Manuscript Notes (& More Art!)

Since the start of 2018, I’ve not had many opportunities to share updates with you about my writing projects and process, but a lot has been going on behind the scenes. After completing my Japanese Cinderella manuscript Hai in late 2017, I moved on to a new manuscript tentatively called The Twelve Dancing Monks of Little Todai Temple, about a prankster sumo wrestler whose shenanigans lead to being exiled to a remote Buddhist temple during the peak of Buddhist persecution in the mid-19th century, when Japan was just beginning to open up to the West.

The whimsical bit of artwork shared with this blog post was drawn by my sister Rebecca inspired by Twelve Dancing Monks. It captures a sweet moment later in the story, which I will leave to your imaginations!

Amazingly, after just five months, the drafting phase of this novel is now also complete, and while I wait for feedback on the manuscript from a handful of early readers, I’ve been able to start a third as-yet-untitled manuscript set in 1840s Edinburgh, Scotland, inspired by the life and poetry of Christina Rossetti. I can’t say much about this new one yet, but unlike the others it will be an adult novel instead of young adult. I’m drawing inspiration from an eclectic mix of novels for this one, ranging from Iain Banks’ The Wasp Factory to Irvine Welsh’s Trainspotting, China Mieville’s The City & The City, V. E. Schwab’s A Darker Shade of Magic, and Neil Gaiman’s Neverwhere. I think it’s likely to have a darker tone and cast than the others, but still with opportunities for the comic relief I enjoy so much.

I’m also expecting to publish a smattering of poetry, essays, and possibly (my first ever!) short story soon, so watch for those announcements in coming months!

The last year has been a whirlwind of change for me in terms of my writing career, and I’m forever grateful to all of you for your support and interest in my work. I’ve been able to connect with a wonderful writing community online via Twitter (@CassaCassaCassa) and continue to attend The Cabin workshops regularly here in Idaho for much-needed support in person. It’s humbling how much there is still to learn and understand about my craft, but retrospectively I can see how much I’ve grown. And it’s a delight to be able to do what you love surrounded by equally passionate friends!

Foxes & Sumo Wrestlers: Novel Artwork

My twin sister Rebecca has been spoiling me lately with beautiful drawings inspired by my two novel manuscripts, one of which you’ll notice has changed the look of my website — because I loved it so much I made it my new header!

The foxes with the steam train come from my Japanese Cinderella novel, which is set in 1900 Tokyo during the narrow window of time when Japan allowed private companies to build and maintain railways before taking back national control (a decision they would later reverse after the war years). Anyone who has been to Japan knows the trains are now iconic to the landscape; at the time, though, Tokyo was known as the “Venice of the East” because the waterways dominated the rhythms of the city. Gradually, trains came to displace rivers and canals as the primary means of transport, giving birth to a very different kind of city.

Rebecca also drew an image of sumo wrestlers during a training session. This one is inspired by a new manuscript I’m working on, a very loose Twelve Dancing Princesses retelling set in an isolated Buddhist temple in rural Japan of the 1870s. The main character is a sumo wrestler who, because of a prank-gone-wrong, becomes an acolyte at the temple at the worst possible moment: the peak of Buddhist persecution in Meiji Japan.


Didn’t she do a fantastic job with these? I love them so much! They’ve given me all sorts of inspiration through the long, slow process of editing and revisions.

HAI on the Literary Work-in-Progress Podcast

Ages ago, I submitted the first ten pages of my “Japanese Cinderella” story, Hai, for a critique by the Literary Work-in-Progress podcast. I recently found out my piece was selected for Episode 10: Tropes with Karen McManus of One of Us Is Lying. You can listen to the episode on iTunes here.

I am now agented (yay!), but it was still a lot of fun to listen to both the positive feedback and the critique! I was relieved to hear that 99 percent of the questions Caitlin, Kristen, and Cameron raised go on to be addressed in Chapter Two, which they noted might be the case. But I promise I also got the chance while editing my manuscript to fix other issues they raised, like my ultra-long sentences… /(><)\

I also appreciated getting their take on the balance of description, voice, and stakes in this opening chapter, along with their recommendations on how to make sure readers know early enough what the stakes are so readers know what’s worth their energy. For example, even though I know that my protagonist Hai’s glasses are extremely important to the story, readers only come to discover that little by little, so the careful description of them in Chapter One might seem unnecessary on a first read.

