I’m still going through In My Blue World and making notes on what needs fixing. There are two MAJOR fixes to be made: one, that I need to change the POV to omniscient 3rd person, and two, that a number of sequences need to be pasted together. It’ll be a big undertaking that I won’t be able to start for another week or so, which of course is making me twitchy.
On the plus side, the story itself is solid — it’s tight and there aren’t that many holes and continuity issues I need to fix. It’s only the prose (and the first chapter or so) that needs cleaning up. And the cover is already done! I’m still aiming for an October/November release at this time. *crosses fingers*
So…what about the Apartment Complex story? Good question. I’ll still be working on that when I can and take my time, as I purposely haven’t assigned a drop date for it. [There is also the cover art issue, but that’s another post entirely.].
I’ve said it before, I love doing covers for my books. It’s another creative avenue that I get to play around in that I don’t otherwise have much time for. Every now and again I’ll go through my own pictures and create one just for practice. [I’ve even come up with a few pseudonyms for certain styles; for instance, all my fake mystery novels are all written by Chase Johnson, and my fake lit-fic and women’s fiction is by Joanna Chase. Why? Because it’s fun!]
I’m still sticking with the above image for In My Blue World, so if I’m going to use it, all I need to do is purchase the rights from Shutterstock, fiddle around with it a bit, slap the title and by-line on it, and call it done. I still use Adobe Photoshop to crop it to the right size and adjust the image. (I’m probably going to lighten it a bit so the title and by-line will pop out more.) And I still use the PicMonkey website for the text. Sometimes it takes a short amount of time, sometimes it’ll take a few days before I get it to how I like it.
One thing I’ve learned from doing covers — aside from enjoying the process immensely — is that I should always make sure the cover ties in with the novel in a specific and important way. It’s not enough to get a badass lady with a katana on the cover…there has to be a reason for it. In this case, I chose this cover for a few reasons:
–The first half of the novel takes place in forest land.
–I didn’t want the girl to be in an Attack Mode pose, but an I’m Ready for This pose.
–I didn’t want her clothes to be stereotypically frilly or flashy (or steampunk or goth, for that matter).
–I wanted there to be at least some hint of blue sky in the background.
–It needed to have a decent amount of space for the title; in this particular instance, I like how the text not only balances it out, it intermingles with it.
This is also why I used the cover for Meet the Lidwells! that I did; it was a straightforward concert poster-stapled-to-lightpost image that is pretty much universal for any band starting out. They say that the cover often pre-sells the book, especially if it’s eye-catching enough from across the sales floor (or legible in thumbnail online, for that matter). Don’t think of that as needing a flashy action shot, or a crafty written-in-chalk image. Look at other covers you thought were innovative or creative. Look at the ones that made you stop and pay attention to it; then look at the cover as you would a piece of art…why did it make you stop? And how can you use that on your own covers?
Just like my writing, my cover art has changed and evolved and advanced, little by little. The more I practice, the more fake covers I make, the bigger my portfolio that I can use later on if I so choose. And I would like to expand on it as well; for the Apartment Complex story I’m thinking about commissioning an artist — specifically a webcomic artist. I already have a few images in my head that could work. I’d still do the text, but I’d like a unique image this time out.
I know there’s a lot of self-publishing advice out there stating that you should never do your own cover, but I’d probably amend that: don’t do it if you don’t want to do it, or if you don’t have the ability. On the other hand, if you have the artistic chops? Go for it! It’s a hell of a lot of fun and you can get really creative with it.
While on our little weekend trip up to Mendocino this weekend, I chose to bring my tablet along and read what I have so far of In My Blue World. I haven’t done this since I started writing this version back in… *checks date* early April. So far I’ve found a few things worth noting:
–The first entry needs work. A LOT of work. Interestingly the very next day’s work is just fine and pretty close to what I was aiming for. So perhaps that means that I’m getting better at openings! Heh.
–It remains in the eldest sister’s point of view for most of the first third until I suddenly go into multiple first-person POV. [They have their own chapter or scene, so I can easily slap a chapter header on there to help the reader.] Which is fine, because I did that on purpose. I’d written multiple partial scenes before starting this draft which are in other POVs. I purposely left gaps in this section to insert them in.
