The Drawl

I've mentioned before that I've been struggling on voice with JEHOVAH'S HITLIST. It's not so much struggling as I can't find it. It's struggling in that I keep changing my mind, so the narrative text is horribly inconsistent.

Here's where I've been flipping. Take a nice classic rural drawl. Change of to a, drop the Gs off of ING (remindin' me a somethin'), swap was/were (he were/they was), add 'n to the ends of certain words (if'n), and the like.

At first this was only dialogue, but a lot of narrative text focuses on Jehovah's thought process. We think the same way we speak. Someone's grammar doesn't magically improve just because they're speaking instead of thinking. But that's easier to choose to do than to actually do.

For one thing, a lot of us drop the G off of ING anyway, but seeing the apostrophe makes us slow down and identify what's missing. That can be a big distraction when reading narrative text, so that switched back to normal ING. The next was the was/were relationship. I've tried to maintain this, but no matter how actively you write your verbs, you'll still use WAS more than any other, sometimes multiple times in the same sentence. What was quaint and distinct to begin with became burdensome and distracting.

Jehovah were certain he'd a seen such a thing afore. The last'n had kill't Lil' Petey and ate off Rick Rick's right foot. That all made no nevermind here.

Quaint. Distinct. But for 90,000 words? I just don't know.

Speaking of 90,000 words: I'm usually one that says the book is as long as the book needs to be, but seeing just how depressed the sci-fi¹ market is, this isn't something I want to thumb my nose at. The thing is, I thought I was coming in too short somewhere around 35k and kind of fleshed things out. I'll have to go back and chop some of that out because I'm actually at risk of going over 90k, which I'm using as a hard ceiling for this book.

Approaching the end, I reached the book's thesis statement. The exchange includes more than one racial epithet. And while both the character and the setting make it an appropriate word choice, as a writer, it is SO hard to include. A thousand and one times I started to just scrap the entire chapter, but forced myself to finish it. It still makes my skin crawl, though.


¹ And in terms of genre, I wanted to bring up dystopian fiction, but will do so in a separate post later after I've gotten some work done. Interesting things. There will be questions, so all a you that have been quiet lately prepare yourselves to comment. :)

Grooving

Things on JEHOVAH'S HITLIST slowed down for a couple weeks. It occurred to me that I was fast approaching maximum word count and the pacing was too slow. I also was bored as a writer, which means I'll probably be bored as a reader. I pushed through what I had and sped things up. That has yielded some fresh and fun ideas (I love making iconic secondary character types¹). I am now grooving along. Jehovah is about to go up above to which the book will end when he returns.

Since my wind sprint on THE SEVENTH SACRIFICE, I have decided that will be my next work. If complete, it should also be my largest book to date. I will revise the first chapter with some suggestions from Nate Wilson and move on to chapter 2 which is already percolating in my brain. Hopefully that will get the ball rolling and will yield an awesome fantasy story².

Yay for writing. If this all goes to plan, I should be starting the new wip the week before or the week of Christmas.


¹ In TTS it was the Triad Society itself. In JH it is the tinkers. ... in fact, in the first draft of 7Sac, it was a completely different type of tinker³. In Wanted it was the Baker Boys and in BM/BBQ it was Cyrus the cat.

² I'm making a genuine effort to include magic in this one too. Huh, woulda thunk it, magic in a fantasy book!

³ It started with a genuine intention to get certain themes I like into a published book. Since the previous book wasn't selling, I might keep something for the new work. What happens is you can draw a dot-to-dot of my manuscripts where I've taken something (like tinkers) and reimagined it in a new world. I kind of enjoy it.

Wind Sprints

I wrote the first draft of THE TRIAD SOCIETY. I didn't like it. It wasn't bad necessarily. It just wasn't the story I set out to write. The story I had planned was this huge intricate intrigue that spanned the politics of the university, the city, the kingdom! And in the end, a meeting made at the beginning of the book would afford the hero an opportunity to make his case and win the day.

