Weekly word count: 6100
I reached the end of the story for Metamorphosis! I started it over a year ago and I finally reached the end. I've said the first draft is done, although that's not quite technically true. I still have a lot of revising to do, including some chapters which will have to be completely rewritten. But the beginning, middle and end of the story are solid and now can be matched up to one another.
I've decided to stick with Red Adept for editing. They've done a great job for me so far and while I'll do more investigation into Red Pen, I want to move forward and keep things consistent. I've learned there's a lot of variation between different editors when it comes to grammatical conventions. English is a constantly evolving language with multiple sets of rules even within dialects, so there are lots of "right" ways to do things.
It's also time to contact Streetlight Graphics again to do the next cover. Somehow getting my cover always makes the act of publishing feel real.
My Books
Monday, 27 July 2015
Friday, 24 July 2015
Thursday, 23 July 2015
The Definition of Nobility and the Power of Love
I grew up on stories of knights and heroes, which means I grew up believing that nobility was a desirable quality. I still believe that aspiring to a code of ethical and moral nobility is a good thing. But I'll admit that the armour has become a little tarnished as I've gotten older as I noticed a great many characters used "nobility" as an excuse to push people away.
Classic example: the superhero who doesn't want those around him or her to be hurt. So they contrive to push them away by any means necessary: wiping their memories, pretending to be a jerk, faking their deaths or sometimes going back in time to rewrite the past (you'd be surprised how often that's actually an option).
Perhaps it's the romantic side of me, but that just stinks of lack of commitment. I understand and sympathize with the "I'll never forgive myself if <insert name here> gets hurt" impulse. I can even understand the need to keep certain heroes on the tragic side (Batman is never as much fun when he's happy).
Wanting to avoid making someone a target is laudable, but it's not a good enough reason not to try for a relationship. Especially since it almost always seems to backfire, because the key issue (the hero/heroine caring about that person) is already a factor. The bad guys always figure out that a hero is unusually quick to respond to a particular character being in danger.
Being collateral damage in a superpowered feud is tragic, true. But to me, it's far more tragic that two people in love will live out their lives never having the opportunity to express it to one another. To a romance writer, it darn near verges on heresy. Call me naïve if you will, but I believe love makes people stronger. It makes them want to live up to the best side of themselves, the side their lover sees. It gives them a reason to fight when everything else has been taken away. And it makes everything else in their life a little easier to bear.
In the end, withdrawing to protect someone is a short-sighted strategy. Which is why I chose an older character to challenge it. Someone with a hearty helping of cynicism, willing to call a copout what it is. Someone who knows that the number of tomorrows are limited and joy is too precious a gift to return because it might someday break.
Classic example: the superhero who doesn't want those around him or her to be hurt. So they contrive to push them away by any means necessary: wiping their memories, pretending to be a jerk, faking their deaths or sometimes going back in time to rewrite the past (you'd be surprised how often that's actually an option).
Perhaps it's the romantic side of me, but that just stinks of lack of commitment. I understand and sympathize with the "I'll never forgive myself if <insert name here> gets hurt" impulse. I can even understand the need to keep certain heroes on the tragic side (Batman is never as much fun when he's happy).
Wanting to avoid making someone a target is laudable, but it's not a good enough reason not to try for a relationship. Especially since it almost always seems to backfire, because the key issue (the hero/heroine caring about that person) is already a factor. The bad guys always figure out that a hero is unusually quick to respond to a particular character being in danger.
Being collateral damage in a superpowered feud is tragic, true. But to me, it's far more tragic that two people in love will live out their lives never having the opportunity to express it to one another. To a romance writer, it darn near verges on heresy. Call me naïve if you will, but I believe love makes people stronger. It makes them want to live up to the best side of themselves, the side their lover sees. It gives them a reason to fight when everything else has been taken away. And it makes everything else in their life a little easier to bear.
In the end, withdrawing to protect someone is a short-sighted strategy. Which is why I chose an older character to challenge it. Someone with a hearty helping of cynicism, willing to call a copout what it is. Someone who knows that the number of tomorrows are limited and joy is too precious a gift to return because it might someday break.
Monday, 20 July 2015
Weekly Update: July 12 to 18
Weekly word count: 3400
I've started the final confrontation scene for Metamorphosis, which means I am close to finishing the story, if not the draft. I did take a bit of a break this week to begin going over the final polish for Whispers In the Dark. (My brain was starting to rebel by pretending to be slow and stupid, so I tricked it by focusing on something different.)
I'm also starting to put down more detail for the plot and characters for the sequel to Metamorphosis. I heard an interesting factoid a few weeks ago, that the term "apocalypse" means "secrets uncovered" in Greek. This makes me really tempted to use it as my title for the third book, but I'm worried it has too many modern zombie-related associations. As hard as it is to believe, it's time to start nailing down details like the title and characters.
