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Posts Tagged ‘novels’

avalanching

5008 words for Labor Day.

It isn’t labor if you love what you’re doing.

Almost done. Almost. It was five thousand because this was the climax; yesterday I wrote the first of the two scenes I’ve been wanting to write since I put together this proposal more than a year ago, and today I wrote the second. Ding, dong, the plot is dead, but the denoument lives on. There’s a bit of work to be done yet — at least one day’s worth, possibly two. We’ll see.

So very nearly done.

Word count: 130,090
LBR census: Blood and love, and some horrible, horrible rhetoric.
Authorial sadism: Memento people know I was never sure which Merriman I was crueler to, Francis or Philip. There’s no Philip Merriman in this story, but Galen’s taken his place. ‘Nuff said.

inquring minds don’t want to find out first-hand

Dear LiveJournals,

Have you ever been punched in the face? I mean, really punched in the face, not just your brother smacking you one when you were five?

What was it like?

I kind of need to know the subjective experience of realio trulio being decked (or otherwise struck — I suppose a car dashboard or the like would also do) so I can describe it properly, and while I will taste gin for this book, I will not court concussion for it.

Thanks,
Your Friendly Neighborhood Novelist

the avalanche has started

Word count: 110,810
LBR census: Ladies and gentlemen, THE BLOOD HAS ARRIVED.
Authorial sadism: I’ve been looking forward to writing this bit for four months now. I’m pretty sure that makes me a Bad Person.

***

There’s nothing I can say at this point that wouldn’t constitute a spoiler. Except that we’ve hit the fun part.

Fun for me, anyway. My characters might beg to differ.

my own version of the Bechdel Test

If a scene in a novel of mine a) has at least two female characters in it, and b) they talk to each other, then c) odds are apparently quite high that they’re talking about politics.

Srsly, girls — can’t you find something else to occupy yourselves?

The Big One-Oh-Oh

Word count: 100,497
LBR census: Lots of talk of death. And love has taken a beating along the way.
Authorial sadism: That little house of cards Galen’s been living in has started to fall on his head.

***

I’m over the hump in several respects at once. The most obvious is the crossing of the hundred thousand word mark: sure, I’m only 1834 words closer to the end of the book than I was when I woke up this morning, but the psychological effect of watching the odometer tick over is enormous. The end of the book is no longer on the other side of a wall; I can see it now from where I’m standing.

The invisible one, to everyone but me, is in the revision. It’s been so painfully obvious to me that Part Four was where I started to lose my way; I stalled out a chunk of the way through it back in July, having to stop and rethink what I was doing, and what do you know? I’ve had to completely replace four scenes out of it, including the one I was writing when I stalled. Having made it past the last of those, however, the road ahead looks a hell of a lot smoother. Not that there isn’t stuff that needs fixing, but it’s of the “polish this and make it hit harder” sort rather than the “oh holy hell this scene isn’t even doing anything” sort. And I know which one I prefer. This wasn’t an 1834-word day; it was a 4762-word day, the rest of it being either flashback or replacements for existing crappy scenes. Tiring, but I’m done with that now.

I’m so close to the tipping point, too. (If I can have both a hump and a tipping point in this graph.) There’s about five thousand words of stuff left for me to muddle through, and then I hit the stuff I was semi-outlining last night: ten thousand words or so of scenes I think I’ll be able to roar right through. Then we’ll be into Part Seven, and the grand finale, which I hope will be very full of roaring.

But now I’m sleepy, and I’ve done my work, and it’s time for bed. Tomorrow, we begin the journey from 100 to 140.

different kinds of procrastination

The hardest thing is knowing when to push, and when not to.

Three hours ago I was sitting at my computer, trying to get started on the day’s revision and failing. There are two scenes that need total replacing today — one involving the Crow’s Head, one involving the British Museum — and I knew roughly what each one was going to do, but I just couldn’t get my brain in gear enough to produce a decent opening sentence for the first one.

Laziness? Or an actual block?