In the first draft, he fills out the paperwork for the meeting and then it's never mentioned again. The story took a MASSIVE left turn and finished in half the word count I originally expected. After what I felt was the success of WANTED: CHOSEN ONE, NOW HIRING (in terms of story even though I never landed an agent), finishing THE TRIAD SOCIETY with such a mediocre offering really brought me down.

So, I broke my routine. Normally, when I finish a manuscript first draft, I will take a few weeks off and read a book or three. Then I'll go back and revise. This time, I read a couple books, but then I started work on JEHOVAH'S HITLIST. I usually start a new manuscript while the previous ms is with beta readers. I'll then stop and revise for the third draft. This means I'm only about 12,000 words into a manuscript.

Instead, I wrote 32,000 words before even starting on the second draft. What happened, though, was THE TRIAD SOCIETY went from mediocre to solid. I still like WANTED's story more, but Liz tells me that she likes TTS better. After struggling to find my rhythm and pacing, I wrote another 25,000 words on JH before revising TTS again.

So now we're done with TTS and it's ready to go to agents in its awesome state. The longer break, I think, saved an average manuscript from remaining average. HOWEVER, it's also affected the newer manuscript in a negative fashion. It's hard to bounce between voices, especially when one is a bureaucratic fantasy and the other is an anarchic sci-fi. It's even harder to do it twice!

If writing is sunshine, revising is sunshine bent through a magnifying glass that burns the ant in the driveway. It's a complete immersion in a manuscript where you question every word choice, sentence structure, and plot point. You can't just revise an entire manuscript and then go back to another manuscript that's 2/3 finished. At least, I can't.

So once again, I find myself without momentum on JH. Maybe I really should stop and try something else for awhile. In addition to breaking the rules, it feels shitting to stop working on a manuscript that is 30,000 words from the end. What I really need is a jumpstart. I'm not having trouble writing JH. I know what comes next. But the motivation is gone. I feel like I should still be working on TTS or even (in total violation of the rules), it's sequel THE RED SOCK SOCIETY.

That is when I thought of a new exercise. Wind sprints. Run, stop, run, stop. Get your heartbeat up before basketball practice where you'll have to run up and down the court and Joe is a chubby little kid and sucks at running, so he needs all the warmup he can get.

I have a number of stories on deck: THE SEVENTH SACRIFICE, WHAT'S BEHIND THE CROOKED DOOR?, THE RED SOCK SOCIETY, and THE HOUSE ON SANDWICH NOTCH LANE. Plenty of things to dabble in. And dabbling is exactly what we're going to do. I'm going to write the first chapter on all or some of these but not commit to writing any of them. Basically, I'm doing writing wind sprints. I need to get my writing heart rate up so finishing JH doesn't seem so laborious. And, it lets me create some new things with new voices and just revel in creativity for creativity's sake.

Two posts following this one will have chapter 1 of 7Sac and CROOKED. I may post more later if the need arises or I may hop back into JH and finish that thing off.

The Obnoxiousness of Fantasy Characters

Fantasy characters are dicks. In fiction, in D&D adventures, anywhere "adventurer" is available as a life choice, people are dicks. You see it all the time. Main character meets Douchebag McAsshole and DMcA immediately starts talking down to him. I'm a wizard. I'm a barbarian. I don't bow before anyone. I don't show any semblance of etiquette that lets me function in a social environment. Blah blah blah.

With so many dangers in the world (waking gods, monsters, demagogues) and everyone seemingly armed to the teeth, how do these people not get left for dead on the side of the road?

Only in fantasy can "Hello" be answered with a recitation of all the reasons why DMcA is better than you and how you're not even worth the time he took reciting his better qualities, and then the two of you can go on a quest together. Together you go over to the tavern where DMcA insults the tavern keeper's food and beer and finds out he's the brother of the merchant DMcA threatened to kill if he didn't receive a 50% discount on some bauble he wanted to buy earlier that day. He gets the best food, drink, and women in the house and everyone steers clear of him because anyone that large of a douchebag must be powerful and could kill them all and DMcA can kill an entire tavern full of people without repercussions in fantasy because anyone that goes into law enforcement is a complete tool unless he's a hero in which case he's gone on a quest and unavailable to teach DMcA a fucking lesson.

