Tag: New Projects

Deep dive

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That’s what I’ve been calling it lately: the process I used when originally writing the Bridgetown Trilogy. And it all started because I felt I hadn’t gone far enough with The Phoenix Effect.

By the time I was writing True Faith in 1995, I felt I at least had gotten the hang of the science fiction genre, and had gotten even further two years later with TPE, but at the same time I knew there was something wrong. There didn’t seem to be any issue with the universe I was creating, and I definitely felt that writing dialogue was one of my stronger creative traits…but it still felt off.

It didn’t take me long to figure out that it was the prose itself.

The problem was that my novel didn’t sound like one. It sounded more like an extremely detailed outline. And that had always been a problem with my work then…I thought I had some really neat ideas, but I was definitely failing in the execution of them. There was plenty of action, but my novel read more like a descriptive ‘A happens, B reacts, C happens, D causes a shift, etc.’ and less of an actual story. I resonated deeply with this tale about underground hackers, spiritual magic and otherworldly kinship…but none of that resonance was coming through at all.

So by 2001 or so, while working on TPE‘s revision and slogging my way through its sequel and getting nowhere, I realized that I needed to do something about it. I wanted to do better. I needed to do better. So one afternoon I decided I was going to completely rewrite it. I mean, start from scratch. Tell the whole dang story from Nehalé’s awakening ritual to the end, and do it right.

The only way I knew how to do this at the time was to do a deep dive. Instead of writing in that old outline style, I was going to make damn sure that every single scene resonated with me. It was a bit like method acting, to be honest: become the novel. Figure out why Nehalé did what he did. Understand the actions and reactions of Caren and Poe and everyone else. And don’t just be flippant about it; those actions and reactions were also part of the story, because it was who they were, and the consequences of their actions were also part of it.

By the time I’d gotten about five or six chapters in on this new version, I’d realized I’d only gotten through maybe two chapters of The Phoenix Effect, and this was EXACTLY what I’d been aiming for. So I just kept going, and eventually wrote myself an almost complete trilogy by the spring of 2005.

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I bring this up now for two reasons:

One, after completing and self-publishing the Bridgetown Trilogy, I knew I had more to learn. I could definitely write doorstop epic novels at that point, now I wanted to prove to myself that I could ‘write econo’ (hat tip to The Minutemen, heh), so I started writing much shorter standalones. I’m quite proud of them all, especially Diwa & Kaffi, which I still feel is my best book to date. Even despite the urge to write the fourth book in the Mendaihu Universe, I wanted to stick with shorter works until I felt confident enough.

Two, it was the writing of the still-unfinished Theadia that made me realize that perhaps I was ready to do another one of those deep dives. This is another book I resonate deeply with…and like the trilogy, another book I feel isn’t quite there yet because it too needs a deep dive. Over the course of 2024 I tried the rewrite method, but somehow it still doesn’t feel complete yet. I still haven’t gone deep enough.

Fast forward to January 2025 and I’m focusing on the Trilogy Remaster and also revisiting the several sounds and words that surrounded its original writing, and I’m struck by another resonance that I’d almost forgotten about: this was how deep I’d gone with the trilogy! It had become a part of my life then, socially and creatively, and I loved every minute of it, and that was something that had been missing from my writing life for far too long, even before the revival of the trilogy in 2009.

As I’d mentioned briefly in last week’s blog entry, I feel I’ve come full circle, having learned several things along the way, and now I’m ready to cast the anchor and say this is where I belong. This is the style I love the most, yet it’s a style I haven’t allowed myself to return to. Or more to the point, I’d almost completely forgotten how to get back there in the first place, and it took several things falling perfectly into place for it to return.

Does this mean that my future novels are going to be epic in length? I can’t answer that because other than MU4 and Theadia, I don’t know where my next ideas might come from. But I can safely say that those two projects, at least, will be a return to the deep dive.

Ready?

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Image courtesy of Suzume

Am I ready for 2025? I’m as ready as I’m ever going to be, I think. Despite whatever nonsense might come my way, despite whatever drama or world event might unfold, I’m ready for it. I’m not expecting everything to be sunshine and roses, but I certainly don’t want to enter the new year afraid. That’s not who I am anymore.

This past year has been a lot about achieving clarity, but it’s also been about allowances. Allowing myself to do the things I want and need to do, both creatively and personally, with no strings attached. I shouldn’t have to feel the guilt, or the fear, or the dread of the outcome, whether actual or imagined. So I feel that the next year should be about taking those steps of my own free will.

I’ve probably overthought any writing plans I have for the new year, and over the last week or so I’ve been unraveling myself from much of it. Overplanning has been my method of procrastination in the past, and I’ve been unlearning that particular habit recently. What plans I do have: I have Theadia to finish and publish, MU4 to start, and the tenth anniversary edition of A Division of Souls to clean up and prep for release. And that’s pretty much it. Whether I’ll try new projects, or focus on other creative outlets, who knows. If it happens, it happens.

It’s time to be a little fearless.

