agilebrit: (OMG MATH)
2015 was a pathetic writing year for me, as far as output went. Novel edits ate my brain, my productivity screeched to a halt, and then my poor Muse shivered in a corner after it was over. And that's okay, but this year I wanted to get back on the horse and start actually scribbling new words.

Be careful what you wish for.

I've penned five flash pieces so far this year. One of them is edited and making submission rounds. The other four, I still haven't had time to look at (even though I desperately need to!) because...

I finally put an END at the bottom of the Big Bad John Space Werewolf story. I'm waiting to hear back from a beta right now, but I might just take one more look at it and then start shipping it out. It's been sitting long enough.

My WotF 24-hour story is shaping up well. It's with a few betas right now; there's one scene that really needs expanding because, well, I had 24 hours to write the thing and that scene got super skimmed. Any of my betas reading this will know exactly which scene I'm talking about when they get to it.

I'm attempting Codexian Idol again this year. I slipped my first 250 words in under the deadline, and those words amuse me. The story has a shape, and a couple of characters I think I will enjoy writing. We'll see how it shakes out. I adore the story I wrote for Codexian Idol last year (though it hasn't been accepted anywhere yet), and hopefully I can make lightning strike twice.

The problem with writing all this short stuff (which is what I'm actually good at) is that I need to write another novel. I have the shape of the sequel to Pack Dynamics (yes, that is a shameless Amazon link, buy my book), but I have no idea how to outline a novel and am kind of afraid to try. One of the instructors at the WotF workshop suggested outlining the first third of it, writing that, outlining the second third, etc. I wonder if I can nest seven-point plot structures. Or something. Aaaaaaaaaaaaah I have no idea what I'm doing. #notanaturalnovelist

Not only that, but I've got the Hitman in Hell novel poking my side and going "HEY WHAT ABOUT ME HUH HUH HUH???" And, yes, I want to write this one, desperately, I love the concept so very much--but I need to figure out a bunch of character motivations and the damned thing is most certainly not salable even to my wonderful and very patient publisher (I'm pretty sure, because, uh, well, don't ask me why I like playing with POV but I do... and you, dear reader, know as well as I do that a new author swapping first person POVs across four characters will not fly).

Not only that, but Nate and Iann, from my WotF V32 story (yes, that's another shameless Amazon link, go, preorder it, you know you want to), are crossing their arms at me and going "You know there's a novel here, right?" And, yes, there is, Nate has smited his inner demons, but they've got a new threat looming and OH GOD JUST SHOOT ME NOW.

All right, you know what, whining about it isn't doing me any good. I will crack my knuckles, email my one beta, and then start setting a timer for each of these damn tasks so I can get my head actually in the game.
agilebrit: (Guri praying)
So, I'm contemplating my Hitman in Hell novel (as one does), and realizing that I actually have a lot going on in here. And maybe I don't need (yet another) subplot, but I just need to weave the emotional journeys of my characters in with the concurrent plots of (a) getting out, and (b) fomenting rebellion.

I may have mentioned once or twice that I'm emotionally stunted. Emotional journeys are hard, yo, and I'd way rather blow things up than deal with complex and squicky feeeelings. I've got four actual protagonists in this thing (yes, I know, shut up), and they've got various levels of personal and interpersonal crap to wade through, and, just. Augh. My current outline is wholly inadequate for this, and I really have no idea what I'm doing. Not to mention the fact that I've got one character who is a complete cipher to me and might as well be a McGuffin. I really need to figure out just who she is and what she wants besides the obvious.

Perhaps what I should do is make a seven-point outline for each character with the emotional beats the thing needs, and figure out where those go in the actual plot.

I have also realized that I need a map in the worst way.

...this shit right here is why I would rather write short fiction.

This post brought to you by this week's episode of Writing Excuses and the impression I have that I've just dived off a cliff in Acapulco after consuming a fifth of scotch.
agilebrit: (I regret nothing)
Whereas I wanted to complete one short per month this year;

And whereas I have now completed four shorts on my year counting the collaborative Thing;

And whereas I also wanted to work on novels this year;

But whereas I have been frankly pants at that;

But whereas I am caught up to where I want to be vis a vis shorts to the end of April;

Therefore I shall work on the Hitman in Hell novel until May.

*firm nod*
agilebrit: (Guri praise the Lord)
Because Dave Farland just quoted super-agent Albert Zuckerman's Writing the Blockbuster Novel, referring to what we call "transport." Apparently, in choosing (or creating) your settings, you should have one that transports your audience to a place they'd want to go.

