The Misty Planet

Iforest-1208296_960_720.jpg’ve mentioned that in addition to being inspired by what I saw or experienced during an NDE, the Metatron’s Army series has various plot elements that have a foundation in truth.

In the real.

As it turns out, the mists found on Azlaan are one of them, though I didn’t realize it until very recently.

When the basic story came together there were four original characters.  Two of the characters – Verix and Ryella – were based on celestial beings who had made contact at that time.

Contact being a combination of psychic feeling, psychic vision, psychic hearing.

Ryella was the fourth of the original four characters to put in an appearance and when she did, she pushed my story in a direction I never intended for it to go.

I was going along fine with Verix as a bad guy, and Christine and Corus as being space soldiers. 

The female celestial being started by very firmly stating that “It didn’t happen like that.”

She then proceeded to tell me her side of things. 

I was not at all happy with the change but this being was adamant that I be truthful to the story. Resenting the situation, I asked her to explain herself.  As I listened to the explanation, I took note of what she looked like and more importantly, the fact she was surrounded by a white mist.

She was also in a nature setting that reminded me of some of the Celtic and Welsh (Arthurian) legends.

I grudgingly accepted the change after listening to her explanation and thirty-five years later when I began putting the framework of the story together, I elected to make Azlaan a planet of mists and forests as a nod to that conversation.

For more than half of the story, the mists merely represented an environment.  I was still not happy with what I needed to do to one of the characters but was going to honor the story as it was created.

I was also going to gloss over the situation to avoid feeling too bad – the whole thing made me sad.

We need to talk.  Turns out the celestial being didn’t appreciate my plan.

I didn’t even know she was still around!

She paid me a visit one night and reminded me of the talk we’d had all those years ago.

She ordered me not to gloss over the event in any way.

I listened and realized she was right.  If I glossed over that part of the storyline, if I truncated it because it was emotionally challenging for me, I was doing an injustice to the story.  I took a deep breath and dove in.

And repeatedly got tears in my eyes – when I wrote it and when I edited, though I can now read it with only a twinge in my gut.

My take.  About this time I was having a conversation with one of the resident ghosts that hang out off and on at my house.  I asked him how they saw each other.

They’re friends.

He told me it would be easier to show me, then proceeded to do so.

Sometimes I see the ghosts outside but sometimes they project images so that I see them on the mental screen.

I saw a white mist and realized they more or less found each other by sound that manifested for them. I initially thought it kind of sad as it seemed to lack tactual fulfilment.  He shrugged and pointed out that it was the nature of their existence.

In other words, don’t feel sorry for him/them.

I couldn’t help thinking it seemed lonely because it lacked the physical though I acknowledged that it was probably normal for them and they were likely used to it by now.

Let me Explain.  One afternoon while I was taking a break from writing, sitting in the sun and watching butterflies, he sat next to me and offered to explain exactly what that white mist was.

He asked if I was interested.  Trust me, I was.  I LOVE learning about this stuff and the crew have helped me with so many challenges – especially in my efforts to regain my health.

He explained the white mist that he’d showed me was the same white that I experienced during the NDE.

The bright room I talked about, where I saw spirits of ancestors who’d passed on before and talked with what I understand was God.

He explained that the mist is also what I still see.

I have written how after the NDE I saw the world very differently; that I see molecules move.

He then explained that this mist is the between of the world I exist in and the world he exists in.

It is the bilingual medium, if you will, the place of energy where spirits and humans can connect and/or perceive each other.

He told me I see that around me because I exist there.

An awareness.

It’s  a result of the same faculties that enable me to perceive ultra-low and very low electromagnetic frequencies.

It’s all energy vibrating at a particular frequency.

The explanation prompted me to say, “So it’s like you and I are on opposite sides of a glass door and we both have our hands on the glass,” to which he replied, “Yes.  Now take away the glass.”

A few hours after that conversation I realized that when I wrote the mist as a plot device – as opposed to just a characteristic of the environment – I’d naturally written the scene in such a way that it reflected the new information, though I wrote the scene several weeks before I got the lesson in White Mist 101.

I was tapping into the memory of the actual experience without even thinking about it.

This plot device shows up in Book 10 and is referenced throughout the End Game of the series.

