JEHOVAH'S HITLIST (Chapter 1 excerpt)

Since Blogger decided "schedule" meant "post now," MSM part 2 was posted yesterday. Now, this being a journal and not a blog, I could totally go today without posting and that would be okay. But things are about to get busy for me at work. (Granted, it's a new department and from what I can see, their definition of busy isn't the same as my previous department's definition of busy. Time will tell on that one.) Given the pending absence of content as I fill the digital bookshelves with content that isn't mine (alas!), I thought I would do something I used to do much more frequently...AN EXCERPT CHAPTER!

My current WIP is almost a post-apocalpytic sci-fi but given the setting is so self-contained, it's hard to see it as post-apocalpytic or sci-fi. It is, though. Sort of. JEHOVAH'S HITLIST could be a YA novel if not for the guns and violence and drugs and profanity and sex... Like all my excerpts, this is a first draft. Comments and criticisms are still welcome.


1

Some say it was the industrial revolution. Some say it was the three-car garage. Some say it was this or that rigged election or this or that unsigned treaty. Some say it was the Reciprocity Act. But let me tell you, the day the first Dutchman showed up on the Ivory Coast with a bottle of whiskey was the day the world began to end.

All but for the want of shoes. Jehovah looked at the street ahead of him, trash strewn from either gutter and up the walls to his knees, greasy paper rolling with the wind like tumbleweeds. One broken bottle, one bent needle, and he would have to crawl back to Missouri Avenue before the jackals found him. He looked at his bare feet, the soles stained black from walking barefoot half-way across the Nation, all the way to Wyoming Avenue. He would have skipped this drop all together if someone hadn't stolen his shoes.

He looked up at the sky. The daylight array buzzed, clunked, and moved to third position, full light just after dawn. A permanent enumeration of passage of time, the array showed that it was eight in the morning. The center lamp, the sun lamp, shone so brightly as to color the sky yellow, but if Jehovah squinted just so, he could see the silver glint of the lamps in twenty-sixth position. That was how he knew where to go. That was why his family didn't starve.

The weekly drop always came on Sunday. Charity was a Christian duty, after all. But never at the same time and never in the same place. The boxes dropped at random times and from random locations to avoid territorial buildup of gangs near a designated drop zone.

Most people didn't look up. What was there to look up to? The sun lamp? One could hear it change position and did not actually need to look at it to know the time. The brightness of the sky? It was the same brightness every day of the year, half-brightness on days it rained. To know the weather? It rained six hours a day for three days in intervals of fifteen days. There was no reason to look up.

Which is why no one ever noticed that, if one squinted, one could see the array lamp pulled out of position on Sundays to allow for the drop. It took the drop boxes five minutes from launch to parachute deployment to touchdown. No one could travel across the Nation in that amount of time. Whoever was the closest to the drop got the best pick of the charity, food, clothes, medicine, machine parts. More than he could carry, but today he just wanted shoes.

Jehovah pushed junk to the side as he walked. He'd need a clear path to run through before the jackals made their way here. Paper, rotten food, dirty diapers, warped cans home to swarms of cockroaches. No glass, no syringes, no broken knife points, or hidden bear traps. He would grab the charity, run over to West Virginia Avenue, work his way up to Charleston Park and put on his shoes there. The jackals would head straight for Cheyenne Park where the charity would land. Put on his shoes, lay low, and once they passed, make his way back to Missouri as quick as a rat.

Park buildings were always the worst, burnt out shells from the charity riots of '77, piles of brick where the support beams had already given out, or asylums for the marginalized. It was a special sort of crazy that grew marginalized in the Nation. They sat up there and raped small children they stole off the streets or built sniper nests to wound people at the charity boxes and leave them for the jackals.

Jehovah stood at the end of the alley, Cheyenne park opening up in front of him, and looked up. The building on his left still had its roof. The gutters and been ripped off and repurposed by the tinkers long ago. The building on his right was an uneven curve of bricks. The building was falling in on itself.

He stuck his head out, counted out a full second, then pulled it back in. Enough time for any snipers in the area to notice him without the time needed to put a bullet in his head. He popped back out and immediately pulled back in and waited for the gunshot. Nothing. One more time for good measure, out and in. He waited, his back pressed up against the wall but not too firmly. Once he saw an entire building fall on top of someone that pressed too hard against a wall.

Still no gunshot. Jehovah stuck his head out and took a look. The windows were empty. No barrels sticking out. A smart sniper would keep his gun inside the building. Asylum squatters weren't smart, they were crazy. They wanted you to know they were there. They're own little cat and mouse game. Sick fucks.

The park was just as empty. Two square blocks of open concrete, ramps, rounds, benches and foundations for contraptions meant for children to play on. Metal contraptions, so long since picked clean and repurposed along with the metal sculptures of things called trees. Jehovah wasn't sure why anyone would space in a park for trees, but Old Hobbe said all parks had to have trees.

Cheyenne Park went all the way to the outer wall of the Nation. None that Jehovah knew had ever been out that far. He had no fancy to try. He was here for shoes and maybe some quick swag he could trade to the Mississippi Avenue boys. They'd had a hard time of it ever since the deputies strung up their leader, Pap. They'd give generous terms for dehydrated potatoes or Tang.

Jehovah debated whether he should find some place in the park to hide or make a run for it once the box dropped. It would be a longer run if he stayed here. Any Wyoming Avenue boys nearby might beat him to the charity. But if he went out there, every sniper about would know where he hid and wait for him to come back out.

Course, after all that back and forth, any of them paying attention knew where he was already. He should probably go an alley or two down and come on again from a different angle. He could make it to the first round, one of those half-bowl things in the park that Old Hobbe said were made for running. One runs in a circle and that's fun. Jehovah ran plenty in the Nation already, from deputies and jackals and the gangs from Kansas Avenue. He didn't see how running in a hole in the ground could be fun. About as useful as trees, he thought.

An air horn blew so loud as to make the dead crawl out of the crematoriums and come see what all the ruckus was about. Jehovah flinched despite the fact that he had been waiting for that horn. He looked up at the array. No need to squint now. The silver rim of the lamp that had brought him twenty-seven blocks across the Nation to Wyoming Avenue was gone and a big black rectangle made a hole in the sky.

He looked over his shoulder. No one there. Out to the park. No one there either. He fingered the holster on his thigh despite himself. The pistol was loaded, the strap buttoned over the grip so his weapon didn't fall out on the run. Old Hobbe said not to go around with a round chambered, but he hadn't been on the street since before Jehovah was born. He didn't know what it was like nowadays. Keep a round in the chamber or the other guy shoots first.

