Yep, just when I have three days off and am about to write probably the most important piece of this story, I've caught a cold. I've got a splitting headache, I'm snuffling into tissues like a pig looking for truffles, and my throat is so sore and irritated I can barely breathe. Anyway, I've made a large pan of soup, filled with enough veg to feed a non-meat-eating 5,000, so at least I'm making some effort to restore myself to healthfulness. It's nice, but my throat is still sore I can barely breathe without coughing. In the end, I've resorted to pineapple with ice cream in a further effort to soothe my throat. The rest of the soup is in the fridge, waiting for tomorrow.
Jeez, and I hope I'm better tomorrow - this writing won't wait. And after I've written a couple more pieces, I will undertake a much needed review of where I am, and where I need to go.
Right now, though, I'm watching Casino Royale on tv. He's good, is Daniel Craig, which I didn't expect.
Sunday, 29 August 2010
Tuesday, 24 August 2010
A test of nerve
Yep, I seem to be unable to write in chronological order. I'm picking out things, far and near, where I feel I can do justice to the notes I made.
So, where does that leave me?
I guess it leaves me writing this story in the best way I can. I won't write what I can't, which has to be a good thing.
I feel like I'm writing milestones - pieces which link up the tale. Recognisable staging posts, if you like. And in between, I feel I can write what I like, in the way I like, as long as it eventually comes around and adheres to the plot I've been mapping out.
Of course, I can't just write it - if there are no lyrical movements, then will there be any satisfaction at the end of it all - for me and the reader? I would expect not.
Above all, I'm conscious of the fact that I seem to have shifted from writing with a pen, to typing into my laptop. I need to look at this. I believe I will go back to the pen for the time being, then type it in afterwards. This may be temporary, as I know I have written my newer stuff, such as the new first chapter, and the rooftop flashback, purely through my laptop.
Which is the way? I'll only know when I try it. I do know what I'm going to write next, so how I feel about the method of physically writing will be crucial, as this is probably the most emotional piece of this story I will write. It's a flashback. The longest and most dramatic flashback in the story - possibly only about five of them, and their placement must be exact. They each have movement, though - I'm not just writing 'tells'. The rooftop scene shows that I'm not. I have to get this right, otherwise I think the whole story may fail. I don't have to write it at this moment, but I'm going to. After it, there will be some more pieces to do, then decisions to be made as to what should go where.
A bit of a jigsaw, but most of what I'm doing is the opening, followed by the movement into the tale itself. The stuff I've yet to explore will probably feel like a release, as I'm restricting everything so far to the beginning and to the movement 'in'.
I hope some of the things I'm doing aren't going to be redundant, and so far they don't seem to be. Like the sword fantasy I did (wot I wrote lol), I'm writing what I've always longed to read, just I can't find it anywhere; only glimpses.
Still can't write on tap. I have to wait until I know I must write it, or burst, crack up or something! It's not a strange feeling, just something I will have to deal with, live with.
It's fun! I'm not as apprehensive as when I wrote the new first chapter, that's for sure. I had to be persuaded to write that - solvey and Noel can take credit for persuading me to write something so dramatic. Something had to happen at the beginning, and so it did.
Got to match it all the way through, now.
So, where does that leave me?
I guess it leaves me writing this story in the best way I can. I won't write what I can't, which has to be a good thing.
I feel like I'm writing milestones - pieces which link up the tale. Recognisable staging posts, if you like. And in between, I feel I can write what I like, in the way I like, as long as it eventually comes around and adheres to the plot I've been mapping out.
Of course, I can't just write it - if there are no lyrical movements, then will there be any satisfaction at the end of it all - for me and the reader? I would expect not.
Above all, I'm conscious of the fact that I seem to have shifted from writing with a pen, to typing into my laptop. I need to look at this. I believe I will go back to the pen for the time being, then type it in afterwards. This may be temporary, as I know I have written my newer stuff, such as the new first chapter, and the rooftop flashback, purely through my laptop.
Which is the way? I'll only know when I try it. I do know what I'm going to write next, so how I feel about the method of physically writing will be crucial, as this is probably the most emotional piece of this story I will write. It's a flashback. The longest and most dramatic flashback in the story - possibly only about five of them, and their placement must be exact. They each have movement, though - I'm not just writing 'tells'. The rooftop scene shows that I'm not. I have to get this right, otherwise I think the whole story may fail. I don't have to write it at this moment, but I'm going to. After it, there will be some more pieces to do, then decisions to be made as to what should go where.
A bit of a jigsaw, but most of what I'm doing is the opening, followed by the movement into the tale itself. The stuff I've yet to explore will probably feel like a release, as I'm restricting everything so far to the beginning and to the movement 'in'.
I hope some of the things I'm doing aren't going to be redundant, and so far they don't seem to be. Like the sword fantasy I did (wot I wrote lol), I'm writing what I've always longed to read, just I can't find it anywhere; only glimpses.
Still can't write on tap. I have to wait until I know I must write it, or burst, crack up or something! It's not a strange feeling, just something I will have to deal with, live with.
It's fun! I'm not as apprehensive as when I wrote the new first chapter, that's for sure. I had to be persuaded to write that - solvey and Noel can take credit for persuading me to write something so dramatic. Something had to happen at the beginning, and so it did.
Got to match it all the way through, now.
Sunday, 15 August 2010
Design freak
When I began the long and winding road of my latest story, I knew I was going to hit problems simply because I was changing styles. Being totally immersed in the sword fantasy style I'd cultivated (perhaps some may say 'copied'), little did I know how hard the transition to modern stylist would be.
However, I did know how I wanted to write, and that, at various stages, my style would have to change or jump ship for a while to suit the period or world I would find myself writing about. There are different perspectives, and cultures, present in this story. They have to be catered for, and research needs to be as thorough as humanly possible in order to reflect the attitudes and mindsets of the people who populate the tale.
