That’s a hell of a long time to be working on a novel, don’t you think?
At 11:18pm PT last night, I completed what I call the Great Trilogy Revision Project, a major overhaul of all three novels in the Mendaihu Trilogy. Entire scenes were rewritten, edited mercilessly, tightened up, names changed and characters strengthened. It took the better part of fourteen months and I kicked my own ass numerous times to avoid laziness and weak prose; I read, reread, re-reread, and re-re-reread (sometimes while at the gym!) until I knew the story, its history and its cast inside and out. And I read it again to make sure I knew where it worked and where it didn’t.
Today marks the first day in probably a decade or so where I have no plans to work on the existing novels or work on anything related. [Mind you, I definitely have plans to work on future Mendaihu Universe stories, just not at the moment.] In my mind, this epic project is DONE.
In late 1993, I’d just watched the first two Gall Force animes (I’d find the third movie a short time later) and found inspiration to write what I often call my Infamous War Novel, or IWN–my first novel from my high school years–in a completely new style I hadn’t tried before: science fiction. I wrote a few notes in a steno notebook while waiting for my clothes to dry at the Charles Street Laundry, and came up with a number of ideas that I could work with. I’m amused by the first line saying “VERY ANIME”, as well as the consistent anime references on that one page. As if I knew what the hell anime was at that point in time, other than my latest obsession! All I wanted to do was write something that was totally unlike American SF at the time.
Did I know what the hell I was doing? Probably not. I was woefully ignorant of genre fiction other than through movies, comic books and Japanese animation. But I was willing to learn along the way. I understood right away that storytelling in Japan is significantly different than storytelling in America, and I wanted to try my hand at writing that way.
Soon after, I did what I normally do when I come up with story ideas: I draw maps.
I knew I wanted a few things: a sprawling metropolis, a giant tower (hints of the GENOM Tower from Bubblegum Crisis), and a megacity so packed with different places and cultures that I knew I’d be able to use the setting for multiple story arcs. Bridgetown morphed and grew considerably and exponentially over the years, but there are points here that made it all the way to the finished product in one form or another. Sachers Island, Branden Hill Park (named Johnson Park here, but pretty much in the same shape), the warehouse district, and the dirty and dangerous strip of McCleever Street were there from the start.
Where to start, indeed.
My primary aim when I first started this novel was to write something totally unlike anything I’d written before. I wanted everything about this project to be completely new for me–an untried style, a setting I’d never ventured through, a plot that challenged me to work it through to the best of my ability.
Granted, I was far from perfecting that, but I was going to try anyway. Vigil–so named after this band of rebellious misfits bent on saving the world from corruption–was started on the Friday after Thanksgiving 1993, after getting off work. I’d had a few ideas written out here and there, but this was where it all started.
True Faith–the aborted rewrite from summer 1994–would grow out of this, introducing the spiritual background. The Phoenix Effect, the project from 1997-1998, grew out of TF and introduced the alien races. TPE in turn became the trilogy after a complete restart from scratch.
So for all intents and purposes, Vigil was the version that started it all. And now it’s done.
Any author will tell you that they have a hard time letting go of their projects, even once they’re completely finished and on their way to publication, and I am no different. I’m sure I’ll want to pick these three books up again and tinker with them some more. I’ve already got Book 1 out to a publisher, and am ready to take the next steps to shop it around and even get an agent if need be. I’ve also debated self-publication as an alternative. It’s a wide world out there, and I’d like to introduce you all to the Mendaihu Universe someday. On this evening, I’m finally that much closer to doing so.
But for now? I think I’ll do what I haven’t done since I started writing the trilogy proper, way back in 2000: I think I’ll let it sit awhile, and let it age gracefully.
2 thoughts on “20 years 5 months 18 days (give or take)”
That’s a long time to be working on a project! I know I’ve spent years on mine, but nowhere near that many. Your trilogy sounds really interesting and well-developed.
Heh…yeah, that’s why it feels so weird NOT to be working on it!
Technically, the current version of the trilogy is more like 5 years (2000 – 2004, and a handful of months in 2010 finally finishing it)…but the many attempted versions of it date back that far. 😉