A second air horn. Jehovah didn't jump this time. That was the “okay, we gave you time to get out of the way; here it comes” horn. Something moved in the black hole in the sky. A gray box, fifteen by thirty, free-fell from the hole.

“One, two, three...” Jehovah knew he should keep quiet, but he lost track when he counted in his head. Counting out loud helped. Count to forty-five. If one didn't see a chute by forty-five, get the hell out of the way.

“Thirty-one, thirty—there you are.” The white parachute flooded open and the box stopped its plummet with a jerk. It floated down toward the park, rocking back and forth as it came.

Jehovah took a cautious step out. He jumped to the left, but no bullets came, no gunfire echoed across the concrete landscape. The parachute caught a high wind and drifted toward the west side of the park. It spun in a fast circle, tying the parachute into knots so the big white cloth grew smaller and smaller. The box began to fall faster and faster.

Cautious steps turned into a jog turned into a run. With a drop like that, anyone waiting to see where the box landed could guess well enough. He needed to get and get going.

He weaved around ramps covered with bits of dried, shredded leather and metal wheels so warped that not even the tinkers bothered with them. Old Hobbe said they were called bicycles. Jehovah had gotten a spoke through the foot three years back. If he hadn't got some medicine, the lockjaw would have broke his back. He stayed away from bicycles now, medicine or no. That wasn't a memory he was like to forget.

Still no gunshots. He had gotten lucky with the squatters. Lucky with the park, too. Nothing on the other side of Wyoming Avenue. The jackals only had one direction to come from. Not the usual crush when everyone comes from every which way. A ramp to his right was covered with the usual detritus, wrappers and boxes and the like but no bicycles. Jehovah ran up and spared a quick look behind.

His luck didn't last long. A casper ran from the south side of the park. Just one with his head sticking out a hole in a white bed sheet. It bunched up between his legs, making it hard to run, but he had shoes on. Between the two of them, they kept an even pace toward the west side of the park.

Jehovah didn't know caspers to go anywhere alone. If there was one, there were half a dozen more nearby. The Wyoming Avenue Ghosts always traveled in packs. He sprinted off the ramp and continued west. His head bobbed up and down, look at the path ahead, look at the box.

He had crossed most of the park. The outer wall rose up in front of him, the faded blue and brown of a manufactured horizon obviously faded on its brick surface. The wall stood at least a hundred feet with no noticeable means of ascending or passing through it. If the drop box landed on the opposite side, the charity wold be lost to the desolation beyond. It happened sometimes.

The drop box did not fall outside the city, but neither did it fall in. It landed jackknifed on the side of the wall. The doors burst open and the charity spilled down like rain.

Jehovah looked to his left. The casper was still a couple hundred feet away. Jehovah waded into the charity, doing his best to avoid the shrapnel from the damaged box or the remnants of the more fragile charity that broke when it struck the pavement. He grabbed a medicine pack when he saw one. The vials were packed in a secure foam that hopefully cushioned them on the fall. He grabbed a canister of ammunition. No reason to let someone else have that. Then he dove into the clothes.

Spools of thread, needs scattered all about, sheets of cotton, then the few pre-made items included as well. Reusable diapers for babies, wraps for toddlers to wear like a skirt while they grew so rapid as to make pants worthless. Then the shoes, boots mostly, six pair, enough to let him be choosy if he wanted.

Jehovah looked to the south and grabbed the first pair he could. The casper was too close to worry about—well that pair was obviously too small. He wouldn't fit in them even if he curled his toes. He tossed them back on the ground and began to rummage for a more suitable pair. He reached slow with his right hand and unbuttoned his holster.

Jehovah found a better pair. He held them up to his feet to be certain. Better still, they were stuffed full of socks. He couldn't remember the last time he had worn socks. He looked in a couple other pairs and took those socks too. Something share with the family.

“Stop!” The casper closed on him, slowing to a walk until only ten feet separated the two of them. He pointed a double-barrel shotgun right at Jehovah.

“Go on and put all that down,” he said.

“I got what I need. You're welcome to the rest,” Jehovah said. The ammunition sat between his feet with the medicine on top. The boots were in his left hand and he made no sign to set them down.

“Rightly I am. I'm welcome to it all.”

“We're all alone and all your jawjacking just gives the jackals time to get here and spoil your take,” Jehovah said. “First to the claim, first to pick. Nothing here says otherwise.”

“This here shotgun says otherwise.” The ghost turned his gun sideways and pushed it forward to make his point. Jehovah drew and fired. He put three rounds into the casper and the ghost went down. He ran over and put one more in his head. He grabbed the shotgun, tucked it under his arm, picked up the medicine and ammunition and ran.

Maximizing Social Media (Part 2)

Maximizing Social Media (Part 2)

This is a continuation of the previous post I made on maximizing social media. That one ran into problems shortly after it was posted because Facebook made some changes to fan page construction. It has been partially fixed. For a Facebook fan page to export to Twitter, the update has to be posted to the Wall (not just the Notes tab). That functionality was disabled but is now restored in the Notes settings (when you're in settings, look at the top of the Notes Settings selection box and you'll see a second tab option that will bring up a checkbox for you to choose to post your Notes to your wall). Facebook is still having trouble maintaining subscriptions and there's no rhyme or reason as to which pages are affected. When you list a URL for subscription, Facebook should check every few hours to see if new posts have been made. Some pages (like mine) drop the subscription, so I essentially import posts manually. But otherwise the trifecta process works.

One of the reasons I switched from LiveJournal to Blogger was to see if it was a matter of platform. LiveJournal is a dinosaur in terms of social media and perhaps it simply couldn't keep up with Facebook's quickly evolving interface. Now that I've attempted the same trifecta with Blogger and run into the same problem, I know the issue is with Facebook.

That brings us to today's topic, Understanding Social Media.

To properly utilize social media, you need to A) Understand the best uses for said medium and B) Understand the expectations others have for that medium.

This post discusses three media: Blogs/Journals, Facebook, and Twitter. For the purposes of this post, podcasts and video casts are lumped in with blogs/journals. They are outside the Venn diagram of this post and much of the blog conversation can apply to them, so there we go.

BLOGS and JOURNALS

Blogs and journals are similar in that you can use the same platform to deliver either. You can use blogger to deliver a journal. You can use LiveJournal to deliver a blog. It's a matter of content that separates the one from the other.

So, before we begin, we will assume you are not a New York Times bestselling author with a built-in fan base that will come find you regardless of where or how often you post. For the mere mortals in writing, there are some guidelines you need to keep in mind regardless of whether you're blogging or journaling.

