Sign up for my newsletter to receive news and updates!

Posts Tagged ‘with fate conspire’

re: the baptism post

Making a new post here because it’s easier than replying to everybody who brought up the same points.

Thanks for the input from everybody. I can’t give you the reason why my characters want a second baptism performed, as it would be too much of a plot spoiler, but the short form is that this is a fantasy novel; the reason for it is metaphysical, and can’t be solved by that character going to confession. You’ve given me what I need, though: the reason why baptism isn’t repeated, and then the conditional form that the priest would use once they convince him, against his better judgment, to do it. (I suppose I could have the characters perform the baptism themselves, but it loses a bit of that ritual and narrative oomph, which they would be very eager to have on their sides.)

So now I can write an argument about whether there’s any other power in the world capable of annulling the gift of God’s grace, and that was what I needed. Once I have the scene written, I’ll find somebody who knows the specifical historical Church practices to read it over for me and tell whether it works. (If any such person reads this post, do let me know; the scene takes place in 1884, post-Vatican I but pre-Vatican II.)

calling for Catholic help

To my Catholic readers, or anybody else familiar with the nuances of Catholic policy regarding baptism, especially nineteenth-century policy on same:

1) If an adult converts to Catholicism, do they receive a Catholic baptism? Is the answer to that question dependent at all upon whether they were previously baptized in a different Christian denomination? Does age affect it, and if so, what’s the cut-off point for different treatment?

2) If there were, for plot reasons, a character who had originally been baptized into the Catholic church, who really really needed to be re-baptized in the same tradition, how would the argument about that go? (As I understand it, re-baptism isn’t something that’s supposed to be done, but there’s an unusually compelling reason for it in this case; what I’m asking for is basically a run-down of the objections the priest would make, that my characters can then overcome.)

3) Does anybody have a handy link to the text for the baptismal rite Catholics used in the nineteenth century?

90K!

After a few days’ break, I’m back on the horse. And how; in addition to 1,142 words to kick off Part Three, I backtracked to add a couple of necessary scenes to Part One. 1,874 to cover one, and 942 to start the other, for a total of 3,958 today.

Why so much? Because I wanted to hit 90K, dammit. So I did.

The additions are important. For something so central to this book, the Underground really hadn’t appeared onstage properly, so one of the additions is basically Cyma Rides the Train; the other gets the Academy onstage faster and more clearly, which will help with the Part Three scenes I’m about to write that feature it. As for Part Three itself, I waffle between trying to figure out how I’m going to fill all forty-five thousand words, and panicking that there’s no way I can get everything necessary into a mere forty-five thousand words — which is a pretty good sign that we’re about to leave the Middle and move into the End. Once that happens, I doubt I’ll have trouble meeting my daily quota.

Word count: 90,001. (Yes, I hit my goal and stopped. At least I finished the sentence.)
LBR quota: When your protagonists are kinda trying to kill each other, it’s blood.
Authorial sadism: Aside from making Cyma ride the train? Making Dead Rick be too vulnerable to hide it.

Interview with the Resurrectionist

Tell me if you think these words belong together: “Victorian,” “supernatural,” “grave-robber,” and “comedy.”

If the answer is “yes,” go rent I Sell the Dead. Arthur Blake (Dominic Monaghan) is a resurrectionist about to be executed for his crimes; Francis Duffy (Ron Perlman) is a priest who comes to interview him before his head gets chopped off. Blake tells the story of how, as a wee lad, he got into the body-snatching trade — and then how he and his mentor discovered the real money was in stealing the undead. Wacky hijinks ensue.

It’s a low-budget film that embraces its limitations and turns them into an aesthetic: lots of fog-filled shots with painted backdrops, occasional fades to cartoon sketches, that kind of thing. And, y’know, a fairly sick sense of humour. But you’ve already admitted you think a resurrectionist comedy sounds like a good idea, so there’s no point in pretending you aren’t going to laugh at the jokes.