Never once does the tavern keeper throw DMcA out, send a scullion for the cops, and join with the rest of the patrons to show DMcA what happens when one person is a dick to an entire town. Main character is then either tarred and feathered for having shared a drink with DMcA or gets to watch while DMcA is thrown down a well and collectively pissed on by a dozen men who have been drinking all night.


Because of this, I am incredibly sensitive about characters, specifically how they react to one another. I could speculate why so many characters are written this way, and I would touch on those points you would expect me to touch on (social deficiencies of the writer, attitude norming of the genre over the course of decades of DMcAs). This morning working on JH, I took Jehovah in a direction I never planned on taking him. At first I thought it was a mistake. It wasn't a "DOUCHE RAGE!" moment, but a tangential angle. I'm cautious to have characters get angry for much the same reason. The exaggerated Hulk reaction is a second-place finisher to the character as a dick thing.

"I ASKED FOR STRAWBERRY JAM BUT THIS IS JELLY. I WILL KILL YOU AND ALL YOUR RELATIVES!!!!!!"

If people lost their temper that often in real life, we'd all live in an episode of Buffy.

Losing time is usually representative of some kind of mental ailment, a la "Primal Fear" (Ed Norton, Richard Gere). But it can happen in great moments of stress, car accidents and the like. Today, Rae stated Jehovah's greatest fear (being abandoned again) and said she would do everything she could to make sure it happened.

Where do you go after that? In a setting where you kill a person for a pair of shoes, how does one remain calm? The obvious answer is one doesn't. But I didn't want a Hulk smash scene either. Jehovah needs Rae and any conclusion to such a situation would be dissatisfying to say the least. And in fact, given the POV of the story, I don't believe Jehovah would remember anything that happened.

So he doesn't. Rae launches her attack on Louisiana Avenue and he comes back to his senses on Maryland Avenue, alone and totally confused how he got there.

This is a risky move. At this point in the novel Jehovah has killed nine people and there will be more to come. This could be the last trick to make him appear a sociopath instead of an empathetic main character. My gut instinct was to backpeddle. Just don't have Rae say what she said and his reaction becomes unnecessary. But given their own relationship and the truths Rae revealed to him, this was the appropriate result. And the more I think about it, the more I think Jehovah's reaction is appropriate as well. The trick is that it's balanced with his experiences up above on the platform, something that won't be coming for awhile. I gotta keep the reader reading to get to that point and he balances himself out.

So in the end, this is a good but tough decision. And even if the reader decides that Jehovah is too much of a killer, at least he's not a Douchebag McAsshole. I really hate that character.

50,000 words

If not for a dead battery, I would have passed 50,000 words yesterday in my WIP. I instead passed it this morning. Making a similar comment on Twitter yesterday, I pondered why I put so much stock in 50,000 words. Certainly it doesn't represent the end point of the manuscript nor the midpoint. I have never written a 100,000 word manuscript coming under or over that mark. I wouldn't have to do with NaNo because I do not participate. So what then?

And then I remembered why. Before--and before I mean when I would try to write but never finish--no matter how good a story was, no matter how clearly I could visualize it, no matter how much work I put into it, I would always quit before passing 50,000 words. The closest I ever came was with CAUSE AND CONVICTION, the first book of the Third World. That topped out just over 40,000 words. Then I wrote BLACK MAGIC AND BARBECUE SAUCE and hit 110,000 words. Since that first success, I have been able to work to completion on any novel that passes 10,000 words (with the exception of THE SEVENTH SACRIFICE, which I will be doing over once I finish JEHOVAH'S HITLIST).

Now, when I pass 50,000 words, it's a reminder that this isn't a fantasy. It isn't a dream. There are no excuses. This is what I do and I can see it through to the end. It's an incredibly satisfying accomplishment, one I have now accomplished four times in the last 20 months.

So, yay for 50,000 words!