Frequency. A blog has a set release schedule: once a week, three times a week, five times a week, seven times a week, etc. Whatever schedule you set, keep to it as best you can. If you're only posting once every six months, there's no reason for people to make the effort to remember your blog (even if you think, "Hey, just throw me in Google Reader and forget about me," that's still space they have to dedicate to you the person that isn't actually capable of posting more than twice a year, so really why are you worth that space?). While a journal may not be on such a rigid schedule, the concept is the same. If you don't give people content to read, they will not spend the time looking for what you have to say. A blog that posts rarely is not a blog at all. It's a zombie walking along and occasionally spouting out blog-like things but really all it wants to do is eat your brains.

Platform. There are a lot of options for blogging and journaling out there. Blogger, LiveJournal, MySpace, Dreamwidth, and a number of other derivatives that come and go. While you should find the one that works best for you, be cognizant of what a platform can offer you. Simply by moving from LiveJournal to Blogger, I've quadrupled my posting views and participation. People don't like clicking through. The more clicks they have to do, the less likely they are to do it. So sometimes it's to your advantage to post where the most people are, even if that means moving platforms every half-decade or so.

So there are the similarities. What are the differences? It's the intent that distinguishes the two. A blog has an expected topic focus and an expected release schedule. You will give advice, comment on the subject matter, or otherwise provide a review of the subject matter that is either newsworthy or instructive. Even the slice of life stuff is instructive. See what I had to go through? You're not alone! You can do it! and/or Don't make the mistakes I did! And you'll do so on said schedule you determined.

I'm cautious to list examples for this one. A lot of the old guard that made literary blogging such a big deal are starting to or have faded (Kristen Nelson, Moonrat, etc). Nathan Bransford is still going strong. He talks about agenting and writing and the business and he does so once a day, five days a week. That is a blog.

If that seems too stressful, consider a journal. A journal is similar but much more laid back. Topics can be as instructive or as flippant as you want, and you can post as frequently or as infrequently as you want. (Remember, it's better to have an empty page and an account you use to view/comment on other people's work than a handful of posts throughout the year. Much like having a self-published credit versus no publishing credit at all.) You want a good example of a journal, check out George R.R. Martin's aptly named "Not a Blog." You're more likely to find George talking about football than you are A DANCE WITH DRAGONS.

Whether you're using a blog or a journal, the delivery is the same. You write a self-contained mini-essay or rambling exposition on whatever you want and put it up for people to read. There is a comments section where they can choose to comment. The initial thought is self-contained. In my opinion, the more dangerous place for a writer isn't the post itself but in the comments section. That's where the back-and-forth exchange occurs. That's where the sycophantic praise happens (don't let it go to your head) and that's where the trolls come. It's easy for genuine disagreement to be drowned out by all the people who say they agree with you. It's easy to take dissent as a flame because of trolls who show up for no other purpose than to be rude to you. Be sure to listen and treat all posts--good and bad--fairly. Be calm and be careful. In the end, this blog/journal is your space and you set the ground rules. You establish the tone, and you decide what is and what is not displayed.

(Incidentally, despite the tone of recent posts, this is a journal and not a blog. When I get busy at work, posts will slow down, and when I see something inspirational like a good play, I'll probably comments on it as well. For me, I have other outlets for that kind of stuff which is why the content here is better defined to a general topic of writing and the challenges of trying to become a published author.)

FACEBOOK

Facebook is what made social media a part of our lives. It's likely most people reading this already have a Facebook account, so I'll keep the description short. It's a networking tool where you make friends and list your status. You may involve yourself with old school/childhood friends, family members, coworkers, or what have you. How strict or how loose your friending policy is your discretion.

If you have a Facebook account and you are using that for writing purposes as well, stop. Facebook puts a limit on how many friends you can have, so as soon as you are successful, you'll have to ask all those writing followers to switch. Best to do it right from the beginning so you don't have to inconvenience anyone. Also, it can get frustrating for a friends list who are personal acquaintances and those there for your writing to put up with status updates for the other half. Go create a fan page for yourself and steer all your work-related content there. It'll save you a headache later, and will provide you an outlet to properly present yourself as a professional.

You've seen a fan page whether you realize it or not. XXx friend likes "xxx show" That show is a fan page. Anyone can make a fan page. It does not require you to make a new account (in fact, it'll be linked to your personal account as you'll be the administrator of that page). A fan page allows you to post status updates like a normal account does. You can also make Notes (longer blog-like posts) or import Notes from a blog/journal. You can post pictures and links and your fan page can have its own list of people of whom it is a fan. It's almost like a second account except you can limit how much other people participate. You can prevent them from commenting or you can make it so their comments are there but don't immediately present themselves. It gives you an administrative control over normal Facebook functionality.

But best of all, it allows you to keep your life separate from your work. Facebook has millions of members and becoming a fan of something is incredibly easy. Every person that likes your page has that "xxx likes xxx" show up in their news feed. That means everyone who is a friend of that person sees your page and so on and so on and so on. It's institutionalized viral marketing.

(If you've heard of or experienced Facebook's privacy debate, keep an eye on Diaspora which I am hopeful will present a great Facebook alternative in 2011.

TWITTER

No one thought Facebook could be stopped when Twitter first came along and boy was that proven wrong. Twitter is the place to be right now. Does it make a difference? There's no measure to be sure, but it generates the most activity of the three. With 140-character comments, you can have conversations, post, and be reposted, created searchable hash tag discussions (such as the inimitable #amwriting). Twitter is growing into a community for various writing genres, such as YA. This is because unlike Facebook and blogging, where the poster maintains a degree of control, Twitter is fully open. It is voyeuristic socialization. As soon as you make a post, there's nothing you can do about it. Anyone can see it. Anyone can respond to it. Anyone can retweet it (unless you block an individual, typically reserved for spam and trolls or protect your posts, which completely defeats the purpose of using Twitter to expand your online visibility).

Here's how twitter works. Anyone with a twitter account can follow anyone else. They then see the comments of everyone they follow (assuming those comments are not directed to another person they do not follow). The more people you follow, the more posts you see, both their original comments and their conversations and responses to one another.

It can be disorienting given how different Twitter is to more controlled environments like blogs. At any given time, someone can respond to what you're saying. On Twitter, you are never having a conversation with another person. You are having a conversation with everyone who is watching you. It's just a matter of whether they choose to respond.