I rented it in the name of research. There will be no grave-robbing in this novel, but if an Onyx Court body-snatcher story shows up at some point, you’ll know what source to blame.

Marathon it is.

If I didn’t have a very full day planned for tomorrow, I would totally stay up and see if I can knock off the final scene of this part. As it stands, I’ll have to call it a night after only 4,441 words.

Favorite line: “So that’s where the fucking naga went.” Surprise naga for the win!

(Do me a favor and forget about the naga by the time the book comes out next year. Otherwise it won’t be a surprise.)

Edited to add: Eh, screw it. Sleep is for the weak. And this way I’ll get to kick back properly tomorrow night.

Edit 2: 5,731, and that’s Part Two in the bag. I’ll probably have to fix the end of that scene — it went a bit woppy-jawed after I decided to postpone the Giant Screaming Match until the beginning of Part Three — but whatever. I’m putting this thing, and myself, to bed.

P.S. — 86,040 words of book.

a better human being than I could ever hope to be

Another link I’ve had sitting around for a couple of weeks: Abd el-Kader and the Massacre of Damascus.

Read the whole thing. Yes, it’s long, and we live in an age of attention-deficit disorder, where any blog post longer than a few paragraphs threatens to trigger a tl;dr response. But you need to go through it to grasp the enormity of this man’s life: not just what Abd el-Kader accomplished in his fifteen years fighting the French (notice how many times he wrestled them into stalemates or surrenders or treaties?), but the incredible reversal of his image later on, while he was in France, and when he went to Damascus. It’s an amazing story.

I’m writing a novel set in 1884 London right now, and I’m running a game set in the 1875 American frontier, and I’m juggling a back-brain idea that would take place in a world a lot like our own nineteenth century but with differences, and coincidentally kniedzw is reading a biography of Sir Henry Rawlinson, who’s one of your crazy Victorian soldier-scholar-adventurers, and it really makes me want to know: what was it about the nineteenth century that spawned so many larger-than-life characters?

Some of it’s a matter of wealth and privilege. If you don’t have to work for a living, and you don’t particularly care what offenses you commit against your lessers, you can get away with much grander deeds than somebody constrained by budget and consideration. Some of it’s a colonial effect, as the collision of nations destabilized the world and created zones where individuals could make their own law. I think a portion, especially in the case of men like Rawlinson, was an invincible belief in the gospel of progress: there was nothing that they couldn’t do, and if somebody tried and failed and died, well, it was just a sign that you needed to try again harder.

That doesn’t explain Abd el-Kader to me, though. He probably counted as wealthy and privileged in the context of his own Algerian society, but not in comparison to the French, and part of what made his story awesome was that he did constrain himself not to harm those over whom he had power. He wasn’t a colonial adventurer, either, indoctrinated by the European belief in progress. He was just a leader and military genius with an unshakeable goodness of character that gradually won over even his enemies, who found himself in a position to save thousands of lives. And yet he hits that same button in my head, of people whose deeds loom so large in my head, I have a hard time imagining anyone following a similar path today.

Maybe it’s just the perspective of time. Maybe in a hundred years, people who seem ordinary to me today will have the same sheen of outrageousness. It doesn’t feel like it, though. Western history* has colorful characters at all stages, but it seems like there are more in the nineteenth century; and then the things we do today feel smaller, more hedged about by caution and limitation, less grand. In a hundred years, we’ll remember Bill Gates — but his autobiography won’t be stuffed with anecdotes about how as a boy he tried to summon the devil in an attempt to verify the existence of same**.

Possibly it’s better for society as a whole that we have changed (if indeed we have). But every time I come across another figure like Abd el-Kader, the narrative part of my brain lights up a bit with joy, and I wish current events could do that to me.

*My knowledge of non-Western history is intermittent enough that I don’t want to generalize about it.

**Unlike Charles Babbage.

80K!

