Amanda Cockrell

 

I have just finished going over a copy editor's suggestions, fixes, embarrassing errors caught, and changes to be argued with, regarding The Border Wolves, the new fourth volume of The Centurions (out in April!) and I am reminded of when my son was about five and I read him Make Way for Ducklings. That was when I realized that even classics are not immune to the dreaded plot hole.

 

     "Why would they go back to that island and raise the ducklings after Mrs. Mallard said it wasn't a good place because of all the bicycles?" my son inquired.

 

     "Oh, well, they've all hatched now," I said, trying to get on with it.

 

     "The bicycles are still there," he pointed out, relentlessly.

 

     "Well, it's a plot hole," I said, giving up, and explained that writers sometimes put things in their books that don't make sense. He was aghast at this, and then fascinated. "By mistake?" he asked. He apparently hadn't thought of authors as fallible before, an illusion I was sorry to dispel.

 

     The dreaded plot hole waits for us all. Sometimes it gets past editors too and is discovered only when the thing is in print. I made an error in Roman naming conventions in the first Centurions novel in 1981 and now I am stuck with it. The Border Wolves contains an attempt to explain it away in historically plausible terms but I wish I had caught it then.

 

     Sometimes it's a corner we paint ourselves into. My Aunt Anne wrote novels and short stories, and during the Depression, when money was short and pulp magazines prolific, thriller serials that routinely left her hero hanging from a cliff, metaphorical or otherwise. In the next episode he would cleverly extract himself and get on with it.

 

     Deadlines and the need for cash often spurred her to finish a chapter without quite knowing where the story was going from there. In one episode she allowed the villains to bind her hero with steel chains and throw him into a well, where she left him until next month's installment.

 

     Unfortunately, when the time came she couldn't come up with any even faintly plausible way to get him out again. She sat down at the typewriter and after chewing the ends off several pencils, typed: "With one burst of superhuman strength, Jack broke his bonds and shot to the top of the well."

 

     My Aunt Anne remains an example for us all.

 

It's one of those dreary, gray January days that inclines a person to pessimism. The air outside is dank, the yard is a muddy slough churned up by the dog who is now tracking it all over the house, which needs cleaning anyway, and where did all that detritus in the corners come from, a miserable drift of cat hair, cracker crumbs, and nameless substances.

 

And then the mail arrives, bringing with it not one but two of the coveted green envelopes, checks from the Writers Guild for residual payments on my late parents' screenplays, extracted from various production companies on my behalf according to the Guild contract in force at the time they were produced. These envelopes are like lottery tickets — occasionally they contain several hundred dollars, and once I got one for thirty cents. Today's haul is $3.20 and $17.30, both for reruns of old Alfred Hitchcock scripts on heaven knows what channel: "Back for Christmas," "Banquo's Chair," and the wonderfully titled "West Warlock Time Capsule."

 

This time there is something else in there. I shake the envelope and a little gray mist comes out, gray as the day outside but warm and friendly, like a gray cat. It resolves itself into a tiny black-and-white television through which my mother's image takes shape, sitting at her typewriter, with a basket on the floor beside her, and suddenly I am four years old again. The basket has toys, dime store selections from which I am allowed to choose one every half hour, and play with my mother for ten minutes, if I will then leave her alone to write for the other twenty. It is an excellent system, although it has occasionally appalled people I have told about it, either in the conviction that I was a cruelly neglected child bribed with cheap toys to lead a solitary life, or in horror at the thought of trying to write in twenty-minute chunks, interspersed with conversation with a four-year-old. It depends on who I am talking to.

 

I open the other envelope and my father is there too, apparently asleep in his recliner, in a pair of black pinhole glasses that make him look like a bug but which he believed strengthened his vision, and indeed that treatment did allow him to stop wearing glasses. He looked like a praying mantis in them, though. And he is not asleep, he is dictating to Mildred, his secretary, who typed his scripts.

 

I put the checks in my wallet for the next time that someone is going to the bank, or I get the energy to learn how to use the mobile deposit app, and the little televisions fade out too. But the day has picked up somehow, more than twenty dollars' worth.