rite of passage, an earlier identity ceases to exist, and is symbolically replaced with a new and entirely different identity. This is also a permanent change via the mask.

Masks encourage us to transform ourselves, and empower us to do so. They permit us to replace one reality with another. They can ultimately provide us with a better understanding of who we really are behind the role/masks we put on every morning and take off every night in our dreams.

For writers, masks are important. We use them to create. We “mask up” and become our characters, we redefine life, worlds, morals, and refine personalities and behaviors. Masks allow us to write fabulous stories or tell truths (or both). Masks can help us be real or help us be fantastically bizarre.

Understanding the role your persona takes in real life determines your author ability to make the masks work for you and your characters.

Mardi Gras is Feb 13, so I’m a bit early. But that week I want to talk about more loving pursuits, so forgive my early examination. Hey, all good right? You have time to find your mask. The key is to remember masks can transform and empower in real life and in your stories. The trick is making yours masks so good that no one can tell truth from fiction.

Inside or out, your mask matters. Reveal with pride.

I remain, Yours Between the Lines,
Sherry
(Completely unmasked. Honest.)

Fear.

Everyone at one point or another has tasted fear. Authors know fear and speak of it. Most authors fear the fear but even more have learned one vital lesson – fear is good.

Fear is a motivator, an instigater, a castigator, an illuminator, a paralyzer and an energizer. Fear is what makes us feel alive and makes us worry that we’re going to die. Fear is under so much of who we are as people, as writers, as stories. Fear is important. And you should be afraid! Fear comes from what we know and it comes from what we don’t know. It’s insidious and sneaky and delicious. Fear is important. We learn from our fears and we adapt because of them. When you can accept fear into your heart, then you may benefit from it. Yes, I’m saying it is important give in and be afraid.

First, let’s look at why I believe all those adjectives. When we are small, we develop fear of the unknown. This is where we put the things we don’t understand, into the shadow beyond the darkness. Such fear can motivate us to run or to fight. Fight or Flight syndrome comes from this basic fear. The fear of the unknown is challenging and can be paralyzing if we don’t learn to fight through it. Simply turning a corner on a dark road meets this fear. Keep turning the wheel, despite your fear. Delicious things come from pressing forward (safely please, unless you are a character).

Second, there is the kind of fear that instigates reactions. We fear getting surprised so we set up booby-traps. We fear being “taken” by a criminal so we trap them instead. We fear getting into a fight so we avoid that person. We fear what is around the bend, the corner, or off the road.This fear is more about what will happen to us and isn’t always good. But it is a wonderful tool for your traitors, your villains, your contagonists. Channel it.

Next there is the fear that illuminates. Studying for a test out of fear of failure can illuminate us to knowledge and behaviors (ours and our fellow students and teachers!). This kind of fear shines a light on our weaknesses and our needs. This fear can be used to aid others, provide that ah-ha moment, lead to discovery of clues or the ultimate takedown of the antagonist.

Castigation often follows fear. When we have been frightened and we don’t wish to be frightened again, we often castigate the perpetrators. Most often we find it riding on relief. It causes a plethora of negative emotions including vitriol, anger, hatred, childish jealousy, envy and back talk. This is when our mouths often overtake good sense. This fear is damaging. It is what parents often do their children. It is what heroes often do in frustration or a lover to a beloved. Use it wisely because it hurts.

Finally, there is the fear that energizes. I could write on and on about fear but let’s concentrate on this positive aspect. This fear makes us feel alive. The fear of not meeting a deadline (work, school, curfew). This fear motives, illuminates, castigates, paralyzes, frustrates, and – the best part – separates the determined from the unsure. THIS is the fear which often guides an author to guide the conflict in the stories. This energizing fear is the substance of good stories. It combines all the elements of fear into one positive stroke, using all the elements to culminate into a great ending (doesn’t have to be a happy one!).

Sure, authors are afraid of failure. We all fear not being accepted. We all fear bad reviews. But when the fear energizes, it can be channeled into producing action. And that action makes us feel excited and alive. Latch onto that feeling and ride it. Let it become you. Never give up or let fear of failure win. You can benefit if you try, and keep trying.

Fear can be good for you. A little stress gets the blood pumping, colors your cheeks, makes you feel giddy and goofy and tingly all over. Fear about the first time you had sex. Fear about going to that first scary movie. Fear about Halloween and the haunted house. Fear about that last manuscript, the one you had nightmares over and the one the beta readers ripped you apart over. (You know the one that turned out good in the end but kept you up for a month in frightful worry!).

As long as you use your fear productively, as long as you don’t let fear overtake your good sense or your ability to produce/function, fear is your friend. That’s why I say, let fear in. Let fear enliven you. Let fear spark your characters, bring reality to your stories, breathe tension to your novels and excitement to your publishing. Fear, used well, is good!

So go ahead. Be afraid. I’ll meet you in the shadows.