As an aspiring professional writer, it's important to have an online presence (as you will be told often), and social media is an effective way to spread word about yourself without an advertising budget. Others like what you have to say and they pass that along. Their friends see it and pass it on and so on. It's the fundamental tenet of social media, "pass it on." You need to figure out which of these best fits how you want to interact with people and how much involvement you want to put forward.

Be aware of where you're posting and the expectations and opportunities of that platform. It doesn't do you any good to have a blog you don't update or try to maintain privacy on Twitter. These are tools, a hammer, a screwdriver, and a wrench. Each has different functions, but all can help you build a bookshelf for your eventual best sellers.

Wash Your Pants

My wife is inspired. This means: I don't have to cook dinner (yay!), it will most likely be delicious (yay!), you get another post (yay!).

Elizabeth Poole and I often discuss our differing writing styles. She's a plotter. I'm a pantser. Once I get a solid grip on the plot and the characters, I can often project what the forthcoming chapters will be (generally not more than 8 ahead, but I once went as far as 14). Even then, I'll often add chapters that I hadn't realized I needed as a matter of pacing or extra details that are necessary to keep the plot/character developments believable. I don't sit down and make an outline.

    Chapter 1, Jehovah gets boots from the charity drop box. Chapter 2, Jehovah talks to Sid in the hallway. Chapter 3, Old Hobbe interrogates Jehovah to make sure he wasn't joy killing. etc.

I have reached a spot in this particular wip (this particular wip being JEHOVAH'S HITLIST) where I need to take my pants off for a bit. Jehovah has finally received his hitlist (hence the name, obviously). He has five people to kill. I have always known he was going to kill five people and I always knew one of them would be a woman up above. Other than that, I knew absolutely nothing about that list. I didn't define that list until chapter five. For the first four chapters of the manuscript, the names were "xxx, xxx, xxx, xxx, and xxx." I'm not making that up.

Side note! I use xxx as a quick-search indicator for something that needs to be referenced, corrected, or added. I use qqq as a marker so I can find that mark (usually the point I stopped writing when an appendix or later chapters that I just had to write make the end of the manuscript not the point of writing).

So I finally have my five names, and I know what they all do and why they are relevant to the progression of the story. This is a good thing. I pantsed my way there. Now it's time for Jehovah to find and kill them and I have to stop.

I could pants this. I could. It's not that difficult. I've pantsed three novels so far as well as the first ten chapters of this novel. The trick is, even when you pants your novel, a plotted outline can come in handy. I'm about to hunt and kill five characters. Without any forethought, I may simply repeat the chase five times (which is boring). Or I may not throw in any speedbumps (which is boring). I need to know where these people are, how Jehovah is going to find out where they are, how that pursuit is going to be different for each person, and I need to know how finding that person leads him to the next on the list.

I could pants it all, but it's harder to create the spiderweb of how these people are interconnected and how Jehovah's progressing assassinations unravels that web by the seat of your pants than it is to stop and draw some lines.

So if you're like me and plotting doesn't do you much good, don't abandon the tool all together. You can usually see a handful of chapters into your book anyway. A mid-manuscript outline can give your first draft some refined quality and save you a headache on your revisions.

(Now, the question is, can I take my own advice. I began brainstorming on Rori Schapp today and came up with a bunch of cool setting stuff on Pennsylvania Avenue, the fallen government of the Nation, the absence of Philadelphia Park, and the creation of the DMZ [dead-man's zone]. When you get exciting ideas like that, it's hard not to just sit down and start cranking them out. But eventually Jehovah is going to kill Rori Schapp and I need to know how he's going to pursue Mary Maryland or I'm just back in the same bucket I'm in now.)

Know Your Footprint

This was originally going to be part of my "Maximizing Social Media (part 2)" post, but that thing is already flipping long and at some point, you just stop reading super-long blog posts. Since it's the weekend (when fewer people read blogs, statistically speaking), I thought I'd post this part here as a preamble to the forthcoming behemoth.

There was a comment made in response to Suzie Townsend's blog post on the Perils of Social Networking. (I do not remember if the comment is in the comments section or was on Twitter.) In her post, Suzie says, "DON'T compliment people's pictures when you don't know them. It ends up sounding either condescending ("I'm usually fun and you look chipper") or creepy...or both. @shallremainnameless: I saw your beautiful agent photo. I hope i get to meet that smile in person one day.

This is good advice, advice that can be hard to follow if you were raised in certain areas of the country (Midwest or South like I was) and compliments are a standard part of conversation. Given the illusion of friendship social media can create, a positive comment on someone's appearance would seem on face value to be a nice gesture. Given that social media often constrains our statements to the point that context is lost, best to err on the side of caution.

That leads me to..."the comment," and I really wish I could link to it. Rushing to agree with the poster (as so often does on blogs...except for mine where people seem to be shaming me a lot), someone commented on how silly it was to compliment someone having only seen their user icon. Ignoring regional cultural differences (and now working in Boston for four years, I can absolutely guarantee you there is a difference between Midwestern manners and East Coast manners) or the fact that professional pictures can make the most average person look stunning, this still seems an incredibly short-sighted comment.

Know your footprint. Catalog all the different social media you participate in and don't stop at ownership. Every blog you've guest-posted on, every blog post of a friend that included pictures where you were involved, every forum that you've added a personal user icon to, every Facebook upload that was viewable by other people, every Twitpic and Yfrog of you being goofy in line at a [movie/bookstore/coffee shop/whatever, every dating service you've mistakenly signed up for because your friends insisted it worked for them (thanks Luke...jerk). All those pictures add up. Not only do they add up, they can then be downloaded and reposted by anyone else on the internet. You may be appearing in blogs you're not even aware of. So...

The most obvious and important lesson, be careful what you put on the internet.

The less obvious but equally important lesson, be slow to judge. When you presume people don't know what you look like outside of your professional picture, it's very possible that they do. Be cognizant of how much of your life you share with people and whether you unintentionally (or intentionally) foster that illusion of friendship with strangers.

Another List!

Elizabeth Poole loves Westerns. I love Westerns! TOP FIVE WESTERNS!

1a. "The Outlaw Josey Wales" - Aside from giving me my namesake, this movie has a lot of things going for it. It was the first Western where all the Native Americans were played by Native Americans. They were also portrayed as the threat they were to settlers rather than just people on horses who charge forward and run away. Josey Wales the character is the essence of Clint Eastwood's Western career boiled down to pure awesome. It's long and may drag a little at times, but when you see him glare and then spit, you know it's on!