One member of the podcast (Caitlin, I think?), raised some cultural questions about the story, so I thought I’d elaborate a bit on that, for fun and interest’s sake. The stepfamily in my novel is pretending at being quite upper-class and yet their fascination with France is outmoded among Japanese elites, who by 1900 had moved on from emulating Napoleonic styles and were beginning to prefer Prussian fashion and civic codes. Of course, everyday Japanese people were oblivious to a lot of what the elites were up to, because the changes would have no relevance (yet) in their lives for decades. A great nonfiction book about the way Japanese fashion changed before, during, and after the Meiji era is Toby Slade’s Japanese Fashion: A Cultural History (Berg, 2009).

At the beginning of the Literary WIP podcast, Caitlin, Karen, and Cameron address tropes — when to use them, how to make sure they work effectively. As you can imagine, when I set out to write a Cinderella story set in a non-European, non-Western culture, I had to tackle all kind of problems around the usual Cinderella tropes!

For example, it’s one thing to insert a rotten and goofy stepfamily into a novel, but I had to be careful not to avoid common Western stereotypes of Japanese people while I was at it. I opted early on to make them over-the-top obsessed with Western fashions, but I also wanted to distinguish them from the earnest, well-intentioned work of other characters who grapple with industrialization and foreign intrusions into Japanese ways of life. So I also opted for the stepfamily to be too dedicated to their Western tastes, not unlike the Shinkawa family in Yukio Mishima’s Runaway Horses. And that was just one of several problems I encountered when I attempted to cast Japanese characters into their Cinderella roles in unique but historically plausible ways.

I’ll stop there, to avoid spoilers, but I want to thank everybody again at Literary WIP for reading the opening chapter of my novel and hosting such a lively discussion!

Representation with Jill Corcoran Literary Agency

I am delighted to share that I am now represented by Julie Tibbott and Jill Corcoran of Jill Corcoran Literary Agency!

In August 2016 I began drafting what I nicknamed my “Japanese Cinderella” novel (working title, Hai) in a writing workshop led by Danny Stewart at The Cabin, a center for readers & writers based in Boise. I continued working on it through another workshop with Heidi Kraay, also at The Cabin. Since then, I’ve had the help of many fantastic critique partners and beta readers, plus the support of friends in my local writing community as well as online, to write the strongest manuscript I could.

Overall, since I know other writers are often curious about this, it took around 70 rejections, 6 full requests, 3 partial requests, and 2 major revisions (i.e. with changes to more than 25% of the manuscript) to reach this point. Then, much to my happiness, Julie and Jill said yes!

What’s the novel about? I’ll be able to share more about it in coming months, but it is a Young Adult Historical Fantasy about a seventeen-year-old engineer nicknamed “Hai,” whose long days toiling on Tokyo’s first railway are disrupted in a big way when he crosses paths with Kano, an imperial prince whose obsession with inventing a submersible has his parents worried he’ll enter the sea one day and never return.

I look forward to sharing more book news in the future! In the meantime, I am about halfway through drafting another manuscript. That’s the fun thing about writing: there are always more stories to write.

“Drying Tatami” & “Failed Adoption” (Sweet Tree Review)

This month has been a busy month of poetry publications! Sweet Tree Review has published two of my poems, a concise prose poem called “Drying Tatami,” and also “Failed Adoption,” which is based on how I experienced our family’s failed adoption of two children in the 1990s. (This experience left such a strong impression, in fact, that my twin sister and I went on as adults to adopt — thankfully without the same heartbreaking result.)

What’s coming: In August I am anticipating several essay publications and at least one poem. I’m also hard at work on drafting a new novel set in mid-19th century rural Japan during the peak of Buddhist persecution. I expect to be working on this novel for the next year or so, but I’ll be sharing some of my research on the blog. There were moments during the 19th century when it appeared Buddhism might be scrubbed from Japanese identity. Sometimes I’m amazed at how it not only survived but even experienced a bit of a renaissance during this fascinating moment in Japan, when the country was opening up to the outside world for the first time in hundreds of years (or, more accurately, when Japan was becoming something that could even be called a modern “country”).