I went downstairs and played solitaire for a while. Told myself I really should get to work. Then remembered that I also need to write this part’s flashback scene, and maybe if I figured out exactly what that was doing I’d be more able to write the Crow’s Head bit, which is supposed to set up that flashback. So I called kniedzw into the room and we bounced ideas back and forth until I knew what to do with the flashback, and then I came back upstairs and wrote that and polished the bit that follows it, with Galen talking to Lune . . . then hit the wall again. Because the next scene after that is the British Museum one, which also needs replacing. And I wasn’t sure whether I should try to do that before I’ve replaced the previous scene or not. Grumble mutter smack into wall.

Back downstairs for more solitaire.

Ponder ponder. Is it too early to bring up a problem the characters run into later on? No — not if I rearrange the scenes. Put Galen’s conversation with Lune first; then the Crow’s Head scene can happen a couple of weeks later, much closer to the Museum thing, and oh hey Irrith has that favor she can call in, which I’ve been wondering what to do with — use that as setup for the Museum scene?

Bit by bit, it falls into place in my head, and a hell of a lot better than it would have if I’d made myself start writing the Crow’s Head stuff three hours ago. But it’s so hard to tell the difference: will delay improve anything? When you’re under a deadline, you can’t always err on the side of assuming that yes, it will. It was so very tempting to tell myself I could work on this part tomorrow . . . but that would put me a day behind. How can you know when that’s the right course of action, versus when you need to mush on?

At present, I’m writing a blog post about what I’ve figured out, instead of applying it to the book. I think that’s a pretty good sign that the useful procrastination is over and done with, and now it’s time to mush.

a glimpse ahead

Making notes right now, trying to figure out how many scenes it will take me to deal with a particular bit of plot. Am amused by: (7) Daring rescue!

You can tell it will be exciting, because it has an exclamation mark.

Five.

Five parts down. Two to go.

And after ninety-six thousand words of book, the comet has finally shown up.

Happens every book.

Books have stages they go through, and after a while, you learn to recognize your own particular set.

Over here at Castle N, we’ve reached the stage of “All right, I really should sit down and get started on revising oh hey this hallway really needs vacuuming.”

(I have no cat to vacuum, alas.)

Fifty more to go. (Thereabouts.)

Word count: 91,133
LBR census: Some rather bloody rhetoric.
Authorial sadism: You’re the one who said it, Irrith. And you’ll remember that by the end of the book.

***

I may be semi-scarce for about the next month, and as I’ve said to a couple of people lately, I can sum up the reason why quite succinctly:

We’ve secretly replaced Marie Brennan’s usual novel-writing process with that of another author. Let’s see if she notices!

Why, yes. Yes, I have. >_<

I know plenty of writers who produce multiple drafts: first they write a vague, bumbling one full of plot hooks that don’t go anywhere and ideas that get jammed in willy-nilly two thirds of the way through, etc. Then, having figured out what the book is about, they go back and write a second draft (sometimes more), getting closer each time to the target. And that’s fine. It works great for them. It would probably even work great for me, so long as I did one very important thing: budgeted enough time before the deadline to allow for multiple drafts.

But I didn’t, because almost all of my previous ten novels* have conformed to my usual declaration, “I tend to write fairly clean first drafts.” Doppelganger, for example, underwent only three substantive changes on its way to publication: I deleted the opening scene, rearranged the early chapters so they cut between Miryo and Mirage more frequently, and unkilled a character for use in the sequel. Everything else was polishing.

This book . . . not so much. I could speculate for hours as to why that’s the case, but the upshot of it all is that I’m throwing out and replacing a much larger quantity of wordage than I’m accustomed to doing. My killfile, wherein I keep everything paragraph-sized or larger that’s been cut from the book, is twenty-five thousand words long. All of it deserves to be there; the sections and scenes I’m replacing them with are about 230% better than my first attempts. But that’s 25K of book I’ve written without getting any closer to the end.

So what I’ve been doing for a week and change, and will be doing for about another month, is kind of sort of writing my second draft while writing my first. That is, I’m slapping 1500 words minimum onto the back end of the book, heading just as fast as I can for the finish line, while also revising 4000 words minimum in the existing text. On the days when that means polishing, life’s good. On the days when it’s actually 2K of new scene plus 2K of polishing, life’s harder.