Fried Ocher

I was talking to Elizabeth Poole yesterday who had been absent for a week because she thought she deserved to vacation in another state rather than hang out and talk to me over IM. Silly girl. Anyway, she asked me for an update on JEHOVAH'S HITLIST. I didn't have much to report. I had invoked and then rescinded rule 2a. I had decided to embrace the crapitude. There were certain things I was stuck on. I felt that Jehovah accepted the Hanged Man's orders too early. That I hadn't properly established what a great threat the HM was or why Jay would fold so quickly. I still had (and still do) have issues with the climax and how I use elements I really enjoy (like Jesus Street) that currently just seem to be there for set dressing.

But mostly, every time I thought on JH, I would immediately think of THE TRIAD SOCIETY. I've never received beta feedback only on a partial before. I'm in third-draft mode trying to work on a first-draft story, and that's difficult. VERY difficult. What's worse, I'm not just thinking of TTS. I'm thinking of THE RED SOCK SOCIETY and the whole Reliarachic¹ Societies trilogy.

There is another rule I did not include in my list of ten because it only applies while I'm not published. Rule NP1 is don't work on sequels. What's the point of writing TRSS if TTS never publishes? You can't have an Empire Strikes Back without Star Wars². I think this is good advice even though there is plenty of anecdotal evidence of authors selling their series in multi-book deals³. I don't care. I have plenty of other stories I want to tell, so what's the rush to dive into a series? It's why I'm focusing on individual novels rather than my ginormous series of trilogies, The Third World⁴. There's a catch, of course. When I finish one manuscript, I usually have a few false starts before I find another to work. When I finished WANTED, I had a few false starts before finally starting on TTS, which some might think is a sequel. It's set in the same setting, but on the opposite side of the sea. You can read one without the other, so I don't consider that a sequel. TRSS most definitely is a sequel. It worries me that I keep gravitating back to this world. I have other stories I want to tell, dammit!

ANYWAY, so last night I'm reading SHARDS OF HONOR, the first half of the omnibus CORDELIA'S HONOR by Lois McMaster Bujold, my favorite author. I read CORDELIA'S HONOR once a year, not intentionally. I just get in the mood for that story again. Specifically SHARDS OF HONOR, which is my favorite of the entire Vorkosigan Adventures series. There is a scene where Cordelia is returning to Beta Colony, a desert planet, and a cloud is described as ocher. I'm horrible at non-standard colors and even though the context tells me what the color is, I want to know the actual definition. Easier than you might think when one reads on an e-reader. It includes a dictionary. Aside from not having to lug around paper books, having a dictionary on hand is my second-favorite feature. I read the definition of ocher and it's like a stick of dynamite set next to the crack in my creative dam.

There are mistakes in JH. I rushed Jehovah agreeing to work for the Hanged Man. The climax needs some work. But who gives a shit? First draft. Embrace the crapitude. You know what the next 30,000 words are supposed to be so what are you waiting for?

It was the end of the NaNo'd chapter. It was too sucky. It was so sucky as to only reinforce my poor opinion of NaNo. It needs to be fixed.

The entire setting is in a refugee ghetto called the Nation. 53 blocks representing the 53 states of the United States of America when that nation collapsed and refugees were ferried to Africa when the waters were rising. The city is built beneath a giant platform city, one so large as to block out the sun. Instead, there is a giant array with lightbulbs to make it bright as day. The move in stages, increments of 30 minutes. First and second position, the first hour of day, are considered dawn. Jehovah arrives at the DMZ at dawn and I NaNo'd the scene.

Ocher is the key. Dawn shouldn't go to full brightness. It should be at half-power. There would be a dull yellow pall over everything. Ocher. Capital Center at Philadelphia Park shouldn't be a big crater. The crater should be on the inside. From Lazarus Street, he should see the front of the Offices of he Judiciary and walk around to the Offices of Refugees Advocate Authority when he sees that a big fucking bomb went off right in the middle of it all. It was all backward. It was too short. And it was the wrong color.

I revised the end of the NaNo'd chapter into non-NaNo being. I'm about to finish that one and start the next chapter fresh, to which I expect to successfully write the next 30,000 words without stressing on the final gun battle between the Kansas City Park Family and the deputies or of how I can tie Jesus Street back into things, because I honestly don't know if I can.

For now though... #amwriting. Bam said the lady.