The 80K landmark used to mean more to me. It still means “real book” in a way lower numbers don’t; it’s hard to sell an adult book that’s less than eighty thousand words long. But it used to mean I was well over halfway done with the novel, maybe seventy or eighty percent of the way there.

And then I started writing Onyx Court books. <sigh>

On the bright side, I’m close enough to the end of Part Two that I can taste it. Barring disaster, I’ll be done by the end of the month (which is the goal); I may even finish in the next day or two, if I decide to marathon my way through Eliza and Dead Rick’s big climactic scenes. (And that will mostly be determined by how quickly I figure out how to wrangle my plot-pieces together in an exciting fashion.)

Word count: 80, 309
LBR quota: Rhetoric, maybe? That’s what usually covers faerie science, and Dead Rick is actually flexing his teeny-tiny scholar muscle.
Authorial sadism: Neither Dead Rick, nor Eliza, nor Tom, will ever know that the pieces briefly came together there on Cheapside. (Several months too late for Eliza.)

holding out hope

. . . I may, at last, have a title for this book.

I need to think about it. Let it sit in my brain for a bit, think about how its source quote would work for an epigraph, see how it fits with the others in the series. And in the meantime, probably go on searching through other works for possibilities, because I really need to make up my mind before much longer. But it fits all of my requirements, and it would please me to have the title of this last book come from the letters of Ada Lovelace.

Edited to add: Well, I now have the music for the book’s climax running through my head, which might be a good sign. It might just be a sign that the Pavlovian self-training has worked — the end of the book and that song are now inextricably linked in my head; thinking of one brings up the other — but it’s encouraging nonetheless.

70K!

Bit by bit, the landmarks pass.

If I can just figure out what’s happening in Dead Rick’s next three scenes or so, I’ll be set for the rest of this Part. Then I can maybe kick my pace up a bit and try to finish before the end of the month, giving me a few days to plot strategy for Part Three before I dive into it. That would be nice. This whole “days off” thing is still weird, but I like to do it when I can.

. . . dang it. I had figured out something for Hodge’s scene, and now I’ve forgotten it.

Oh well. If it was a good idea, it’ll come back.

Word count: 70,092
LBR quota: Love, maybe? Whatever covers figuring out that doing something constructive can help tide you over until that revenge thing happens.
Authorial sadism: Hodge can’t get no respect. <g>

apologies I only sort of mean

Dear Dead Rick,

I’m sorry I’m a horrible person.

Tomorrow morning kurayami_hime will read this and say, “You’re not sorry at all,” and she’ll kind of be right — but I have to say it anyway. Because one of your levers is more like a giant knife sticking out of your heart, and sometimes I just have to give it a good twist.

Sorry.

If it’s any comfort, I suspect you have some RIGHTEOUS FURY OF REVENGE scenes coming up later in the book. It’s got that feel in my head, even if I don’t know the specifics yet. I hope that helps.

Love and apologies,
A mean, mean person

ID’ing the pattern

I’ve gotten a number of reviews of both Midnight Never Come and In Ashes Lie that say some variant on, “this takes a while to get going, but once it does, it’s pretty awesome.” (Or sometimes, “this takes forever to get going, and I gave up.”) I fully expect that as more reviews come in for A Star Shall Fall, I’ll get a few that say the same thing.

And I’ve finally figured out how to characterize it in my head: these books are arrangements of dominoes.

That is to say, the opening stages of each book are about lining up the stones, creating patterns that will — once set in motion — crash into each other in (hopefully) interesting ways. And the important part of this epiphany is, I’m not sure I could write these books any other way. Not so long as they are both (1) historical and (2) full of intrigue. I have to set the scene (in terms of both time and place), and I have to set up the political board (to steal from the metaphor I had Walsingham use in the first book). If I skip either of those steps, the dominoes will not fall as they should, because the reader will have no idea who these people are and why they’re doing what I just said they did.