Drying Tatami

You lay out the rice straw on the suspension bridge to bind it. Every three
years, replace the wisteria. When the bridge sways, sag vine—slice…

Continue reading

Failed Adoption

It was snowing in Chicago when the plane landed,
must have been the time taken for the father
to walk two toddlers across a terminal

the same hour bitter-cold in Idaho,
and a pack of dogs in the sheepfold

It was intestines ballooning over wool, it was red on black gums
It was the ewe bleating against the cinderblock wall while the dogs tore while the mother stood for the tender thing
when she made for the door and for the propped gun…

Continue reading

Thank you, as always, for reading my work! You can read the full Summer 2017 issue of Sweet Tree Review here. I especially enjoyed the luminescent “Loss of Mass” by Steven Pan: Scientists once believed they / could weigh the human soul. / In the beginning, you were a / flush of frenzy and copper. / Now, time has decolorized / your fever.

Photo credit: “Iya Valley Vine Bridge,” © Karl Baron.

Sustainability as Community Practice, Not Individual Effort

Even in 1877, most rural areas of Japan committed no more than 12 percent of their agricultural output to cash crops. That means 88 percent of what they were growing in their fields was for subsistence—that is, for feeding their large families composed of both blood relations and married relations as well as multigenerational servants and tenants. This information, from Thomas C. Smith’s The Agrarian Origins of Modern Japan, is interesting not merely because it gives us a portrait of what “sustainability” looked like in communities before industrialization took hold but because it points to an oft-overlooked quality of sustainable agriculture: there is no such thing as food security unless the whole community is committed to it.

Over and over again, Smith’s research points to the mutual support offered by large family groups in order to survive. True, smaller branch families had to offer more labor to the head family in exchange for borrowing tools and resources (including water and fertilizer, both expensive commodities). But the head families also dedicated labor to the land of the branch families! This was especially true during planting season, Smith explains, when each field had to be planted in a window of a few hours, a day at most, so that the next field could be planted and the next and the next in quick succession, while the rice seedlings were in peak condition.

Today one can find all sorts of websites about sustainable farming, urban gardening, “bug-out” planning (in the event of a major crisis), and so on. After three years of working with these various resources and farming on my own quarter-acre lot for a family of four, I can tell you I am disturbed by one common and regular oversight that Smith’s research makes painfully clear: communities achieve sustainability, not individuals (or even, for that matter, nuclear families).

This is common sense. If I have a gorgeous garden and a field planted with crops and a pig, goat, and chickens when a true “bug-out” situation occurs, how long will I maintain those resources without violence? But what if I lived in a large complex of buildings and land with an extended family (loosely defined) upwards of 50 people? Even better, what if I live in a cluster of four or five such families, all of us managing land that has belonged to our collective families for a couple hundred years? How do the odds of survival look for each of these groups?

The struggle, then, is not so much in merely learning the physical skills of growing crops and raising animals and doing so consistently from season to season but also in learning how to coordinate these things across one’s family or chosen community. Among other things, ancient Japanese families dealt with these delicate social dynamics by employing the following strategies:

  • Selecting a clear leader who speaks for the family as a whole (but does not simply dictate decisions!)—often a leadership role that is inherited from parent to child
  • Consensus building in private before ever inviting public discussion, especially in front of outsiders
  • Correcting deviant and dangerous behaviors with successively harsher punishments: private warnings, public embarrassment e.g. by banging pots and pans outside the offending person or family’s house, all the way up to the harshest action of expelling a person or branch family from the community
  • Worshiping and carrying out shared religious rituals, in particular for a god associated with the family over many generations (that is, a god who was unique to the family and community, not a universal entity)
  • Trust graduated over generations of work on the land, so a latecomer family to a village might not be allowed to own land or place a statue of the family god in their home until the first arrivals were grandparents or even had already passed away

These practices reveal that sustainable lifestyles did not follow the trajectory of an individual human life or a single nuclear family’s life but rather it was a multi-generational and highly collaborative effort that required social skills, self-restraint, and the ability to take a long view of the impact of one’s actions on the land and the community.

Rural Families in Meiji Japan

When I was researching Japan’s Meiji era (1868-1912) for my novel-in-progress, Hai, most of the books I read concentrated on urban areas ca. 1900, especially Tokyo and Yokohama. Urban centers were the locus of all forward momentum during this period, while rural villages struggled to find a place in Japan’s project of becoming a modern nation-state. Some villages succeeded in asserting their dominance in key industries, like textiles, to the point of threatening the livelihoods of urban guilds, but crops still had to be planted and harvested as they had for hundreds of years, and many families owned land going back at least that far.