¹ I originally chose the word Reliarachic while writing WANTED as a means of showing just how overly-complicated that society was. Its own adjective was hard to say. Now that I have a novel set there, though, I'm thinking I might need to change it to something like Reliarish or something similar.

² You thought to yourself "You mean 'A New Hope'" and you are wrong. There are only three Star Wars movies and they were named Star Wars, SW: Empire Strikes Back, and SW: Return of the Jedi. This whole renaming and numbering thing is crap, made only more crap by the absolutely horrendous prequels that would have existed if Lucas had ever been dumb enough to make them. Thankfully for all of us, he left the original trilogy untouched and unchanged⁵.

³ Pat Rothfuss sold his books as a trilogy, having written all three over the course of ten years. Given that original effort, he's still spent almost half that time over rewriting the second in the series because the original offering was so bad (per his own description).

⁴ Seeing what happened with the Wheel of Time and how long it takes Martin to produce another Ice and Fire book, The Third World is a setting explored in trilogies. There is a trilogy of stories with a meta-arc, and each trilogy's meta-arc combines to build an epic arc. That way if I ever die, at least the trilogies are complete. You can imagine why I'm not rushing to write something of such tremendous scope considering I haven't even been published yet.

⁵ Han shot first.

Accept the Crapitude

So, invoking rule 2a didn't have an immediate impact. I chose to finished Bujold's CRYOBURN¹ before getting back to work for a few reasons which I may or may not enumerate below². Anyway, this morning was technically a writing day, but I quickly realized that rule 2a was unnecessary. The writing was crap, but it was a level of crapness that seemed appropriate for a first draft. To stop and revise 40,000 words would reestablish neither voice nor rhythm in a fashion conducive to continuing the work. It was a time sink, a trap. It is the very reason rule 2 exists to begin with.

So instead, I began spot checking. Spot checking being reading while correcting errors I might happen upon. Mostly I refamiliarized myself with the Nation's bad grammar, Jehovah's obsession with family, Sid's foul-mouthed excitability, and Three's lovable innocence. It reminds me how excited I was writing JH before I stopped to revise TTS. It makes me want to write the work again. This is what I needed. I needed to warm up the engine so I could drive in the snow.

It doesn't fix my immediate concern that there's something wrong near where I stopped. I hope that it will come to me soon and I can correct it. Otherwise I'll have to soldier on. And I won't say that I just needed to be inspired again. That's just crap. What I needed was to love JEHOVAH'S HITLIST more than THE TRIAD SOCIETY. That has proved much more difficult than normal (see footnote³ too for hypotheses). While my word count won't be going up today, it may start going up tomorrow, definitely by Friday. Absolutely by Monday or the warning sirens go off.

Either way, it's time for Jehovah to discover the ruins of the Nation's government, meet with racist Rori Schapp (that will eventually lead to the story's thesis statement later in the book when he's talking to Dominic Texas), confront the deputy that follows him, and move the plot along. I want to have this first draft finished by the new year.

The killer? When I get beta feedback for TTS, I'll have to stop again. While I think TTS was served wonderfully for taking a longer break to begin JH before revision, JH seems to be suffering now because of the repeated breaks.

¹ The end of this book would have been crushing to a series fan if Bujold hadn't spoiled it a year ago on her MySpace blog. It's almost enough to cause an AYFKM moment. It's a half-AYFKM, which is why this is only a footnote and not its own post like it almost was yesterday when I read it. It would have been delicious heartache, the kind of thing that Liz would chide me about for months after reading it if I had written it. But I knew it was coming.

² The hardest part of starting JH again was that I didn't want to stop revising TTS. Receiving beta feedback on the first three chapters so soon after finishing my own revision, and seeing how much the novel improved because of that feedback, I wanted to keep going. There are 30 more chapters that need this kind of polish. Let's get to it! But I have to actually let people read the manuscript. ...dammit.

I also think there's a problem somewhere. Maybe Jehovah accepted the Hanged Man's threats too readily. Perhaps he needed to know he was being followed sooner. Even though I understand how dangerous the Hanged Man is and that Jehovah with his obsession with family would absolutely kill five strangers to keep them all safe, I'm not sure if I've properly communicated all of that.