As you might imagine, this is a little tiring.

But hey, live and learn. I’ve gotten careless about leaving myself a margin of safety; if I’m intending to write a 140K book, then I give myself five months to do it and assume that’ll work out, probably with time to spare. I’ll know better for the Victorian book. I’ve already worked out my schedule for that one, and it involves a big honking overbudget of time just in case that one goes more like this book has. And in the meantime, I’ll just keep my nose to the grindstone, and pray I still have a brain left when all of this is done.

*The sole exception to the above rule was #4, where I wrote one draft that wasn’t so much vague and bumbling as Utter Crap, and then threw it out and wrote something radically different and thirty thousand words longer. But I wasn’t under a deadline then.

Free fiction! Mine and other people’s.

One thing you get from being published in print magazines, that you don’t get from the online ones: author copies.

Sometimes, more than you need.

I’ve got a stack here of random magazine issues, each one of them with a story of mine in it, above and beyond the copies I’m keeping for posterity. I’d like to get rid of them, to good homes — but how to arrange that? With a contest, of course!

It consists of three easy steps:

1) Blog in some fashion about the Onyx Court series. It can cover any piece of the series: Midnight Never Come, In Ashes Lie, Deeds of Men, one of the upcoming books. Your post can be anything you want: a review, historical nitpicking, speculation about what’s coming, fanfiction/fanart, pictures of your cat dressed in a homemade Invidiana costume — whatever.

2) E-mail me a link to your blog post. Send it to marie {dot} brennan {at} gmail {dot} com.

3) Profit! Or at least be entered for a chance to do so.

The items up for grabs are as follows:

That’s eleven potential winners, all told. You’ve got until September 1st to post something and notify me of it — which is plenty of time to sew that costume for your cat, so get cracking!

I should have checked this ages ago.

I’m an idiot.

When I pitched the new Onyx Court novels, I gave both of them working titles, because they sound more like real novels if they aren’t called “the comet book” and “the Victorian book.” In the Victorian case, it was a working title because I’m not terribly enthusiastic about the phrase I chose. In the comet case, by contrast, the phrase is fine; I just thought the passage I’d pulled it from didn’t have enough bearing on the plot to work as an epigraph, which is what I’ve done with the previous two.

And I’ve gone months without digging up the aforementioned passage and taking a second look at it. Which is where the idiocy comes in, because as it turns out, it works very well indeed.

So! I have a title! Unless my editor tells me to change it, but he said he was fine with it back when I thought I wasn’t, so we can hope not. The Book Formerly Referred to As the Comet Book will henceforth be referred to as A Star Shall FallStar or SSF when I’m feeling informal.

(You can tell the Victorian title is Totally Wrong, because it doesn’t have a verb in it.)

Anyway, I hope y’all like. I think I do.

got it!!!

Okay, so I didn’t take anyone’s suggestion. But I’m going to award the prize to kizmet_42, whose nomination of “The Green Lion” for its alchemical resonance led me to my choice:

The Crow’s Head.

Which is a) alchemical, b) pub-like, c) suitable to the Onyx Court, and d) a reference to the supposed burial of Bran the Blessed’s head in London.

kizmet_42, send your address to marie dot brennan at gmail dot com, and I’ll send you your prize.

name a faerie pub!

This one especially goes out to all the Brits, who are more familiar than your average American with the verbal genre known as the Pub Name.

There is a tavern of sorts in the Onyx Hall. I need a good name for it. Right now it’s the White Stag because of the folkloric connections, but really, that’s far too clean and ordinary-sounding. (It was going to be the Ash and Thorn, but that’s been co-opted for something else.) So: suggest to me suitable faerie pub names. If I end up picking yours, I’ll send you a signed copy of In Ashes Lie.

but what do I do *tonight*?

The good news: there are two less-than-stellar scenes in Part Four that I’d kind of like to replace, and I just figured out what scenes ought to go there.

The bad news: they’re the next two scenes I was going to write for Part Five.