1b. "Unforgiven" - Much like Rocky/Rocky Balboa, this movie allows Eastwood to add some craft to the whole creation. The case could be made that William Munny is Josey Wales as an older man. There is one scene in particular where Munny talks about how he doesn't know how he kills so well, he's just always been good at it. That's the exact opposite of Josey Wales who can read a gang of four soldiers and know who to kill and in what order. It's more an exploration of how two different men ended up in the same spot. And the end? With Ned? GOO!!!

3. "High Planes Drifter" - WOW! This one is all about atmosphere and hate and revenge and if I ever needed a movie to epitomize the Deadlands role playing game, it's "High Planes Drifter." With such big-name movies like the two above, this one is often left off of the must-see lists of Clint Eastwood movies, but if you haven't seen it, go rent it right now. I can't even tell you without spoiling it and you'll hate me if I do.

4. "The Specialist" - Yes, I said "The Specialist" and not "Rio Bravo" or any of the other myriad John Wayne movies (despite its inclusion of Dean Martin of whom I am a huge fan). John Wayne's characters had a certain style, much like Clint Eastwood's. In "The Specialist," he breaks that style and how! I would never have thought to see John Wayne play that kind of character. I expect Clint Eastwood to play that kind of character, which is probably why I like this one so much. :)

5. "Pale Rider" - Some people claim that the character from this movie and the character from "High Planes Drifter" is the same. I disagree for reasons I can't post because of spoilers. I do think the premise can be similar and that's all right because the premise is so awesome Clint is allowed to tell it twice. Any time you see a story quote Revelation about a man riding a pale horse? Yeah, a poor comparison to this movie. This is where that awesome was born. (It also has the tall guy from Happy Gilmore, and that's always interesting.)

Honorable Mention - Young Guns Emilio Estevez (Estevez), Keifer Southerland, and Lou Diamond Phillips? Nuff said.

In which I post a second time about semi- and/or unrelated topics

My wife went to Philadelphia this summer to see a men's regional Barbershop competition. (My wife is a competitive Barbershopper.) While there, she bought me some barbecue chicken seasoning. The odor was pretty strong and I was unsure if I would like it. DEAR LORD THIS STUFF IS GOOD! I only bring that up because I'm on my lunch break right now and I'm eating some barbecue chicken. I thought you all should know how delicious my chicken is and how awesome my wife is. I can't remember the name of the market she bought it at. Some place in the city, perhaps Union Station or the like. It's a vendor cart full of spices and the barbecue chicken is delicious.

My wife who loves me calls me Joe (among other personal endearments). So do most of my friends and everyone I work with. When I write, I go by Joseph L. Selby or a derivative thereof. (I picked jlselby for twitter as a means of saving character space for replies). Most people online call me Joseph because that's how they see my name. Recently, both online and at work, I've noticed an increase of people calling me Selby. Not Mr. Selby, which would be formal but acceptable, but just Selby. Now for colleagues, this may normally be appropriate. For strangers, I can't imagine referring to someone by their last name only and thinking I was doing so politely.

For me personally, whether I know someone or not, I hate being called by my last name. Hate it, hate it, hate it. I don't hate my last name. But I am one of many Selbys. I have a large family and they all have the same last name. (Granted, Joe is a common name, but I am Joe Selby and the only one of my name in my family.) So, please don't call me Selby. Especially if you don't know me. Who the hell thinks that's acceptable?

Recently, someone called me JL and that just tickled me to no end. It was on twitter, so it makes sense that they may not know my name if they only ever see me there. And of course there is the need to conserve character space. I intenionally chose jlselby for this blog URL hoping someone would do it again. It's a name I never imagined being called and I smile with amusement every time I think about it. Not that I would permanently adopt that as a professional name. That would take funny to weird, which I reserve for the second date.

Something I got called the other day that I haven't been called in years is Josey. This was my nickname for a long time. No, not Josie (the female name a la Josie and the Pussycates), but Josey (the male name a la the Outlaw Josey Wales). I was sixteen when I was first given that nickname by one of my managers at Burger King. I had a tendency to get in trouble a lot when I was younger (I know, a big surprise, right?) and the Outlaw Josey Selby took hold and held on until I was 25 or so. I never minded it. I love Clint Eastwood westerns (with the exception of Joe Kidd which is a lame movie) and being named after such a seminal movie was all right by me.

Now it's Joe or Joseph, either are acceptable.

I watched Invictus for the first time last night, a Clint Eastwood-directed movie (see how I tied that all together? natch ;). There were (a lot of) trailers before I actually got to movie itself. Among them was the 35-years/35-movies box set from Warner Brothers. This piqued my interest until I counted just how many Clint Eastwood movies I already own and realized it wouldn't be worth the money. They had clips from the interviews with Clint that are included in the special features. I thought I'd share a few (althought not direct quotes, as close as I can get).

The first one that caught me was a discussion on how he made movies like The Outlaw Josey Wales, which were a turn from the kind of westerns that were made at the time. He said he never thought to make movies that other people liked. He made the kind of movies he wanted to see and it turned out that other people wanted to see them too.

For a fantasist who writes with little/no magic and little/no fantastical creatures, this kind of thing is huge. I write the kind of books I want to read! Maybe other people will want to read them too.

The other one was his first offer. He had been rejected so many times over and over and over again that he jumped at the chance when someone finally made him an offer.

WHAT? Someone rejected Clint Eastwood? They rejected Josey Wales? They rejected William Munny? No one rejects William Munny. They get shot by William Munny then they go talk about how exciting it was with all the other people that just got shot by William Munny. There is no rejection of William Munny!

Clint Eastwood got rejected. A LOT. This is exciting. Thirty-five years from now I can talk about how much I got rejected and someone can make a blog post asking how anyone could reject Bastin the Bold or Otwald d'Kilrachen.

I don't know kid, but they did. Keep your chin up. ;)

Description is Tricky

Hannah Mosk commented recently that her first drafts are very short. They end up being mostly dialogue. She goes in during revision and fleshes the story out to its full potential. I'm getting better at this, but it used to be incredibly hard for me not to do anything but dialogue. That's where the story moves along. That's where the excitement happens, the test of wills between protagonist and antagonist. Oh sure, you can write about Indiana Jones running away from the boulder, but it isn't until he runs into Beloch and the Ubutu that things really heat up.

I receive complements on my description and it always confuses me. I don't think I'm very good at it. In fantasy especially, it is customary to describe everything from the sky to the scent of the air to the dew on the grass. Perhaps I'm tired of over-description and that's why I limit what I describe. Or maybe I'm just not good at it, so I avoid it. I don't go into a lot of detail about what my main character looks like (I think this is a reaction to all the time spent trying to make the "cool hero" when I was a younger writer). I've received complements from people who said they prefer to envision the hero how they want to envision them and the author forcing a description on them lessens the character. I don't agree with that, but...um...thanks? Our appearances say a lot about us, the hardships we've faced, the decisions we've made, the nuances that distinguish us from others. Amorphous beings running around interacting with other amorphous beings isn't appealing to me.