³ I've totally stolen Nate Wilson's footnote gimmick. I commented that it really freed up my writing from those pesky asides. This is proving much more true than I realized at the time. This makes blogging so much easier. Why doesn't everyone have footnotes? Look at how easily I can communicate side-information without obstructing the flow of the main thought. Genius! Pure genius!

⁴ You just went back and looked because you didn't remember there being a fourth footnote. Didn't you? ...I think the footnotes might have just jumped the shark. Shit.

Beware the AYRTD Bird and Invoking Rule 2a

This has been a reading week. I finished JULIET¹. I'm almost half-way through CRYOBURN. I've finished the first disc of ARABIAN NIGHTS. I keep taking my Eee PC to work because I feel the need to write, but when I think of what to write next, it's not clicking. I know what I need to do, but because I've been enjoying reading, I haven't been stressing forcing myself back into things (60k and JH is complete, a mark I can hit in November if I want to posture for the NaNo writers². What I need to do is invoke rule 2a.

I've done this once before and it proved incredibly effective. Going back to the beginning and revising the current WIP after stopping to revise a completed draft both improves the ms and gets you a feel for the voice and rhythm of the work you're continuing. It's the one time I let myself go back and revise before the entire thing is finished. I updated my first 250 words on Nathan Bransford's forum to JH given how old BM&BBQ is. It seemed a wasted opportunity to post content from that work since I am no longer actively querying it. Those new 250 words needed some serious revision. I overwrote JH's first chapter and couldn't even make it off the first page without scolding myself. (The new 250 words are derived from the original 500 words and are much better.)

So this will let me rebuild a rhythm, improve the existing work, and maybe think of some new ideas for what's still to come. This is only daunting because I don't usually have this much already complete on a novel when I invoke 2a. I have 40k words in JH. Normally I might only have 10. I don't want to get stuck at the beginning and never get to the end. That's the whole reason rule 2 exists!

¹ Not as bad as the AYFKM moment, the AYRTD is when you look at the main character and shout, "Are you really that dumb?" I really enjoyed the first 350 pages of JULIET, but pages 351-400 are just one AYRTD moment after another. The entire climax is impossible if the main character didn't have the mental capacity of a bag full of hammers. She would have realized that everyone had something to gain from manipulating her and no one had been honest, and thus no decision could be made. Thankfully, she chose to mistrust people in a specific order, allowing each of them to shepherd her closer to the finale, leaving the humble reader to ask why he should care about someone unfit to produce offspring less the gene pool continue to be watered down.

Much like the entire plot dependent on the main characters miscommunicating, a plot driven by the protagonist not realizing clues that slap him/her across the face is enough to make me pull my hair out. It's one thing for clues to be cryptic, or riddles or double entendres or genuine intrigue. But when character A gives you a clue and then character B gives you a clue and they both wave the big Clue Flag and you still don't get it? I'm sorry, you're too stupid to have your own book. Go be a supporting character.

² Really, I'm so hard on NaNo because my first experiences with it were from communities not dedicated to writing. I wasn't part of a group of writers that liked to participate. I was among the majority of NaNo participants, people who wanted to write but never found the time. The excuses were the same every year. They'd sign up to do it and then never start or only write for five days or use anything they write (like this blog post) as their word count. Whatever they could do not to do the one thing they said they really wanted to do. Sorry, but if you want to do something, do it.

NaNoing My Problem

When I finish revising a novel, I feel like the train from the climax of Back to the Future 3. Doc Brown threw in those special logs and now I'm going twice as fast as a normal train. Reall, that works for when I finish the novel the first time and when I revise it again after beta reading. Each version is relevant to the color in the movie: first draft = green, second draft = yellow, third draft = red. Then I travel through time or fall into a gorge.

And since traveling through time doesn't work as a metaphor, when it's all done, I fall into a gorge. I'm just going and going and going and I don't want to give up any momentum. I try to switch to a different novel, either something I was already working on or something new. The problem is, each novel has it's own voice. I can't maintain that momentum and switch between mss. I need to slow down. But I can't slow down. There's a chemically infused log that is sending me speeding down the track.