So I don’t feel like this is a flaw, per se. Just a “mileage may vary” kind of thing. There are better and worse ways of doing the setup, and my success with it has probably been uneven; I’ll certainly be looking at the opening parts of this fourth book with an eye toward making the setup as engaging as it can be. But my feeling that the current scenes for both Dead Rick and Eliza kick them into a higher degree of motion than they were before? That’s just how these books go. The dominoes have begun to fall, and pretty soon the various lines I’ve laid out will begin to collide with one another, revealing the pattern of the whole. It’s like Lune’s Act III conversation with Tiresias in Midnight, or Vidar’s appearance at the end of Part II in Ashes, or [redacted on account of spoilers for Star].

Now if you’ll excuse me, I have to go knock down some more dominoes.

Heh.

It just occurred to me that this particular plotline amounts to industrial espionage.

Well, it’s the Industrial Age; it fits. It just makes an odd little mirror to the Walsingham-style intrigue of Midnight Never Come.

Okay, brain; a few more paragraphs of revision on this scene, and then we can go to bed.

Latin rusty; please help

I totally have to surrender my Latin geek card in shame, but attempting to figure out this phrase is stalling my forward progress in the scene, so I’m just going to toss it out to the LJ mind and get on with what Dead Rick is doing.

How would you say “Two worlds joined as one” in Latin?

60K, with rather more speed

Thanks to some revision work that added non-trivial numbers of words to the manuscript, I’m at 60K already. This is satisfying, as I’ll be leaving for a friend’s wedding on Thursday, and intend to take a break from the book while I’m gone.

I’ve been doing this a lot, and it’s weird. Used to be, when I wrote a novel, it was a thousand words a day come hell or high water, and I gave myself enormous guilt trips over every day I missed. But I built in extra safety time to my schedule this year, so I’ve been doing a lot of alternating between down time and bursts of high activity. Hey, if it works, it’s good, and in this case I really think I should give myself the time off.

Since I’m going to be on a cruise to the Bahamas. ^_^

Anyway, one more day of work tomorrow; need to figure out if the next Dead Rick scene should really be what I currently have planned, or if it’s one of those things I’ll probably end up ripping out a few weeks from now, in which case I’ll push forward with Eliza or Cyma while I give Dead Rick more thought. I need another 20-25K by the end of the month, which will require some 1500-word days to pull off. As long I know where I’m going, though, it’s entirely doable.

Word count: 60,006
LBR quota: not nearly as much blood as Dead Rick was expecting. Which should tell him something — but he’s not good enough at intrigue to sort that tangle out.
Authorial sadism: sorry, Galen. Apparently I didn’t spend enough time torturing you in your own book.

the trials and tribulations of a writer’s life

I don’t suppose there’s anybody out there who’s read enough vulgar Victorian writing to tell me what the period equivalent would be for “fuck you”?

I might check the OED historical thesaurus the next time I go to Stanford, but I don’t necessarily expect to find an answer there. (The OED itself has “fuck you” starting in 1932, and “go fuck yourself” in 1895 — but that one’s distinctly an American quote.)

“Go to hell” is the obvious choice, but it’s one faerie talking to another, so I’d like to come up with something less theologically-based if I can. I have options, but if there’s some awesome Victorian phrase I could be using, please do let me know.

a question for the color-blind

So Dead Rick, one of the protagonists of this book, is a skriker. That means he’s a faerie who can take shape as a black dog. I have a scene in which he’s talking to a (faerie) character whose eyes are many shades of green.

And it occurs to me that dogs are red/green colorblind.

Advice on how to describe this from his perspective? My experience with colorblind men is that some shades I call green they will also call green; other shades they will mistake for grey, yellow, or brown. So would her eyes look like a mixture of different colors? Or would the shading be mostly lost, and her eyes will look much more uniform to him?