The result: since I need to make forward progress through the book regardless, and writing replacement scenes for existing book doesn’t count, Irrith gets the brunt of my not-even-half-baked idea for tonight. Which means she’s about to end up in a meeting with a bunch of people she really doesn’t like.

I just hope this doesn’t turn out to be a scene I’ll have to replace a few weeks from now . . . .

ETA: I don’t think I’ll have to replace it. Terrifying as it was to leap headfirst into a major plot twist without more than three minutes’ consideration and without having put in place the foundations it’s supposedly standing on, it feels very, very right. The stakes went up as if somebody put rockets on them. And those two scenes will do much better in Part Four than the stuff currently there, which was supposed to go somewhere and never did.

the things I do . . . .

A recent phone conversation with the kniedzw:

Me: “When you come home and find that the gin bottle’s been opened, I just want you to know it’s all in the line of duty.”
Him, knowing I don’t drink: “What????”

Though, as I admitted, for the full period effect I really ought to spike it with turpentine or sulfuric acid.

80K.

(I promise I won’t be so spammy with the book reports tomorrow.)

In other news — eighty thousand words! Astute observers will notice it’s been over two weeks since I announced the 70K mark. My two-day respite, during which I got two flashbacks written, turned out to be longer than intended, and then I missed another two days while traveling. That seems to be the pattern of this book, which is unlike any other book I’ve written: rather than my usual slow-and-steady pace, I’ve been hitting periodic droughts, then pushing rather faster than usual to make up the difference. I wrote 5K in the two days after getting back from Minneapolis, and my intent is to make 1500 every day between now and the end of the book. Mostly because that’s what I have to do in order to make my deadline while still leaving a margin for safety. And on top of that, I’m officially starting the revision before I finish the book, because this novel — again, unlike any other — is requiring me to rip out whole scenes, not just at the beginning, where I was faffing around without quite knowing what I was doing yet, but throughout. I’ve got two thousand words of utter crap in Part Four that accomplishes little more than introducing Irrith to a character Galen’s already met, which needs to be replaced with something more exciting.

(Like breaking into the newly-created British Museum to steal some artifacts. What? The place doesn’t open for business until early 1759, by which point I think my characters will be too occupied to work it into the plot, so theft it is.)

Anyway, yes, this has me a little stressed, because 1500 is kind of firmly fixed in my mind as a pace I can only keep up if I know pretty well where my plot is going, and that isn’t quite as true as I’d like it to be. I fear I might end up with more faffy scenes that will need replacing. Other people work that way and are fine, but it’s a new model for me, and not one I particularly like.

If it produces a good book, though, that’s all I really care about.

Word count: 80,003
LBR census: I’ve concluded that Midnight was the love-and-blood book, and Ashes was the blood-and-rhetoric book, which leaves this one to be the love-and-rhetoric book. But, true to the icon, I will have blood by the end.
Authorial sadism: It’s one of the laws of narrative that nothing good will happen on Friday the 13th. At least in an English faerie story. (Though apparently there’s no evidence for that superstition prior to the nineteenth century.)

Comet Book Report: Bloody Foreigners, by Robert Winder

(By recommendation of fjm.)

I stopped on page 145 for a very good reason: I’m saving the next hundred pages or so for when I start work on the Victorian book.

Winder’s purpose here is to approach immigration into Britain not as a topic to be organized by theme, but as a narrative to be organized chronologically. This makes him absolutely perfect for my use, because I don’t have to spend a lot of effort winnowing out the details that post-date my period; I just stop reading. He begins with the earliest settlements of the island and proceeds from there, addressing waves of immigration as they come, occasionally backtracking a little bit to talk about the pioneers of a particular group before they showed up in larger numbers, but overall taking everything in general order.