–As expected, many characters aren’t quite nailed down until about a quarter of the way in. [For instance, I had Zuze’s sister Trischa be younger and weaker in the opening, but later on she’s older and more of a badass.] Thankfully this too is easy to fix, with a bit of revision and rewriting. Nothing that will ultimately unravel the story for me.
–I need to nail down the rules of magic just a bit more, as they seem a bit too bendy for my tastes at the moment. They make sense for the most part, though there are a few moments where they kind of drift into MacGuffin territory. Again, easily fixed.
–I have exactly two characters that started out with promising fates, and I kind of forgot about following through. That tends to happen a lot when I have far too much fun writing the other characters! Again, easily fixed.
–The Antagonist/Evil Overlord/Bad Guy needs to be reined in just a tad bit. This one might be tricky, as his character is very much a reactive, calm-but-insane sort of dude. The balance here is to show him acting in what he fully believes is logical and right, but others seeing him as completely batshit dangerous. The good thing is that I have him nailed down already, so I just need to work backwards to fix his earlier scenes.
–Secondary Antagonist needs to have her backstory straightened out. She too is nailed down at this point, so it’s just her earlier scenes I need to revise.
Thankfully, that’s all I found (so far) that needs work. I don’t plan on doing any of this revision just yet, as I’d like take the next few weeks to finish the novel. All the revision, cleanup and post-production will take place in July, and maybe into August if it’s needed. I’m thinking the drop date at this point will be mid-September.
The tricky part here is paying attention.
I call it such, because whenever I do a ‘read what I have so far’ session, I try to remember all the fiddly bits that might need work. It’s a mix of self-critique and a line edit. I pay attention to my reaction to certain passages. I see a scene and remember how it’ll tie in with another scene further on. I’ll also think about the story as a whole. It’s kind of a giant jigsaw puzzle where I keep tabs on the image shown on every single piece. What seems weak or out of place will get the revision.
I should probably add that I do the copy-edit and the proofread during the e-book formatting sessions. That’s where I’ll distance myself from the story a bit more and look at it as a reader than a writer. That’s usually when the formatting and editing errors pop up, and those are the easiest to fix. And once I’m happy all around, that’s when I’ll upload it to the publishing site and set a drop date.
So yeah… being a self-published author who wishes to do everything himself, there’s a lot of hats to wear. I have to be vigilant and professional while working on a hell of a lot of different moving parts. It’s definitely not for everyone, and I would not blame you for not wanting to take the insane route I chose. But it can be done.
I know it’s only mid-June, but I’m already thinking two months ahead to August, specifically Worldcon weekend. [Okay, I’m also thinking about our week-and-a-half vacation to London just before it, and about how I’ll be a walking zombie by the time the con is over, but that’s another blog entry altogether.]
At present, I can safely say that I’m nearing the climax to In My Blue World. If I time this right, I should have this draft done by the end of June, leaving me the entirety of July to revise it and ready it for self-publication. I may or may not have it ready in time for the con, but I’m not too worried about it. If I’m successful, I may be able to snag a reading panel then to read from it.
I’ve done this for pretty much all my books so far…once I know I’m nearing the end of the first draft, that’s time for me to start working on the post-production things. I’ll start playing around with book cover images. I’ll start thinking about promotion items and platforms. Working out the final release schedule. Those sorts of fiddly things.
I work on those things very early on and in a piecemeal fashion so I’m not crushed under the weight of doing it all at once at the end. It’s also so I can give myself time to make final decisions or if I should go in a different direction. And also, these fiddly things are often quite enjoyable to me when they’re not breathing down my neck!
As a self-published writer, I find that I often have to plan out my post-production work in very much the same way I plan out my novels. I need to think about the overall plot and how each scene and sequence fits together to form the whole. Or in this case, plan out where I’m going to be when, and what needs to be done to make it all happen. There’s a lot of multitasking going on, but if I spread it out a bit, I can handle it.
My plan is to do a reading at the con, and if I don’t have the book available, I’ll at least have postcards to give away with the book cover image. I’d like to have the book out into the wild by September, at least in e-book form. [I’m also thinking of other platforms for physical copies, but that’s another long term project and another post entirely.]