I never want to take off, but I always have to. With the completion of TSS's second draft, I had the good fortune of being sick. So even though I wanted to keep writing (and have 38k of JH to go to), I had to take a few days off. Only a few. Monday arrived and I trying to keep some of that momentum going for this wip. It did not go well. I had trouble capturing the voice and had reservations of the quality of the story over all. It feels a bit thin. There's no complexity or depth. It's just a "go here do this, go there do that" story. It reminds me a lot of THE BLACK COMPANY in that way.

So I pondered this on the way home Tuesday night after producing only a few hundred words. I fell into the gorge and didn't realize it. Now I need to climb back up so I can get back on the tracks. But do I stop and try to wash my pants, or do I just soldier on? Yesterday morning I decided to take the NaNoWriMo way out. I ignored any quality concerns I had for the chapter and just pushed through to the end. Sometimes you just have to say, "I'll have to fix this in revision." This risk is that the quality is so bad as to derail the proper direction of the story. You'll just have to come back later and redo it and then redo everything you wrote after. It's a gamble, and not one that always pays off.

Elizabeth Poole and I have differing opinions on NaNoWriMo. She enjoys it. I do not. I accet that she finds a fun community there, but I do not participate in the community and do not want to lend myself to the activity just to explore the community. I think writing without any concern for quality is bad writing. I think 50,000 words counts as a novel in one or two genres. I think not enough effort is made to explain to participants that what they produce during NaNo is not something that should be sent to agents without revision and review. But most of all, it's that first part. No, I do not go back and revise until the entire manuscript is complete, but I do make a concerted effort to write the best possible first draft. To write with complete abandon is to shit diarrhea on the page. It makes a mess, it stinks, and isn't good for anyone but the flies.

I'd rather see someone write 25,000 first-draft quality pages than 50,000 NaNoWriMo quality pages.

So chapter 15 of JH is shit. Hopefully it's not so runny that it was a waste of time. I'm on chapter 16 now, and that's what I needed.

The Satisfaction of Success

I am a success!

What? Did I get an agent? No. Did I get an offer of publication from a major publishing house? No. Did I get a date with Rosario Dawson? No.

Yet I am still a success. I have not accomplished any of the above professional goals (and if I never accomplish that third one, it'll probably go a lot smoother with my wife), but I have done the thing I perhaps love the most. I finished a novel.

This feeling right here, the mix of excitement and euphoria, is the big pay off for me. It's not the completion of the first draft. That's just a step in the road. It's finishing the revision where I feel confident enough in the manuscript that I can send it to other people to read. Of all the works that I have finished (and even JEHOVAH'S HITLIST, which isn't complete), I felt THE TRIAD SOCIETY was my weakest offering. One of the reasons I continued on to JH instead of TTS was because I was unenthusiastic about he ms. That extra time helped a lot, though, and I realized a lot of my mistakes. I tweaked here and fixed there and made one massive change (Herman to Annelie) that made all the difference in the world.

I just took something mediocre and made it great. ...or at least better. Good enough that I'm happy with it, feel it's representative of my talent. I have accomplished my main goal. That is a great feeling.

So whether my current partial leads to a full and (fingers crossed) leads to representation, it's not as important as what I've done write now. I wrote a novel from start to end, and I think it's good. I hope you get the chance to read it, and that you enjoy it too.

A Ponderance: How to Steal from the Greeks

You may have noticed Nate Wilson appearing here and there in the comments section. He's a good bean. He's a bean you'd use in your award-winning chili. He has his own blog. If you have not read it, you should. The footnotes alone make it worthwhile. Recently, he posted an explanation of why the blog is named Sometimes, the Wheel is on Fire. This origin is wicked awesome. I immediately declared I would steal this from him and use it for a story. I pondered and I pondered and I pondered some more. But no matter how much I pondered, I could not come up with a story better than the original mythology. It's just cool. But it's not cool to just use the mythology as if it was something you came up with. If you can't play a tune and make it dance like a monkey, there's no reason to include it.