I'm also looking into a new editing group: The Red Pen Coach. Although I was very happy with what Red Adept Editing gave me and can't thank them enough for their work and teachings, I've heard a number of independent authors praising Red Pen so I'd like to check them out.
I've started the final confrontation scene for Metamorphosis, which means I am close to finishing the story, if not the draft. I did take a bit of a break this week to begin going over the final polish for Whispers In the Dark. (My brain was starting to rebel by pretending to be slow and stupid, so I tricked it by focusing on something different.)
I'm also starting to put down more detail for the plot and characters for the sequel to Metamorphosis. I heard an interesting factoid a few weeks ago, that the term "apocalypse" means "secrets uncovered" in Greek. This makes me really tempted to use it as my title for the third book, but I'm worried it has too many modern zombie-related associations. As hard as it is to believe, it's time to start nailing down details like the title and characters.
I'm also looking into a new editing group: The Red Pen Coach. Although I was very happy with what Red Adept Editing gave me and can't thank them enough for their work and teachings, I've heard a number of independent authors praising Red Pen so I'd like to check them out.
Friday, 17 July 2015
Thursday, 16 July 2015
Villains/Heros: Two Sides of the Same Coin
Villains don't see themselves as bad guys. Or at least, the really good villains don't. They are the heroes of their own stories, struggling to achieve something and being blocked by the characters the audience is usually rooting for.
I find it interesting that DreamWorks has been focusing many of their stories on characters who would traditionally be the villains: Shrek, Despicable Me and Mastermind all humanized their protagonists despite their "evil" leanings. It's not just for kids either. Joss Whedon may have played Dr. Horrible for laughs, but he is still a classic villain who sees more than the self-absorbed hero.
A well-defined villain is necessary to balance a well-rounded hero. Just as the hero needs to have some flaws for the audience to relate to, so the villain needs to have some redeeming features. I've frankly always had trouble with one-dimensional "Look at me, I'm EVIL!" villains. I much prefer a villain who honestly believes their course is the right one and their end justifies their means. My favourite examples are Grand Admiral Thrawn in Timothy Zahn's Star Wars Heir to the Empire trilogy, the Operative in Joss Whedon's Serenity and a new addition, Vincent D'Onofrio's portrayal of the Kingpin in Daredevil (the link has spoilers for all those who haven't seen the show yet).
For those who haven't read it, Heir to the Empire is set about 5 years after Return of the Jedi. The galaxy is still effectively split between the remnants of the Empire and the fledgling new Republic. Grand Admiral Thrawn wants to restore the Empire. He believes that democracy is not a viable tool for ruling an intergalactic multiverse with thousands of interacting alien species. He believes a central authority is the only way to effectively manage the galaxy. He is intelligent, insightful and a tactical genius, which makes him an absolutely terrifying enemy for Luke, Leia and Han. He is also utterly ruthless in his pursuit of victory. He doesn't care whether a win comes from a pitched battle, an assassin's knife or a spy's rumours. He's been given a task and he intends to accomplish it, no matter what.
The Operative is another example of someone whose faith in the goal permits them to step outside anyone's concept of acceptable methods. He delivers death for failure and employs scorched earth methods to find his quarry. He does it all for a "better world", one which he knows he can never be a part of. He acknowledges that he is a monster and is willing to sacrifice himself to create it.
The new Kingpin is a combination of all my favourite villainous traits: smart, well-read, capable of hiding his ruthless and dangerous side and utterly committed to goals which the audience can find sympathy with. I won't go into more details because I don't want to spoil anything for those who haven't seen the show but the combination of the writing and acting have gelled into a bit of small screen magic.
It's only a small sliver which separates these men from the heroes facing them. Not to put too fine a point on it, but the Rebels overthrew the Empire in a bloody coup, not a democratic election. River Tam (the Operative's quarry) is a living weapon capable of taking down almost anyone with eerie simplicity. Daredevil is not known for offering his opponents counselling and rehabilitation. Both the good and the bad guys do things which would have to be objectively looked at as "bad" by an outsider.
I like a villain who accepts his or her place as the bad guy. They are not in conflict (as the hero and heroines often are). Perhaps that is the final difference in the end: the struggle to stay in the grey defines who becomes a hero and who becomes a villain. Abandoning the struggle allows the villain clarity of focus and confidence. They're not spending time angstily worrying about whether they've gone too far and feeling bad about themselves. Instead, they put all of that aside to focus on what they need to do and then go after it with terrifying precision.
Get ready to meet Andre Dalhard, my villain, in tomorrow's quote card.
I find it interesting that DreamWorks has been focusing many of their stories on characters who would traditionally be the villains: Shrek, Despicable Me and Mastermind all humanized their protagonists despite their "evil" leanings. It's not just for kids either. Joss Whedon may have played Dr. Horrible for laughs, but he is still a classic villain who sees more than the self-absorbed hero.