(I will note that unless it improves the situation/description, I intentionally don't describe characters' skin color. If you want the hero to be black or Arab or latino, I have no problem with that. That kind of thing is infrequently relevant to the stories I tell.)

So I try to walk that line of just enough description. I don't talk a lot about the sun or the wind or dawn or whatever. I use similes to put it into a context the reader understands (without breaking the verisimilitude of the setting) and move on. Skewed similes are a great way to show the differences between the story setting and real life. But I don't dwell. Forward action. Is that good? Is that too Michael Bay? Is that a product of a life spent in front of a TV/movie screen as much as in front of a book? *shrug* I don't know. I do know that I was reading ROSEMARY AND RUE by Hugo Award-winning author Seanan McGuire. She crafted an awesome paragraph of description. Awesome in the Eddie Izzard sense of awesome not the hot dogs and socks kind of awesome. It was so awesome that I stopped and admired the craft of the paragraph.

I stopped and admired the paragraph and immediately realized I had left the story. The description was so literary that I left the story as a result of its literariness. It wasn't over-written, that's bad writing. This was good writing, but it was just dropped in the wrong place. The story was on a roll and I came to a screaching stop to admire the majesty of the paragraph's sunset when I should have been worrying about the protagonist and what happened to changelings at sunrise.

It's those moments that make me think that maybe I don't suck at description. Maybe I put as much description in a story as I want to find in stories I read. I still think it's a weak spot of mine. Am I shorting my setting? Or worse, will all my settings seem the same because they don't have enough description to tell them apart? Time and manuscripts will tell. This has been on my mind, though. I'm writing JEHOVAH'S HITLIST (or DOWN BELOW THE UP ABOVE), a walled city beneath a giant platform city in the sky after the oceans have risen and the world has transitioned into the cities above and the ghettos below. Am I describing Down Below enough? It's tricky. None of them have been up on the wall. Almost all of them were born well after the oceans rose and don't know anything except their little city. How do you describe the microchosm of their existence when they themselves don't understand it? There are only so many times I want to know that the city is dirty, full of trash, absent of wood or plastic, etc. At some point, we need to get on with the story.

How about you? Is there a particular feature of storycraft you have difficulty with?

Fear and Cold Water

I made a mistake today. I posted a list of agents who actively participate in social media that I would like to work with. There was discussion on the list and whether it was appropriate. Checking my email quickly while I was at work, I found the discussion continued by an agent whose opinion I value. I disagreed with the opinion, was in fact hurt and offended by part of it, but nonetheless I deleted my post. She said that such a post would inhibit my potential to find an agent. It may. I'm okay with it now. In my hurt and in my shock, I deleted it. I questioned everything I had been working toward and the community I was attempting to become a part of.

In a way, her post was a good thing. It was a splash of cold water to wake me up from the dream that is the internet. A digital play has formed that mimics real life: friendships, relationships, knowledge more intimate than strangers have of one another but less than true friends do. It's easy to forget through daily blog postings and 15-minute Twitter updates that you don't know any of these people, and they don't know you. They are not your friends and are not attempting to be so. It is a business. It is all business. We all know this, but it's so easy to forget when people are talking about books you've read or trips to Starbucks or reading on the Subway, things you do. It's even harder on media such as Twitter where you can watch whole conversations unfold if you're following all the participants.

I was not prepared for that illusion to be shattered so coarsely, especially not by someone I respected. I panicked. I deleted the post. And was depressed about it all for the entire day until I just sat down at my computer and typed out a response to the comment that was repeated as a blog post. I do not know if that comment will ever be posted. The absurdity of it all is that my list of six agents (because I included but Kristin and Sara at Nelson Literary Agency) was taken from a total list of 11 agents. Of those that specifically ask for fantasy and actively keep a blog/LJ/Twitter account, there are a whopping 11 people.

If you are an aspiring writer, you should have a list. It's up to you whether you post it, but you should have a list. You should research agents and find those whose vision, goals, and personality are a good compliment to your own.

Frankly, I don't think I'd like to work with an agent upset at not being on my list. If I am not included on a list, I look at those that were and see what they do that I do not that earned them their place on the list. It's an opportunity for improvement. Anyone who takes offense rather than saying thank you is not someone I would work well with.

Post Script: It was also said my original post was condescending. It was not intended to be so, and I apologized to those agents that took offense.

Filling in the Middle

I still haven't started revision on THE TRIAD SOCIETY. Things keep cruising along with JEHOVAH'S HITLIST. One of my original reasons for getting TTS squared away was because I wanted to go to World Fantasy Con in Columbus. I've gone over the con website a dozen times. As con websites go, nothing on it has sold me on going there. What did sell me was the presence of Sara Megibow from the Nelson Literary Agency. NLA is at the top of my list of agencies I want to work with and has been for some time. The opportunity to meet Sara in person and perhaps overcome the suckitude that is my queries was appealing.

Of course, I just started a new job and rather than being busy in the summer, it's busy in the winter. I also took a slight pay cut. All this combined to have me withdraw from attending my wife's competition at Harmony, Inc's international barbershop competition in New Brunswick. Now, World Fantasy Con is a month earlier, so a case can be made that I could go to it and not IC&C. Of course, when the one is supporting myself and one the other is supporting my wife, I think it's a little selfish to withdraw from the one only to do the other.

Depending on my workload, I may not be able to do either regardless. So, the time crunch created by having a finished and finalized manuscript of THE TRIAD SOCIETY is gone if I don't go to WFC (and no, I would not pitch anything to Sara it wasn't in a state that I could hand it to her on the spot and feel confident it was an adequate representation of my skills.

This is good because I have not stopped working on JEHOVAH'S HITLIST. I'm coming to the end of the edges. Writing a novel by the seat of your pants (vs plotting, pantsing vs plotting, I'm a pantser) is like putting together a puzzle. You have a scattered mess of ideas that you need to arrange and put together to form a coherent picture. Like any puzzle you start with the easiest pieces, placing the corners and then the edges. Eventually you have to fill in the middle. That's when you reach that point in the story where you can't skirt around the plot any more. You need to decide on protagonist and antagonist motivations, decisions, and outcomes.