So yes…even though I’m wrapping up another novel, I’m just getting started on the post-production, which should keep me busy for a few months longer.
And for those curious, here’s a very rough draft outtake for the cover of In My Blue World. This is by no means the final cover, of course, but it’s along the lines of what I’m aiming for.
Between the two new projects I’m working on, I’m listening to a lot of newer albums lately. This is quite the change from the older projects I’ve spent tons of time on (such as the trilogy) or ones where I need to focus on a specific time period (such as the 90s and Meet the Lidwells!). It’s part of returning back to deep immersion with the music.
Mind you, I do give a lot of my purchases a deep listen as it is, or else I wouldn’t be gushing over albums over at Walk in Silence like I have for the past few years. This is about really getting into the meat of the album, and I find I often do that best when I can assign a mnemonic to it. That way the album will stay with me that much longer. [This is precisely why albums like Beck’s Sea Change are forever connected not just to the trilogy, but to my writing sessions in the Belfry.]
I’m doing this again with a handful of new albums that have become soundtracks of a sort for the Apartment Complex story and In My Blue World:
Beach House, 7. Unlike their more Cocteau Twins-like previous albums, this one ramps up the noise a little bit and sounds more like Slowdive and a bit of My Bloody Valentine as well. The dreamy atmosphere works really well for the otherworldliness of IMBW.
The Naked and Famous, A Still Heart. I keep coming back to this one for the Apartment Complex. TNaF are a much louder band with walls of guitars and soaring melodies, but this ‘stripped’ album takes out the volume and leaves beautifully delicate reimaginings.
Lucy Dacus, Historian. “Addictions” is one of those tracks you hear on the radio and then get stuck in your head for the rest of the day. The music is laid back and unassuming, but the melodies go in really interesting places. This one’s been getting plays for both projects lately.
Editors, Violence. I think pretty much every project I’ve ever worked on since 2005 has had Editors playing in the background at some point. They’re just an amazing band with a unique and adventurous sound. This one often gets played when I need to write an exciting action sequence.
Pinkshinyultrablast, Miserable Miracles. I gushed over this band on the other blog last week, and I still love them to bits. Russian shoegaze is all I need to say, and it’s all kinds of fun. IMBW has been getting most plays of this one, not to mention the rest of their discography!
GoGo Penguin, A Humdrum Star. Same thing — a recent discovery and now I play all of their releases during sessions, mostly for the Apartment Complex. Intriguing jazz sounds that remind me to keep the setting just a little bit on the odd side.
This is the fun part of my writing sessions…I love listening to music while I write, so connecting to a new album while working on a new project makes the sessions — and the albums — that much better for me.
I’ve been writing the first complete rough draft of In My Blue World in short daily bursts of around a thousand words on 750words.com over the last month and change, and I’m actually kind of impressed at how far I’ve gotten in such a short time. After writing various disconnected scenes earlier in the year, this is my first start-to-finish attempt. There’s still a lot more to go, new and old scenes inserted, as well as revision, but I’m quite happy with it so far. If I plan this out correctly, I might have a new book to push by the time Worldcon rolls around!
Meanwhile, here’s Take 2 of the opening of the story. Hope you enjoy it!
I’d been looking forward to this vacation for months, and now that it was here, it occurred to me that maybe I should have been better prepared for it. I had on the wrong pair of hiking boots and my feet were aching something fierce, and they we had a mile to go before we reached the cabin. I’d also made the mistake of taking the newer backpack, which ended up being slightly bigger than expected, and its corners were digging into my kidneys.
Not that I was going to let all that ruin their time at our grandmother’s cabin, of course. Once we got there, we could kick off their shoes, relax in one of the deep chairs on the open porch, and do absolutely nothing at all. After four months of dealing with online clients and impassive management, it was high time for me to forget about the goings-on in the world. Me and my sisters had planned this trip to the cabin since late last year, and now that time was here, and I wasn’t going to let anything ruin it.
The path loomed ahead of us, a slow but seemingly unending incline heading up the side of the mountain. To one side were the steeper foothills, and to the other was a gentle slope downwards to the large lake in the valley. Even though I should be watching my step and keeping an eye out for any unexpected animals popping out of the brush, I couldn’t help but glance leftwards to the lake. I’d been camping down there as well in the past, spending hours in the water, swimming with her family and friends. We’d be making multiple trips down there in the next few days.