Thanks for coming by.
I remain, Yours Between the Lines,
Sherry

A couple years ago (3 Jun 15) I read an insightful (and humorous) blog post by Julie Butcher from her personal blog Fire Drill (fabulous writer/author/columnist, if you are wondering, and it got me thinking. Julie writes that today’s authors need to consider what is current for teens when writing YA. Thirty years ago, teens didn’t do coffee the way they do now (even down to the ten-years old though I wouldn’t allow that, still..). Today’s youth truly are more health conscious despite all the overweight people in the world (me included), and they are reading labels and worried about GMOs and being “gluten-free.” Thanks for the reminders, Julie.

After I considered how much I hate intrepidly healthy people (just kidding! Maybe.), I thought about the reverse of what Julie said. I’m a boomer and I know many young people who are writing about other generations in their stories. Some are doing biographies while others are penning family histories. The point is, depending on the decade, things were very different when I was a kid, teen, and young adult. 

But how much effort is being given to the truth in building a culture in newer books?

For example, I heard on the news that Affirmed won the Triple Crown, gas was 91 cents. The big win was 1978. But just ten years earlier, gas was averaging only 34 cents! And a stamp was a nickel. It certainly alters perspective, right?

I was discussing the new cell phones with a young college woman (20 years old) and she asked me about my first cell phone. I laughed and told her about the “shoe size bricks” that were phones. And then I really floored her when I mentioned the “bag phone” we had in the late ’80s. It sat on the floor, on the “hump” in our car, right where the big plush bench seat separated so each of us could adjust our own. She was still reeling from shock I think because she said, “hump on the floor?” Ah the cars of yesterday! Something else to consider, yes? Those late 80’s don’t seem that far away to me because I remember them, but to her my world might as well be a separate galaxy.

Much was written of the early rock festivals. Take Woodstock, historical and beloved. There were no cell phones. There were no tablets. There were no Bluetooth devices or iPods.  Woodstock was 1969. The first Walkman – a fabulous portable cassette with foamy headphones, didn’t happen for another decade on July 1, 1979.

In keeping with what Julie mentioned, let’s talk coffee and food. Historians believe the first recorded coffee-house was in Constantinople, Turkey in 1475. So coffee isn’t a new thing. Starbucks, however, is. Coffee houses or coffee shops really didn’t “develop” into a conscious thing in the US until about 1990 (though it was in the more artsy places like SoHo, San Francisco, and New Orleans earlier).  Starbucks opened one shop in 1971 in Seattle (where many think the coffee craze started). I consider the coffee craze a part of the boomer experience, “boomerly” speaking.

But let’s go back a little further. I grew up in the Midwest on corn-fed beef and potatoes. As kids, we ran everywhere, pretty much without fear of anything. My town wasn’t small but it was a town and not a city. Still, we didn’t have gang violence, drive by shootings, drug dealer corners, or worry about being abducted, at least not in abundance or where we were restricted. People got their mail at the house from a mailman who walked. Newspapers were delivered to the porch (or the flowers if the aim was bad) by kids on bikes, kids walked to school when they could (because many could!). My first experience with a school bus wasn’t until I hit 8th grade. By then I was in Florida and in a more subdivision environment. We rode bikes to school in the 6th and 7th grade because that was accepted and gave us freedom. No one worried about us being stolen or killed. And that was only in 1966-1968.

But back to food. Sonic drive ins have been around since 1959. I never saw any until I was an adult but there were many “copies” around, perfect hangouts for dates. Drive-in’s were big when I was a teen and young adult. Movie theaters had balconies and you could smoke. We did. Theaters were where movies were shown and plays were performed. And balconies didn’t cost extra either.

At home, we didn’t eat wrap sandwiches and yogurt smoothies. We ate soft creamy ice cream or frozen custard, snow cones and Nutty Buddies. We bought hot dogs and hamburgers loaded with everything, the messier the better. Anyone remember Burger QUEEN?  And no popcorn was worth eating unless loaded with butter and salt. We ate red meat — meatloaf, sloppy joes, spaghetti with meat, meatballs, hamburger, steak (might be flank or flat-iron but it was steak).

No one read labels because there weren’t labels like there are today. That is an innovation of the last decade. No one really cared. Ever.

And no one I went to school with had a peanut allergy. PB&J sandwiches (peanut butter and jelly) were readily shared! Oh, and no backpacks. We carried all our books (lockers didn’t come until junior high and then we still carried to class), and our wee metal lunch boxes with thermos! Sandwich, box of raisins, apple, milk (no bags of chips, though sometimes I did get a bag of peanuts).

The point is, as Julie Butcher mentions, “Pay attention to the world.” Stay current with today’s inventions and trends if you are writing YA. If you are writing about young adults 30-40 years ago, understand the world and culture of that decade or century. If you want to write historical novels about the last fifty years, then realize how very different the times and people were. Even language can date you if you are writing lots of dialogue (and I know you are). Neato, groovy, cool, hip, man. Super, jelly-o, and jeez!

If you are an older writer creating YA characters today, be careful not to let your memories of “back then” become the world of your characters of today. And likewise, if you are a younger writer (40 years old and less), be careful not to let modernisms muddy up a retro, antique or vintage story.

Know your world. Mine, theirs, yours. You dig? Jeah (not a misspelling)! And your stories will shine brighter for your efforts. Your characters will be memorable, too.

(Thanks Julie Butcher)
I remain, Yours Between the Lines,
Sherry