I mean, yeah, I could just cop out and say he’s a faerie, he doesn’t have to share the biological qualities of a dog’s eyesight. But I’ve given him good scent and hearing, so it only feels right to limit his vision. If I’m going to write what amounts to an alien perspective, I should commit to it, ne? So I would appreciate advice from colorblind people (or dog owners, for that matter) in how to represent this.

It’s that time of book again . . . .

. . . when I cover my living room floor in paper.

That’s the entirety of Part One, laid out in itty-bitty type and no margins, so I can stare at it and see the whole shape at once.

It’s a bit depressing, seeing it shrunk that small. Though I take some satisfaction in knowing I had to stand on the couch to get a good picture of it all.

I also have index cards. And the beginnings of a soundtrack. I don’t outline, but I do sometimes convert the book to spatial or musical representation, the better to think about how it all fits together.

deathslogging to 50K

Remember back at the beginning of May, when I was stuck on the 15K treadmill? I had to replace some of Eliza’s scenes, so I would put in a full day’s work of writing, then paste it into place and discover my wordcount had essentially not changed.

Second verse, same as the first, a little bit louder, a little bit worse.

Dead Rick also needed a lot of scene replacements. (This is apparently my New Method of novel-writing. I want my Old Method back.) I could’t really afford to stop dead on forward progress, so my plan lately has been to hit the book from both ends, writing substitute material for him, while also adding new material for Eliza. But for a while there every scene I swapped in turned out to be a few hundred words shorter than what had been there before, so despite doing a thousand or eleven hundred or twelve hundred words of forward progress, my total wordcount was only inching along. Yesterday I wrote three thousand words for a gain of about five hundred. It’s felt a lot like running up the down escalator: a hell of effort for slower-than-average progress.

Which is why it feels like such a victory that I finally have fifty thousand words of book. And I’m almost done with the replacements; just one more thing needs swapping out, and then there’s one new scene I’m going to write for Part One. Okay, I just lied through my teeth: I still have to go back and redo that pair of scenes for Eliza, that I’ve been meaning to do ever since I got back from London. But I’ve got those clear enough in my head that I’ve been able to write her side of Part Two just fine without having backtracked first, so there’s less pressure there. (As opposed to Dead Rick, whose plot had gone so badly astray that I’m only just now starting to see what he’ll be doing in Part Two.)

I’m just hoping I don’t have to keep doing this scene-replacement thing, because man, as writing processes go, this one kind of sucks. But as long as it turns out a good book in the end, I’ll live.

Word count: 50,640
LBR quota: Tonight’s Dead Rick work was mostly blood. Louisa got some love, though.
Authorial sadism: The Goodemeades are good at subtly applying guilt trips.

short-notice research!

Apparently I need to Know Stuff about the early history of photography for the Victorian book. Any buffs out there who might know a good book I could read about it? I pretty much only care about nineteenth-century technology; later developments are less relevant for my purposes.

not what I would do

I know why I’m stalling on tonight’s scene. It’s because the thing Eliza’s about to do is very, very stupid. And it’s not that she thinks about it and decides she’s got to do it anyway, for one reason or another; she doesn’t think about it at all. She just snaps and does it, for no better reason than because her temper gets the better of her.

Which is so profoundly not me, I’d probably find easier to get into the headspace of an alien. I keep trying to figure out how to make the necessary moment happen — but my thoughts keep going in the direction of finding a rational reason for it, something that she hopes to gain, when that isn’t what this scene is about at all. Then when I try to hit it from another angle, figuring out what makes her snap, I come up blank, because my subconscious can’t imagine anything that would make me do the same. My temper can get the better of me, yes, but not to the extent of doing something this ill-advised.

And yet, I know people like this exist. What I want to write isn’t unreasonable; it’s only going to seem unreasonable if I fail to represent it right. Which means I need to figure out the inside of her head, what mixture of emotions produces this explosion, and what its precipitating factor is.

But like I said, an alien might be easier for me to figure out.