For my new novel, I’ve decided to go back to the beginning of the Meiji era, the early 1870s, and concentrate on persecution of Buddhist temples. I’ve also decided to abandon the cities and set this novel in a rural, mountainous region (probably in western or northwestern Honshu, the main island). So I picked up Thomas C. Smith’s The Agrarian Origins of Modern Japan as a starting point for understanding village life. Even though the book was written in 1959, it is full of quotes from original sources dating back to the 1600s, including journal entries from peasant farmers across Japan! Here are some lessons I’ve learned:

Japanese families were composed of three circles of relations. At the center stood a nuclear family of 4 or 5 people with a male head of household. The nuclear family owned the most land and held the most political power in the village, which often was composed of no more than a few such families. Next came a middle circle of blood relations such as younger brothers and sons, as well as genin or fudai, hereditary servants who might have been with the family for many years. Finally there was an outer circle of tenants called nago. Many individuals in the two outer circles could be interrelated with the nuclear family by marriage or adoption. In total, these three circles might add up to 8-12 people, with some groups as large as 20+ people.

Land was owned by the nuclear family but worked by everyone. There’s a sweet spot in rice farming where a small group of people working a piece of land achieve maximum efficiency and productivity. If too many people spread out their labor on the same land, sometimes the land doesn’t produce as well. So let’s say a family has grown from 4-5 members to 7-8 members. The head of household might take 4 people and say, “Here, I am going to give you this tiny holding to work for yourselves. I’ll lend you my farm equipment and occasional help. See what you can do with it.” That new nuclear family, which is still subordinate to the main branch of the family, works as hard as it can to scrape out subsistence-level crops on the smaller piece of property, probably inducing the land to produce more than it ever did when it was just part of the larger property. Even crazier, the main branch of the family still expects the newly semi-independent family to contribute labor to the rest of the property in exchange for getting to borrow equipment.

The gift of a small holding might or might not include a house. Sometimes families were awarded property to work for themselves, but they still had to live in the main house. If they did get to move out into their own space, it was probably into a one-room hut around 40 x 20 feet in size that could accommodate 7-8 people.

Blood relations or not, everybody behaved like part of the family. One reason this agricultural system worked in Japan was because it was treated like one large extended family. Everyone in the three circles of family could expect the head of the main family branch to arrange weddings, births, funerals, and so on, for their well being and the benefit of the family. All family members contributed to honoring the family ancestral god(s), and they all expected to receive the benevolence and protection of the family gods. Also, the head of household handled administrative affairs such as paying taxes on all the crops, not just for the main holding but for all the smaller tenanted holdings, too. The head of household was also responsible for achieving consensus on political matters in the village in a way that served the family (and he was very likely the only person with the power to do so, since “new” families were not allowed the opportunity to be elected to any official positions!).

Poor families could sell family members, but rich families couldn’t. Rather than resorting to infanticide, poor families might sell their children or other family members such as younger sons of the head of household to wealthier families as genin. The wealthier families often wanted the help because agriculture is labor intensive. However, if a well-to-do family ended up with too many children or uncles, they usually had to shave off a tiny property from their main holding and “gift” it to the excess family members. As the Meiji era brought massive shifts in culture, such as by the introduction of new industries, it became harder and harder for rural families to sustain their labor needs. Lower-ranking villagers were tempted away to urban areas for better wages and opportunities. So gradually families had to grant larger and larger holdings to the people they wanted to stay and work the land, or they had to combine new industries with traditional crops, such as raising silkworms or ginning cotton.

Units of measure that might be of interest:

koku = enough rice to feed 1 person for 1 year (barely)
masu = enough rice to feed 1 person for 1 day

to = 1/10 koku
sho = 1/10 to

1 chō = approximately 1 hectare, or ~10,000 meters square
tan = 1/10 chō

In the Tokugawa era only:
10,000 koku = minimum yield of a fiefdom to qualify its lord for the title of daimyo
100-9500 koku = title of hatamoto
< 100 koku = title of go-kenin

A property might be described as having a “20-koku yield.” Three koku was considered a good yield off 1 tan, so I imagine most small holdings had to be at least 1.5 tan to handle subsistence-level farming for the average nuclear family. Non-rice crops would still use these units of measure, by the way, but they might be valued at less than rice for tax purposes. So, for example, the crop might only be worth one quarter or one half the same field grown in rice. Woods, wasteland, and pasture were equal to the value of rice because those resources were so valuable for agriculture.

Spring in the Rice Fields. Katsushika Hokusai, ca. 1795 (link).