But today that monkey danced! The mistake I made was to look at new stories where the wheel could be used. Oh no, my friends, I should have been looking in stories I've already written. Or more precisely, the one I'm writing right now.

In JEHOVAH'S HITLIST, you don't get a lot of the resources you see today. No wood, no plastic. Most everything is fabric, recycled paper, or metal (mostly metal--aluminum or tin and the like). Each avenue is named for the 53 states and has three or four parks named for the larger cities in that state, the largest always being the capital city. These parks, lacking trees or vegetation of any kind, are a lot like your modern day skate parks and playgrounds. The problem is, the tinkers have already looted all the movable metal. Swing sets are barren, teater totters have nothing with which to teeter or totter. So you get these great big cement ramps and these concave bowls where if you run fast enough, it's like you're going sideways.

But what about the larger pieces of metal too heavy for the tinkers to haul away? What about those wheels where you run in a circle and then grab hold and go round and round?

So far, the punishment I've found for almost anything is death, and that's a bit extreme. There would have to be some method of punishment for minor infractions. The gangs aren't going to shoot you over every little thing. The deputies aren't going to string you up. You'd get beaten up or left out in the elements. But how? Circling a pursing and beating them is blah. No curb stomping or anything that extreme.

The wheel!

When Jehovah finally goes up above and to Ademi Dayo, the young woman he has to kill, the two talk about the differences of their worlds. Jehovah talks about how much trouble he got into when he was younger, always acting out. When you get in trouble, they tie you to the wheel and throw rocks at you.

How horrible!

Nah, not really. It could be a lot worse.

How could anything be worse than that?

Sometimes, the wheel is on fire.

BAM!

Idea stolen and assimilated. Boo. Yah.

Frenetic

I have stopped revising so I can read BLUE FIRE. I haven't opened my computer since Monday evening. This isn't too bad because I should finish the book by tomorrow. It's not a long-term delay or anything. And reading a good book is a great way to recharge one's batteries. Keep the juices flowing and the ideas fresh. Flowing juice can be difficult to handle, though. Fresh ideas just pop out of your head and demand to be put to paper (or in my case, screen). I've had some new ideas for THE SEVENTH SACRIFICE (and I still want to get to the end because I love it so much. I had a HUGE breakthrough for JEHOVAH'S HITLIST that requires I write another 30,000 words before I even get to it. I have some corrections I need to make to THE TRIAD SOCIETY once I start revising again--of course those come at the end as well, so I need to get that back in gear. I've even been having ideas for WINE AND VINEGAR, which I had forgotten about until I found the manuscript file the other day.

I feel absolutely frenetic inside. I'm really enjoying the book, and I want to finish it. But all these ideas! They demand attention! They demand appeasement! And the worst of it is, once I finish the book, I will still only work on one of them at a time. I'll need to finish revising TTS so I can send it out to beta readers so I can go back to JH and finish that first draft. Then when I set that aside, I can start back on T7S, which I'm effectively starting from scratch and aborting my previous attempt. So IF (and that's an all caps IF) I write WINE AND VINEGAR directly after T7S, that won't be until this time next year at the earliest.

GAH! Too much juice! Too much juice!!!

QUERY: JEHOVAH'S HITLIST (a draft)

Jehovah knows a secret. On Sundays when they parachute down the charity box, you can see where they open the sky to make the drop. The first one to the box gets the best charity: food rations, medicine, ammunition. Today all he needs is a new pair of shoes. He nabs himself a pair of boots made out of real leather, and he only has to kill one person to get them.

There's a list hidden inside one of the boots. Five names written on the back side of a bible cover. The list is branded with a noose. Those names are the means to deliver a message to the world up above. The Hanged Man says Jehovah is going to deliver a message for him or he'll kill Jehovah, his family, his friends, and his neighbors.

JEHOVAH'S HITLIST (or DOWN BELOW THE UP ABOVE) is a 100-000 word post-apocalyptic commercial fiction. The oceans have risen, nations have fallen, and the rich and powerful live in platforms in the sky. The rest live in ghetto cities below.

This will be my first novel publication. Thank you for your time and consideration.