A well-defined villain is necessary to balance a well-rounded hero. Just as the hero needs to have some flaws for the audience to relate to, so the villain needs to have some redeeming features. I've frankly always had trouble with one-dimensional "Look at me, I'm EVIL!" villains. I much prefer a villain who honestly believes their course is the right one and their end justifies their means. My favourite examples are Grand Admiral Thrawn in Timothy Zahn's Star Wars Heir to the Empire trilogy, the Operative in Joss Whedon's Serenity and a new addition, Vincent D'Onofrio's portrayal of the Kingpin in Daredevil (the link has spoilers for all those who haven't seen the show yet).
For those who haven't read it, Heir to the Empire is set about 5 years after Return of the Jedi. The galaxy is still effectively split between the remnants of the Empire and the fledgling new Republic. Grand Admiral Thrawn wants to restore the Empire. He believes that democracy is not a viable tool for ruling an intergalactic multiverse with thousands of interacting alien species. He believes a central authority is the only way to effectively manage the galaxy. He is intelligent, insightful and a tactical genius, which makes him an absolutely terrifying enemy for Luke, Leia and Han. He is also utterly ruthless in his pursuit of victory. He doesn't care whether a win comes from a pitched battle, an assassin's knife or a spy's rumours. He's been given a task and he intends to accomplish it, no matter what.
The Operative is another example of someone whose faith in the goal permits them to step outside anyone's concept of acceptable methods. He delivers death for failure and employs scorched earth methods to find his quarry. He does it all for a "better world", one which he knows he can never be a part of. He acknowledges that he is a monster and is willing to sacrifice himself to create it.
The new Kingpin is a combination of all my favourite villainous traits: smart, well-read, capable of hiding his ruthless and dangerous side and utterly committed to goals which the audience can find sympathy with. I won't go into more details because I don't want to spoil anything for those who haven't seen the show but the combination of the writing and acting have gelled into a bit of small screen magic.
It's only a small sliver which separates these men from the heroes facing them. Not to put too fine a point on it, but the Rebels overthrew the Empire in a bloody coup, not a democratic election. River Tam (the Operative's quarry) is a living weapon capable of taking down almost anyone with eerie simplicity. Daredevil is not known for offering his opponents counselling and rehabilitation. Both the good and the bad guys do things which would have to be objectively looked at as "bad" by an outsider.
I like a villain who accepts his or her place as the bad guy. They are not in conflict (as the hero and heroines often are). Perhaps that is the final difference in the end: the struggle to stay in the grey defines who becomes a hero and who becomes a villain. Abandoning the struggle allows the villain clarity of focus and confidence. They're not spending time angstily worrying about whether they've gone too far and feeling bad about themselves. Instead, they put all of that aside to focus on what they need to do and then go after it with terrifying precision.
Get ready to meet Andre Dalhard, my villain, in tomorrow's quote card.
Monday, 13 July 2015
Weekly Update: July 5 to 11
Weekly word count: 8100
Consider this a happy dance moment. The end of Metamorphosis is calling to me and demanding to be written. I've shoved aside a lot of other stuff this week to do it and it has paid off. I'm getting close to the end.
I have another 10 000 to 15 000 words to write, according to my outline. Then I have to go back and put everything together for consistency, check for overused words, make sure I have enough description and character reactions. Only then can I slap a "done" on my first draft and send it to the editing process. It's a lot and I'm looking at my original deadlines and feeling the pressure.
In an interview, musician Bon Jovi said that writing his first album was easy. He had all the time in the world to do it. The pressure began with his second album. Because now he was in the public eye and balancing promotion and writing and he had to make his deadlines. I get what he was talking about.
I really want to have this draft done by the August long weekend. So I'm going to be going quiet, I think. Except for my weekly quote cards and blog posts, I'm hunkering down.
Consider this a happy dance moment. The end of Metamorphosis is calling to me and demanding to be written. I've shoved aside a lot of other stuff this week to do it and it has paid off. I'm getting close to the end.
I have another 10 000 to 15 000 words to write, according to my outline. Then I have to go back and put everything together for consistency, check for overused words, make sure I have enough description and character reactions. Only then can I slap a "done" on my first draft and send it to the editing process. It's a lot and I'm looking at my original deadlines and feeling the pressure.
In an interview, musician Bon Jovi said that writing his first album was easy. He had all the time in the world to do it. The pressure began with his second album. Because now he was in the public eye and balancing promotion and writing and he had to make his deadlines. I get what he was talking about.
I really want to have this draft done by the August long weekend. So I'm going to be going quiet, I think. Except for my weekly quote cards and blog posts, I'm hunkering down.
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