Philip Henslowe: Mr. Fennyman, allow me to explain about the theatre business. The natural condition is one of insurmountable obstacles on the road to imminent disaster.
Hugh Fennyman: So what do we do?
Philip Henslowe: Nothing. Strangely enough, it all turns out well.
Hugh Fennyman: How?
Philip Henslowe: I don’t know. It’s a mystery.
I wound up quoting the above at Alyc early last week, at the end of about an hour and a half of us beating our heads against the wall of a certain plot problem for this chapter. We still didn’t have an answer, but we’d both hit a point where we could tell that continuing to work on it right then wouldn’t do any good; we had to walk away and let our thoughts turn to other things, and trust — hope — that a solution would present itself while we weren’t looking. (My other go-to quote in such situations is “Cudgel thy brains no more, for your dull ass will not mend his pace with beating.”)
You see, something like eight or nine months ago, we’d come up with a way to arrange for a certain cluster of plot things to all happen at once, in maximally exciting fashion. But either we’d forgotten (and failed to write down) some of the finer points, or we’d never actually thought it through in sufficient detail, because when we came back to it . . . there were some serious unanswered questions. How were the antagonists going to find out about a certain thing happening? Why was this character going to be in that place at that time? Did the timing even work? If we had [redacted] do [redacted], wouldn’t that be bad espionage, a mistake they ought to be too intelligent to make? We fiddled with the pieces we had, trying to make them line up. We brought in other pieces to bridge the gaps. And then still more pieces. We threw ninety percent of the pieces out because it was getting too complicated. Round and round we went. We whined at each other about why we’d decided to make our villains competent and our challenges challenging, and wouldn’t it all be easier if we could just let people be idiots?
There’s a fair bit of neurological science backing up the idea that you’re more likely to solve a problem when you’re not thinking about it, and as you can tell by the fact that I’m reporting another successfully completed chapter, that was indeed the case here. Both Alyc and I woke up the next morning with fresh ideas (well, I had mine on my way to bed, which is usually how it goes), and we managed to hybridize them in some useful ways. A story element that started life as a gratuitous bit of self-indulgence is now serving a legitimate plot function; we did a major plot-and-personality transplant on a side character. (Which is also something that happened in drafting The Mask of Mirrors, so now I’m wondering who in Book Three will wind up being totally rewritten halfway through.) And we managed to close out the book with a moment that doesn’t remotely measure up to the world’s most disastrous dinner in Bujold’s A Civil Campaign, but will hopefully have a bit of that feel. Given that our original plan for that particular revelation was kind of disappointingly sedate, this is far more entertaining. 😀
Word count: ~90,000
Authorial sadism: “Hey, is that your dad?”
Authorial amusement: Beldipassi’s Incredible Can’t-Miss One-Time Offer!
BLR quotient: A surprising amount of love. Gotta soften everybody up for the beating that’s on its way.