Grandma’s cabin, on the other hand, was equally as fascinating. About halfway up the mountain, the path leveled off at a meadow, with a few wooden cabins lining the edge of it, just inside the tree line. There was always something mysterious up there. Grandma Patricia always kept weird things there, things from her old life as a hunter. She’d taught all three of us girls, showing us how to catch, clean and cook fish and fowl and other things that ran around these deep woods. We knew how to survive in the wilderness for the next few weeks.
That tear in the universe, though…that was definitely unexpected.
“Dianaaaaa…” Katie whined, dramatically dragging my name out. “Are we there yet?” She made a production out of slogging up the final hill towards the meadow, dragging her feet and hanging her head. She hung onto her boyfriend Greg as if he was the last shred of life force left in her. Greg said nothing, but I was sure his eyes were rolling right then.
“Almost,” I said.
“You are so lazy,” Allie laughed, hitching up her backpack and darting up the hill with a renewed burst of energy.
“Stay close!” I called out, but it was no use. When my youngest sister set her mind to it, there was nothing to hold her back. In the process I sped up my pace to catch up. Katie responded with another groan and trudged along. “Allie, how many times do I–”
“Oh, wow…” Allie had suddenly stopped short. “What the heck is that?”
My heart jumped, thinking she’d just found a dead animal, or worse, a sick animal, and sped up to join her. I sidled up next to her and stepped out just a tiny bit ahead, her hand out just in case. “What did you see?”
She pointed in a vague direction of the path ahead. “That! What is that?”
“Where? I don’t know where you’re–”
“That… shiny thing.”
I glanced up the path again, and sure enough, she could see something flashing. Something small but bright. A reflection of sunlight against something, perhaps? Even Katie and Greg had stopped to take a look at this point, and neither was quite sure what they were looking at.
“That’s too bright for a reflection,” Greg said. “Unless it’s a mirror.”
Katie shook her head. “That doesn’t look like a mirror. That–”
Her words were drowned out, as the air as torn in two.
The point of light sputtered and sparked to life, becoming as bright as the sun. I shielded my eyes and swore, blinking away tears and pulling my sisters back. The point of light began to grow; it expanded from a point to a line; a thick line of light, dripping with god knew what kind of plasma energy. And it wasn’t a smooth expansion, either. It was jagged, as if it was hacking away at the air and hitting resistance. Each time it ripped upwards, another growl of thunder filled the air. It expanded until it was human height, and stopped.
The silence was terrifying.
Then the girl stepped through the tear, screaming unrecognizable words in a strange accent. She held a glowing sword in her right hand and a thread of green light in her left palm.
“Ah!” the girl cried. “Krozarr!”
The wisp of light in her left hand burst into a bright green sphere, and she pushed against the tear. Pushed down on it with all her might. She growled more words that we couldn’t understand. The tear responded with just as much resistance, though it was no longer thunder… it sounded like heavy boulders sliding against each other.
Finally, with a final push, she closed the tear she’d just made and all was silent once more. The girl shook the globe of light out of her hand and it dissipated. The tip of her sword dropped to the ground. She stood there, panting from exhaustion.
She turned around, and saw all of us, watching her.
One of my favorite things so far in writing In My Blue World has been creating the rules of magic in this universe. It’s very similar to the process I used when I wrote the trilogy, and it asked the following questions:
What kind of magic do I want my characters to use?
Why would they use it?
What are the limits of its use?
Sounds simple, yes? But the trick here was to remember: every use of magic must have its reason, and it must have its balance. In the trilogy, every time Denni used some kind of psychic force, she had to do it for a reason (usually to protect others), and it had its balancing effect (Saisshalé would respond in kind). This was to show that there was always a price to pay for their actions.
For In My Blue World, I essentially follow the same rules: Zuzannah (aka Zuze) comes from a universe where magic is a natural occurrence and is used in everyday life. What kind of magic do I want her to use? She uses this magic energy equally as a creative and destructive force; one of her abilities is to make ‘a tear in the weave’ of the multiple universes so she can jump between them, but for every tear, she must also ‘reweave’ it. Why would she use it? She uses it to temporarily escape from a stronger foe. She also uses it to return and face him once more, when she is more prepared. What are the limits of its use for her? Weave-tearing is an extremely rare ability and uses up a hell of a lot of power in the process. She only uses it when absolutely necessary. The level and process of magic she’d used in her initial escape was so high and unfocused that it rendered her unconscious for two days.