In JH, the main character (aptly named Jehovah) is forced to kill five people or the Hanged Man will kill him and his entire family. Of those five people, I only know the name of one. I know the profession of two others. I need to figure out how these five people are connected (I have a loose understanding, like edge pieces with very distinctive holes that allow you to connect a middle piece) and how Jehovah is going to navigate his interaction with these five people to reach the climax of the story.

This is much harder (like the middle of a puzzle). So, once I get to that grind, maybe I'll switch back to TTS. But you know, right now, it doesn't feel like I will. This is really rolling. I have a good vision of this setting. I'll need to revise to make a lot of the character dialect consistent, but I knew that from the beginning. For a first draft, this is coming along swimmingly.

Straight Lines

I'm hanging out at Midas while my windows are fixed so my car can pass inspection. I'm posting from my phone, so please pardon the typos. The Pre has a small keyboard and I have fat thumbs.

I tried to begin revision on THE TRIAD SOCIETY today, but I felt compelled to continue with JEHOVAH'S HITLIST. The story is ripe and needs picking. Regardless, I'm still thinking on TTS, trying to find all my errors. Something I knew I was doing as I went (something I hate), I was writing in a straight line. Adventure stories are often like that. A happens, B happens, C happens, the end. Done poorly, you get a movie like Jurrasic Park 3 where one dangerous situation follows the next but never overlaps or spreads out. The entire movie keeps a predictable tempo. Done well and you get Indiana Jones and the Last Crusade. It is similarly linear, but who cares! We're having fun.

TTS falls somewhere in the middle. I have been writing adventure stories so far. I actually prefer intrigue, bit that's much easier to write in a series of D&D adventures, I've found, than in a novel. I really need to get back to that kind of writing. It didn't work in TTS and it's not right for JH (which is definitely an adventure story). I'm hoping to bust oit the intrigue in a major way in THE RED SOCK SOCIETY, but that story's a ways off yet.

Sometimes (like JP3), an adventure is too linear. It eliminates the sense of risk. It suggests that the character's decisions have no impact because he's being swept along with the wave of the plot. The way to break this up is to zigzag, to bend the line without completely turning away from your stort. I call them speedbumps, the interference that happens when going from A to B.

Now it's just as easy to overuse speedbumps. If something always goes wrong along the way, the pattern becomes obvious and the reader questions the protagonist's decision-making process. If things keep going wrong, why do you keep doing what you're doing? We only accept that from Malcolm Feynolds.

For example, in the current ms, Otwald goes home, climbs into his window, meets Princess Klara, chats, climbs out, and sees his father. Too straight. It's like a video game where he went to a quest giver. Quest givers are for video games. Keep them out of your novels.

The obvious speedbump is the guards. A princess is unguarded. That's a bad speedbump. What self-respecting guard wouldn't check on the princess? And what princess would send them away because some stranger just climbed into her window. Hello cliche. Nice to see you again. Instead, don't have the window go into her room. Have the entry elsewhere. Maybe split up what he learns when he sees his father, a little here, a little there. You get to reinforce the setting by showing what life is like there (guards, servants, tc) while avoiding the drive-thru quest giving

Not Enough Why

A double dipper! I try not to post twice in a day, but I need to get this down before I lose it. Setting is important, especially in fantasy. In fact, one of the first mistakes novice fantasists make is to spend more time talking about their story than the story. Setting is the canvas where we paint our pictures. Don't waste time describing the canvas. HOWEVER, it is still important to world build because that informs the decisions characters make.

Why have I been having so much difficulty with THE TRIAD SOCIETY? Because it was too simple. People are not simple. Heroes are not simple. Villains are not simple. We may not get to see the complex thought processes of the villain, but never doubt that decisions are made for more of a reason than just, "I am evil! Muah ha ha ha!"

In TTS, Otwald (the hero) is living a life out of sync with his home. Reliarach isn't the kingdom of honorable nobles and loyal peasants that it was in its past. It's a pre-steampunk society dealing with technology eliminating swaths of available work. How can people support themselves if machines are doing the work of men?

Here's where I made my mistake and I made it in chapter 1. The Hook and Hammer Society fought for worker's rights. When they were massacred by Otwald's brother in Kester Square, a violent offshoot formed the Red Sock Society. They speak openly of the dissolution of the monarchy and an establishment of a labor-based democracy. But it all stems back to the slaughter at Kester Square.

WHAT?

How short sighted is that. They were all peaceful unionists until their brothers were trampled by mounted horse? No, of course not. The hate for the nobility is ingrained. It's an injustice they see as existing their entire lives, really the entire existence of Reliarach.

How? Where does that division of labor come from? Where does Reliarach come from? It's a colony from a continent to the south. The original settlers sailed across the ocean not knowing what they were going to find. They landed in the modern city of Kilrachen, built the kingdom's first fortress which grew into its first settlement which is now the capital of the kingdom. No ships ever followed across the ocean and none that have attempted the return journey have been seen from again.

So how did this division occur? The first nobles were officers and their families. The first peasants were sailors and theirs. The ships arrived at Reliarach with clearly defined social stratification that has been enforced for the 1000 years since.

The Red Sock Society does not fight because of massacre at Kester Square. That's just the match that sparked the flame. The fuel is that their ancestors were slaves at sea that became slaves at land.

I did not ask the question why enough. And because of that, the decisions characters made were thin. Whether I describe all this back story in the ms is not as important as the fact that the characters know it. It is what drives them. The uprising of the working class, the failure of Torvald d'Bluefire to conduct himself as a noble should, are all signs of the crumbling foundation of Reliarachic society. Otwald is the person standing against that foundation attempting to hold it together with his bare hands.


...lord, this revision is going to be more extensive than I thought. Ugh.

Querying is Scary Shit

I like writing fast. I like producing a lot of stories in a short amount of time. I have a lot of stories crammed into this brain, and I'm starting later than I should have in my life (whole different therapy session about why that is). Regardless, I have somewhere between 10 and 30 years left and a crap load of stories to tell. So I write two novels a year. Two a year will get me 20 to 60 novels by the time I'm done, a respectable number that will have demonstrated my storytelling adequately.

Now, I would not write two novels a year if those novels were poor. This isn't some NaNoWriMo deluge of fecal matter with a title on it. I write complete and revised stories that I think others will enjoy. Plenty of authors have that level of output Jim Butcher, Hannah Mosk, etc.) so I don't feel like I'm cheating my story or the writer from finishing the first draft in three months.