Welp. I guess I'm failing at that, because this story is set, literally, in Hell.

Whoops.

He does go on to say that an unappealing setting doesn't spell instant doom (Pern, Arrakis, the Alien worlds), but you do have to introduce something cool. And then he asks a few questions, to wit: Does the beauty balance the horror? Does the darkness overwhelm the light? Will my readers want to visit here, or will they want to flee?

...it's Hell. So, no. Again, whoops.

That being said, I have workarounds for this that I wasn't even thinking about before I started reading this book. Clearly, my characters are going to have to overwhelm the horror of the setting. I have four, er, people that we're following through this trip, plus another who's important and pops in and out, and each of them needs an arc. I should probably look more at the Hero's Journey for this one and see how I can adapt it.

That being said, my descriptive chops are going to get a workout in this book, I can already tell. I want people to feel the flames...

I'm excited about this one again.
agilebrit: (Tony: Actual Anteaters)
This makes me feel like a fraud and a failure, but I'm looking at the thing and realizing that I simply do not have the time to do the idea the justice it deserves. Not only that, but it's going to be much longer than the guideline limit. My outline is completely inadequate, and I haven't properly explored in my head who these characters actually are and what makes them tick. When I'm ten thousand words into a project like this, that is a problem.

So. I will write this, because now that I'm partway into it, I desperately want to. It is a cool idea. It might even be a novel idea. But there are other things with deadlines I can actually hit that need my attention, so I need to scribble them first--and then give this the attention it needs without a deadline I can't hit hanging over my head and three other projects demanding my time.

And it's not like the story or the outline will disappear into the ether if I set them aside for a bit. I can still be noodling it even while I'm doing these other things.

So. My writing schedule looks like this, now:

Blurring the Line: up to 5000 words, horror, due Oct 31.

The Lost Worlds: up to 20000 words, steampunk post-apocalyptic horror, due, uh, well. It doesn't say. "Extended until filled." I'll probably do this last.

Temporally Out of Order: up to 6000 words, SFF, due end of November. Once they open and give us the guidelines, I'll do something with it. Maybe an Alex story, that would be hilarious.
agilebrit: (Not the worst thing)
Because I like crossing things off them.

  • Bike
  • Laundry
  • Shower
  • Feed my family (I'm thinking pizza)
  • Make sure Boy vacuums tonight
  • 2000 words in I Am the Abyss
    500
    1000
    1500
    (because small bites are less intimidating that large chunks)


Well. That's a short list. Guess I'll get on it...
agilebrit: (Over My Head)
Which state, in part: "Something to note: if you are half-finished with your story but October 1st of this year is coming up fast, you can submit the story in partial form. While we much prefer the finished version we understand busy schedules and if the idea is exciting enough and the portion we read well realized enough we just might accept it based on those strengths alone."

I think I'm going to try to bang out a first draft of this thing and see how that goes. I was pretty much going to abandon it, since the deadline is October 1 and that's coming up fast, and the wordcount is high...but if I can bang out 2000 words a day (which, if I'm actually working, I can do in four half-hour sessions), I'll have the first draft done in less than a week.

I'm now 3000 words in and pretty pleased with the thing. So I guess we'll see.
agilebrit: (Over My Head)
I sat down and read my friend's story today. And in thinking about what feedback I'm going to give him, I have put my finger on what's wrong with the Hitman in Hell story and why I can't seem to get it off the ground:

It is rambly and unfocused, and I'm not sure what my protagonist actually wants.

Story, as has been oft said, is a Person in a Place with a Problem. Ideally, it has a Point, although that Point may not make itself known until after the thing is actually written, and writing to the point can often get in the way of your storytelling.

So the first question that needs to be asked is: What does this person want? The next question should immediately follow: What is preventing them from getting it? And the third question: What steps will they take to overcome those obstacles?

"Protag" is a verb. The character cannot be simply swept along by events; they have to make choices and do things, even if those choices and things are wrong and make things worse. Perhaps especially if they're made worse. There's a reason that we, as readers, like try/fail cycles and scene/sequel structure--they work to ramp up tension.

So, in much the same way that my friend's story cannot simply be a travelogue from Norway to Jerusalem, my story cannot simply be a travelogue through Hell. I have three characters here, all of whom need to want something.

I think part of my problem is that my hitman does not want to be in Hell, but here he is and there is no way he's getting out. Like, none. And he knows this. Therefore, I have to give him some other motivation to carry the story.

What that will be, I don't know yet. But I'd better figure it out soon, or that deadline is going to bite me on the ass.

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