Using these rules helps me focus on how the plot should unfold. When she’s in the reality of our other characters, her magic is still there but it works differently. When she returns to her own universe, her original powers return. The other characters are also given the same rules: they are introduced to this magic as well, but with their own costs specific to them.
This is why I say that this kind of worldbuilding is often my favorite part of writing a novel. It’s not just about coming up with neat ideas that I can play around with throughout the novel — though that is a major plus and a hell of a lot of fun — it’s about laying the groundwork for how everything works. It’s a balance in and of itself, and quite often it suggests more of the plot than you initially expect.
Speaking of calling it, I’m putting an end to my ongoing test of whether or not I can write a novel longhand. It just doesn’t seem to be working out the way I’d like. I’ve tried it with at least three projects over the past couple of years, and if I’ve learned anything, it’s this:
I write longhand much slower than I type.
I haven’t tested my typing speed, but I know it’s at least 70 wpm, if not faster. [This doesn’t include my frequent misspellings; apparently the word “available” is the hardest one for me to type fast. Thanks to my Day Job for pointing that out.] I’ve never written longhand fast, because if I went any quicker it would be illegible shorthand.
I judge the pace of my novels as I write them. When I get into a writing flow, I connect with the pace of the story. I connect with the fast action scenes and the deliberately slow dramatic scenes. I’ve written novels on the PC for almost twenty years now, so I’ve gotten used to this process. And because I write longhand so much slower, I have trouble adjusting to the flow of the story. I’ve attempted this multiple times with a handful of projects, and each time it’s lasted maybe a few months before I give up and restart the whole thing on MS Word.
I’ve been thinking maybe this might be one of the reasons why I’ve been having so much trouble with the Apartment Complex story, and why I’ve been having no trouble at all with In My Blue World. I started noticing it again when restarted Can’t Find My Way Home the other night. I was frustrated and straining trying to write it in my notebook, but as soon as I restarted it on Word, everything started flowing seamlessly.
So. Does this mean I’ll give up longhand? For novel projects, yes. I’m still using it for my personal journal and other mini-projects, but for now, my novel writing will remain on the PC or on the laptop.
I think I’ve trained myself to the point where I’m not looking at a calendar and going ‘Wait, it’s April already? I haven’t done jack! MY LIFE SUCKS’ anymore. Well, not as often, anyway. Right now I just look at every new month as a way to start off fresh with my whiteboard schedule and see how far I can go with it. I don’t even feel bad when I miss a day for whatever reason (even if that reason is ‘laziness’). I just do what I can in thirty-odd day increments.
Typing this made me think of something I’d said during a panel at FogCon a few weeks ago, when someone had asked about the ability to get anything done when one already has a full schedule. I’d told them about my whiteboard calendar, telling them that it’s not a matter of getting everything completed in one go; it was a matter of doing doing a little bit at a time, and that would add up. Don’t aim for the finish line every single time…sometimes all you need to do is aim for the end of the chapter, or maybe even a few hundred words. It does indeed add up by the end of it. That’s how I was able to write 80k words for Meet the Lidwells in such a short amount of time.
I will fall back into the occasional ‘I’m not even close to getting any shit done’ stress-out, of course. I’ve been fighting it a lot lately, what with my multiple attempts at trying to write/rewrite/restart the Apartment Complex story. It’s partly why I’m trying out a rough draft of In My Blue World using 750Words; I’m tricking my brain into thinking that I’m being twice as productive instead of spending all that time freaking out over a single project. [I’m actually kind of surprised it’s working, to be honest.]
So yeah, I’m not too worried that it’s April already. In fact, I’ve embraced it — it’s getting warmer here in the Bay Area to the point where I have the window open in Spare Oom to let some fresh air in. It’s also given me the impetus to get my writing work done early so I can get back into the habit of going to the gym after the Day Job!
It’s just a matter of taking it a bit at a time, apparently. Or in this case, a month at a time.