He also addresses something I must admit I sometimes fall prey to, despite my awareness of history: the tendency to view “Britishness” (or “Englishness,” and he does track the difference between those concepts) as some kind of natural, native-bred thing, only recently disturbed by foreigners in real numbers. Even though I know about the Flemings and the Huguenots; even though I know there were Africans present at least as early as the sixteenth century; even though I got annoyed at Lisa Goldstein’s The Alchemist’s Door for its assertion that you only ever heard people speaking English on the streets of Elizabethan London . . . all of that slips so easily beneath the surface of my thoughts. Sure, I come from a country peopled largely by recent immigrants and their descendants, but Britain’s different, right? Well, yes — the scale isn’t quite the same. But when Winder points out that thirteen thousand Poor Palatines (German refugees) showed up in the summer of 1709, or that British ships hired Lascars (Indians) in large numbers and then abandoned them upon making port in London, it rapidly becomes apparent that Britain has long been more cosmopolitan than you might think.

And given that one of my goals with the Onyx Court series is to gradually open it up to the presence of the larger world, it’s very useful to know which groups became significant presences at what points in the timeline. I don’t think I’m likely to have scenes terribly far afield — Berkshire and the Channel are probably as far as I’ll go — because this is meant to be a London-based story, but I can talk about the people in London. (Fortunately, that’s precisely where the vast majority of the immigrants ended up, at least for the first couple of generations.)

Since Winder’s trying to cover twenty-five thousand years in 480 pages, his pace is necessarily brisk. (Though by page 29, we’re already up to the Norman Conquest.) This is an overview, not an in-depth exploration of any group or individual. Fortunately, the “Select Bibliography” gives you nine pages of sources to follow up with. And I appreciate Winder’s attempts to put the different groups in context with one another where appropriate; the reception of the Poor Palatines, for example, was strongly shaped by the previous experience of the Huguenots. He also doesn’t stop at characterizing the immigrants by the countries they came from: he touches on the questions of religion, economic class, and other points of demography. From a survey kind of book like this, that’s about all you can ask for.

Comet Book Report: Isaac Newton: The Last Sorcerer, by Michael White

As with Kit Marlowe and MNC, Isaac Newton is the guy I had to read a lot about in order to decide I’m not going to do as much with him as I thought.

Newton, of course, is already long dead by the time this novel begins. But he, or at least his work, is vitally important to a bunch of the events that lead up to the novel, so I needed to read at least one biography of him to decide how to integrate him. The answer is, not the way I thought I would; his religious views are just waaaaaaay the hell too incompatible with the fae for there to have been any kind of deliberate collusion there. What they got from him, they did in secret.

But anyway, this book. If I was going to read only one biography, this was a good one, within the context of my specific purposes. White’s mission here, aside from writing a biography, is to integrate Newton’s alchemy with his other work; building on Dobbs’ research, he tries to establish that things like the alchemical notion of active principles or the physical appearance of the star regulus of antimony helped him to the epiphanies involved in (say) his theory of gravitation. I don’t think he entirely succeeds at this, but I mean that in more of a narrative sense; it felt like if that were true, then you should be able to spot it more pervasively in Newton’s work. On the other hand, human beings rarely obey the laws of narrative, so.

Since alchemy and the transition to proper science are a major part of what I’m looking at, though, this biography’s focus was useful to me. Its flaw on that front, I think, is that White seems incapable of fully understanding why alchemy was something smart men could spend time on; that failure of empathy is probably linked in with his purpose, when you get down to it, justifying Newton’s alchemy on the basis that it led to Newton’s real science. Aside from that, though, this book was pretty much exactly what I needed: a detailed (yet readable) chronology of the guy’s life, in the context of his personality.

Which, as it turns out, was that of “borderline megalomaniacal jackass.” Okay, that’s a little unfair, but man — I’d heard Newton was a jerk. I didn’t realize how true it was. He had a terrible time acknowledging his debts to other people’s work, or the possibility that they might have had an idea before he did, which possibly arose because of his bizarre semi-conception of himself as a Christ figure. I’m oversimplifying here, but it seems the whole “born on Christmas Day after his father’s death” thing left Newton with a very idiosyncratic notion of God and his relationship to same, linking in with his anti-trinitarianism and so on. Anyway, if you want to know more about that, read The Religion of Isaac Newton by Frank E. Manuel, which I read before I picked up this book (probably a bad idea).

So. Readable biography of Newton plus some discussion of alchemy. If that’s useful to you, have at it.