Most agent blogs recognize that people write at different speeds, but sometimes still say if you haven't spent X number of months doing revision/letting it sit/critiquing/whathaveyou, you're not ready. Usually X equals a value higher than I will spend on a draft (or sometimes on the entire damn thing). And while I'm normally happy to ignore their comments as something for those authors that spend a year or more writing their novels, I'm starting to wonder if I was wrong.

BLACK MAGIC AND BARBECUE SAUCE is weak on protagonist emotional evolution. The reason he does what he does in the end is more gut reaction or spiteful middle finger than any growth. And while that is perfectly possible, I think it shorts him on being a genuine good guy and not just the main character. WANTED: CHOSEN ONE, NOW HIRING has a weak subplot with Podome and Nashau's discovery of the truth. If I had let these novels sit, would I have better realized their flaws and been able to affect a revision to correct them before I queried? (Note, neither of these things had any impact on the success of my querying, but you want to present the best possible manuscript when you start the query process.)

So now we come to THE TRIAD SOCIETY. I finished the draft 11 days ago. With the previous two, I think I took a week off (or less) before starting revision. By the time you get to the end of a 150,000-word manuscript, let me tell you, you want to go back and fix everything that no longer works at the beginning. The story evolves. And once you start doing that, you just roll through the whole thing. An 88,000-word manuscript is considerably smaller. The end is much like the beginning. So why am I taking so much time off?

First, TTS's length bothers me. It puts me in a GREAT position in terms of querying agents and appealing to publishers. Paper is a mitigating factor and word-count restrictions have become tight. There are people who wouldn't even consider WCONH because of its length. So this is a good thing. But if feels like I told an incomplete story. Certainly a number of things I had plotted at the beginning never materialized because the story went a different direction. It was originally going to be an intrigue story that turned into an adventure story. 88k feels too short to me. I write fantasy, dammit. Fantasy is long. At least, the fantasy I've always loved is long.

Did I do this subconsciously? Did I write a short manuscript to better my chances for consideration? And in so doing, did I tell a poorer story? I'll tell you write now, I don't think TTS is as good as WCONH. The latter is one of the best stories I've ever told and with a good copyeditor (*cough*DeannaHoak*cough*) would be even more amazing. TTS is a 1-2-3 adventure with its own damsel in distress (yes, I disdain the trope that much that I'd include it in multiple posts).

So, now it's time to revise, but I'm not. Is it because it's a lesser script? If WANTED didn't hack it and that's amazing fiction, how could this make it? Or worse, what if this did make it? What if a bunch of agents asked to read it and offered representation? It would erode my confidence in my own writing and my belief that there's an agent out there that likes the things I like and will see the value in my work regardless of the word count. Maybe I can get some luck with Joshua Blimes. He reps Brandon Sanderson and that guy's word counts are through the flipping roof. I look like a YA book in comparison.

But what if that's not it? What if I'm delaying revising because I want to delay querying. I posted this as a rhetorical question on Twitter and IoMTolly decided to answer. (IoMTolly is a gag account from a blog I follow, Ideology of Madness, which was okay when I thought it was my friend Andrew--you can be an asshat when you've known me for 15 years, but it's not him, so now I'm annoyed). He says that yes, I'm scared. I am, but that's not why I'm delaying. I'm delaying because the ms isn't good enough. Obviously, revision will make it good enough. A first draft is never good enough. Never. Understand that now. Your first draft is shit. Second drafts are where novels are born. But it's only 88k and if someone tells me what a great fantasy it is, I'll have to smack them because great fantasy is longer than 88k. (That is all bias, THE BLACK COMPANY was short, but I think there were some definite weaknesses in the story that might have been fixed with a higher word count.)

But I'm scared? Yes, at least somewhat. No one in his or her right might looks forward to rejection. And if you're querying properly, there will be lots of rejection (don't get me started on the 3/4 of your queries should yield results for more work, bullshit; that's a tirade for a post of its own). Now what IoMTolly has never experienced is querying multiple novels in a year and getting rejected. I didn't query BMBBQ until late 2009, so if I queried by October, I would actually have three novels worth of rejection in a single year.

Rejection is hard. It's cumulatively hard. The first round felt validating. I'm in the process! I'm working the system. The second was much harder. I had written a much better story but got the same results. Worse, other people were mumbling along and getting offers. This is the first time I've written anything, tee hee. I'm fourteen and I'm ashamed I didn't start at twelve, tee hee. These are people you grow to hate not because you know them or they need hating (well, maybe the fourteen year old), but because you hate being rejected. You hate that your work doesn't grab them and say, wow, I want more! You hate being told, you're not good enough.

And let's get one thing straight, publishing is subjective, and a rejection (especially a form rejection which is what you get most frequently) is not a statement on the quality of your work. But when you've run the list of agents to query and they've all rejected you, that feels like a statement of the quality of your work. It still may not be, but that's how it feels. And going through that repeatedly is hard.

Will I stop? Of course not. That's not even a question worth entertaining. It will happen sooner or later (sooner is preferable to later). But I won't lie. Each time I get to this point in the process, it's harder than it was the time before.

Ponderings and Plannings

A side note: I dislike "a novel" being included on a book cover unless the book's title is "a novel." I think it sounds pretentious. In fact, I think it's intentionally pretentious to appeal to that category's audience. I will, at some point, write a story and title it A NOVEL. Fuck your pretension.

So, with the first draft of THE TRIAD SOCIETY complete, I've been pondering the next story in the trilogy, THE RED SOCK SOCIETY. I had a little bit of trouble at the end of TTS because an event I had planned for the main character felt extremely forced. It may get cut out in revision. But if that happens, the event for that same character in TRSS can't happen. One is predicated on the other.

Then I began wondering what story I would tell about him at all. There wasn't a lot there. The character I really wanted to focus on was the unrealized character from TTS, Princess Klara. Until THE TRIAD SOCIETY, I have always included a strong woman in my stories. Never a main character. Not yet (and no, that's not intentional. I write the stories that want to be written. A CIRCLE OF CRIMSON STONE, another ms of mine, has a female main character so just chill on your assumptions).

You see that? Right there? Defensiveness. That makes me nervous. Do I think the story would be better with Klara as the main character because TSS was so short on a worthwhile female? (Sadly, it became a damsel in distress story. My apologies for that.) I don't think so. I think the story will be better this way. But it's a lingering doubt. And doubt can cause problems. It makes you question. It makes you second guess.

...

Crap. That was all leading up to a situation I wanted to write down about something that would happen to Klara in TRSS, but now I've forgotten it. We really need to create a means to record our dreams. I'm losing quality stuff here! I will revise this section if it comes back to me at some point throughout the day.

Poop. :(