Funny how I've written so many notes, yet forgotten most of them as I write first one chapter, then another piece, then another. Looking at them now, the number of times I've said "Don't forget" or "Remember" is probably a good indication of how complicated this story can be.
So I've opted for simplicity. I'm trying to keep the story tight when explanations are necessary. In periods of activity, especially intense activity, descriptions are kept to the minimum. Revisions or refinememnts must be made in context, and any literary tendencies - and I have them by the truck-load - are under strict orders not to reveal themselves until the plotting has been done and the story 'run' at that point has been completed.
In short, I have requested the ghosts of Dickens and Tolkien to please retire to the rest room until I have written the plot and conducted the narrative. Koontz and Banks are standing guard at the door, waving at me from a respectable distance so I can't consult them during this period of examination, though the presence of all four are constant reminders of how far I need to go. Respect!
And thus far, it's worked well, as I seem to be changing little of what has happened, even after critiques have unearthed problems I hadn't seen, and afterwards I'm able to polish what I've done while adding more literary or lyrical movements as I do so.
Having read Rich's latest blogpost ( http://www.wondering-mind.blogspot.com/ ) I could be forgiven for worrying that I was underselling my work. I know how well Rich can write, and so does a top agent, too. But Solvey's comment on the post actually soothed my mind a bit: my plotting was good but the wordsmithery was average. Solvey wasn't insulting my work - we are rather similar in approach, leaving little to chance via research, and appreciate the lyrical as much as anyone. He was actually polarising a moot point. (Solvey famously has the TM on the word 'moot', I must tell you!)
Fabulous! Have I finally managed to grasp the true art of storytelling? To stick to the story first, and leave the lyrical embellishments until afterwards. In this type of tale, at least. In the modern world, the modern writing world, you need a good plot. The story, the story, the story. Like the others that Solvey, Noel and Becca have seen, these were first drafts - almost wholly plot and dialogue. The narrative generally getting you from A to B to C to D. The rest to come afterwards. But it HAS to come, and will, otherwise I won't be classed as a writer.
Personalities, emotions, character traits, dialogue, history, exposition in whatever form, all have their vital roles.
But without the story, the plot, you are lost.
However, I did know how I wanted to write, and that, at various stages, my style would have to change or jump ship for a while to suit the period or world I would find myself writing about. There are different perspectives, and cultures, present in this story. They have to be catered for, and research needs to be as thorough as humanly possible in order to reflect the attitudes and mindsets of the people who populate the tale.
Funny how I've written so many notes, yet forgotten most of them as I write first one chapter, then another piece, then another. Looking at them now, the number of times I've said "Don't forget" or "Remember" is probably a good indication of how complicated this story can be.
So I've opted for simplicity. I'm trying to keep the story tight when explanations are necessary. In periods of activity, especially intense activity, descriptions are kept to the minimum. Revisions or refinememnts must be made in context, and any literary tendencies - and I have them by the truck-load - are under strict orders not to reveal themselves until the plotting has been done and the story 'run' at that point has been completed.
In short, I have requested the ghosts of Dickens and Tolkien to please retire to the rest room until I have written the plot and conducted the narrative. Koontz and Banks are standing guard at the door, waving at me from a respectable distance so I can't consult them during this period of examination, though the presence of all four are constant reminders of how far I need to go. Respect!
And thus far, it's worked well, as I seem to be changing little of what has happened, even after critiques have unearthed problems I hadn't seen, and afterwards I'm able to polish what I've done while adding more literary or lyrical movements as I do so.
Having read Rich's latest blogpost ( http://www.wondering-mind.blogspot.com/ ) I could be forgiven for worrying that I was underselling my work. I know how well Rich can write, and so does a top agent, too. But Solvey's comment on the post actually soothed my mind a bit: my plotting was good but the wordsmithery was average. Solvey wasn't insulting my work - we are rather similar in approach, leaving little to chance via research, and appreciate the lyrical as much as anyone. He was actually polarising a moot point. (Solvey famously has the TM on the word 'moot', I must tell you!)
Fabulous! Have I finally managed to grasp the true art of storytelling? To stick to the story first, and leave the lyrical embellishments until afterwards. In this type of tale, at least. In the modern world, the modern writing world, you need a good plot. The story, the story, the story. Like the others that Solvey, Noel and Becca have seen, these were first drafts - almost wholly plot and dialogue. The narrative generally getting you from A to B to C to D. The rest to come afterwards. But it HAS to come, and will, otherwise I won't be classed as a writer.
Personalities, emotions, character traits, dialogue, history, exposition in whatever form, all have their vital roles.
But without the story, the plot, you are lost.
Tuesday, 3 August 2010
At this point...
... I have got a fair idea of the beginning of the beginning. I'm now piecing the chapters and related works together and gauging how it all looks from this point. So far, it seems substantial, but so far, I've still a way to go in establishing the movement of the story during the time we spend with the hero. I feel I do know what needs to be done, though, and that my notes have surprised me and I can build from here to a future point.
I've sent two pieces to Solvey, Noel the Ultimate Proofreader and Rebecca. These are, I hope, proof of my ability to write and ensnare readers into the world I'm writing about. They are, as ever, unfinished and belong to larger chapters, but I'm trying to determine reactions. They are important parts to the story, so I need to know how I'm coming across.
Now I need to do more. I'm on it...
I've sent two pieces to Solvey, Noel the Ultimate Proofreader and Rebecca. These are, I hope, proof of my ability to write and ensnare readers into the world I'm writing about. They are, as ever, unfinished and belong to larger chapters, but I'm trying to determine reactions. They are important parts to the story, so I need to know how I'm coming across.
Now I need to do more. I'm on it...
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