The mists in the story have qualities that are totally fabricated.  Additionally, Ryella, while inspired by the story related to me, is nothing like the efmale celestial being – personality wise.  Completely different personality, different vibe.

Crossroads Where The Celestial Meets Creativity

Crossroads.jpgWorking on Book 12 which may or may not be the final in the Metatron’s Army Series.

I gave up trying to predict when I realized that reintroducing cut scenes only enhanced and improved the story.

I am reading a dialogue scene between Chestin and Christine.  It’s a moment where Chestin shares his take on how to get around the political elite by using a loophole they are aware of but would never suspect the team would [be smart enough to] use.  My first impression upon reading the scene was satisfaction because it was a good illustration of Chestin’s strengths and his attitude – something Christine counts on.  A moment’s reflection brought to mind when and where I was when  I came up with the scene to begin with.

It is one of a number of times in creating this series when, upon writing and/or reading a scene, I am taken back to the time and place where I came up with it.  In this particular case, it’s split over two time frames.

Part One took place while I was on a treadmill in my basement in Michigan in the spring of 1999. The continuation took place while I was living downtown San Francisco in the fall of 2003, cleaning out a closet.

This story has crisscrossed back and forth, bringing to mind a number of times and places.

I’m even coming to see the role dreams and side journeys have played in its creation.

I’ve also come to realize that the plot device I thought I’d dredged up from my subconscious while playing as a child was never part of the original story.

It was only part of play time with a friend. 

That it ended up in the story was never consciously planned and had absolutely nothing to do with those days playing Barbies.  This has left me wondering – is the author the writer or the transcriber?

Or both? 

The crisscrossing continued as I moved throughout the West/Southwest US.

Searching for an environmentally safe place to live.

I came up with the skeleton framework for the endgame while listening to INXS and packing Legos for the move to San Diego.

Artwork.  This story, which has evolved over decades, is made up of disconnected yet congruent pieces, ribbons, with labels from different times and places, all flowing from the same source. My job is to find matching labels, like something from Husker Du, in order to weave them coherently.

It isn’t just the story they put together, it’s the journey of making sense of the amazing surreal place where the celestial and the creative come together.

MA – Where Did It Begin?

pagephotos_2918_59d4d821ccf8e2f1138036c083d75f39f704aee3732eb.jpgThis morning I was catching up on current events when a memory surfaced.  It was a little over a year after the brain surgery.  I was living in Florida, playing Barbies with a friend.  I’d come up with a rather unique way of “babysitting” kids so the adults could go out.  To my surprise, I realized that decades later this unique solution ended up as a plot device in the Metatron’s Army Series!

Which is why I’m not going to elaborate and spoil it.

I remember discussing the pros and cons of using this device with a friend.  He likes sci-fi and encouraged the method.

He thought it totally appropriate.

With only minor heartburn I went ahead.  I’m now totally fine with it.

The decision wasn’t what was such a big deal.  It was the way I implemented the plot device.

The how.

It’s unique and it’s something I’ve elaborated on in various books throughout the series – as appropriate to the progression of the story.

I’m about to reference it in an upcoming scene which is perhaps why the memory surfaced.

What surprised me the most about this is that it’s evident the seeds for Metatron’s Army were planted earlier than I thought.

I’d originally thought the first threads of the story were conceived while I was reading a Barbie coloring book back in Michigan, ten months after the Florida event.

I’ve always known that MA was born of my need to sort through what happened during the NDE.  In light of this memory, I have to wonder if there’s more to the reality of the story than I already believed.

It’s common for children to use play – drawing, acting out – as a way to deal with emotionally and psychologically challenging events. Trust me, having an NDE at 10 years of age was challenging. 

As I enter into the End Game part of the story I find myself experiencing memories that reveal information gained during the NDE.

The most recent has to do with whether or not the universe is expanding or contracting.

Much of the stuff, rooted deep within my unconscious, is finding its way to the surface by way of writing the story.

When the memories do invade, it’s quite startling and can pull me away from the story for a bit, though I usually set it aside for later review and get back to work.

This latest will likely suck up a bit of time but as with the others, I’ll set it aside.  After all, I have a scene to write.

I find it interesting that Barbies were the trigger that set the story in motion all those decades ago.