Post-Thanksgiving Wind-Down

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Winding down, you ask? When the Christmas season is kicking into high gear? Well, yes. It might be crazy busy at the Day Job, but on a personal level, it’s time for me to wrap things up, take stock in the year to date, and think about what I’m going to do the following year. And it’s certainly been a bit of a strange year for me for varying reasons. Not necessarily in a bad way, but it’s definitely made me rethink a lot of things.

In working on this hopefully successful draft of Theadia, lately I’ve been comparing it to the days when I’d first started the project, way back in early 2020. Comparing the toxic-level stress I’d felt at the Former Day Job with the temporary exhaustion but shockingly minimal stress I feel at the current one. The managers I had then and the customers I worked with at the time versus the ones I have now. Two completely different lives. And those two years spent unemployed and working on a long overdue rewiring of my brain. All of that has definitely influenced my writing in certain ways.

I no longer worry about running out of ideas like I did then. Sometimes the stories come to me with unexpected inspiration — like Queen Ophelia’s War — and sometimes they’re something I have to actively work out from a much smaller piece of an idea. I very rarely try to force myself to write something new. I still need to relearn how to use my writing as something fun that I could work on at the 750Words site, but that’s something I’ll plan out in the new year.

In the meantime, I’ll be spending the next month taking stock in what I’ve done this year, continuing with the Theadia project, and deciding what I’ll be working on next.

Darkness and Light

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So on Sunday morning as I was lying in bed, having just woken but too lazy to get up and feed the cats just yet, I started thinking about a new way to approach writing MU4. I’ve written at least three or four different openings, and yet none of them felt quite right. The current one is close to what I need…but the scene itself happens way too early in the story. I needed something to build up to that.

The good thing about lying there and letting my thoughts quietly meander for a bit is that I wasn’t trying so hard to figure it out this time. And that’s when it occurred to me: I needed to return to the original theme of the trilogy in order to move forward. That theme, of course, was balance. One character playing the role of spiritual balance to another. One action balancing out another. One dwelling in darkness, the other in light. This story focuses more on internal balances than spiritual or religious ones, even though those two still play an important part in the Mendaihu Universe.

The focus here, then, is on my two main characters: one whose life is chaos and wishes for order, and one whose life is rigid order and wishes for freedom. Both have a common goal of mental, emotional and spiritual balance, even though they’re coming from complete opposite ends of the spectrum. Which of course inspires the same question I had for Denni and Saisshalé in the trilogy: what is the red string that bonds them together? Are they enemies or are they allies? Are they bound to negate each other’s strengths, or are they to work together to become even stronger?

The good thing about this, even as I lay there with one cat staring impatiently at me and my brain in dire need of caffeine, is that this has gotten me even closer to the story I want to tell here. And that’s what I’ve been waiting for. All I need to do is start it.

Meanwhile, in Bridgetown…

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I’ve got two projects in my head related to the Mendaihu Universe that I’d like to work on once I finish up Theadia. The first one, of course, is MU4. The second one is a ‘remaster’ of the trilogy. I’ve been itching to work on them for a long time now, so as you can well imagine, it’s affecting my focus on Theadia just that little bit. Heh.

A remaster, you say? Well, Next September will be the tenth anniversary of the release of A Division of Souls, the first in the trilogy as well as my first self-published book. And while I think it still holds up really well, I feel like I could revisit it again as an author with a few years and many more books under my belt and make it even better. I don’t plan on any major changes or revisions, mind you. Perhaps a bit of tightening and cleaning up, a few rough patches that I could fix. And maybe some fun extras to add in at the end, like the official soundtracks, some annotations and explanations, that sort of stuff.

And then there’s MU4. That one is just as old, now that I think about it: I started writing some of it longhand while working on prepping ADoS for self-release. It has multiple outtakes and versions that are interesting yet remain unfinished due to focusing on other projects. The story itself is a continuation of the theme of spirituality found in the original trilogy, though this time it focuses on a slightly different angle: what happens when that spirituality is tainted or mishandled.

And that’s a story I think will need a lot more focus and dedication than I can give it while working on other lighter projects. Which means that I’d better get cracking on finishing and releasing Theadia, yeah?

It’s going to be quite the epic project, but I am definitely looking forward to it.

Going deep again…?

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Whenever I think about the Bridgetown Trilogy and the Mendaihu Universe, I almost always wonder if I’ll ever get around to writing something with that level of worldbuilding. Theadia certainly comes close, but that project’s a different beast altogether. While it certainly has an ensemble cast and multiple worlds, it doesn’t have its own conlang or its own highly detailed mythos. It’s a big story, but it’s not a part of a bigger universe like the MU is.

The MU is still alive and kicking somewhere in the back of my thoughts, and I still want to write more stories in that universe, but I’ve come to the realization that if I’m going to do it right, I’m going to have to go in deep once more. And I’m perfectly willing to do that once I allow myself to take that dive again. [And I will not complain one bit if that includes the music side of things, mixtapes and all. That was one of the best parts of the project!]

As you may remember, I deliberately chose to bounce away from that kind of thing because, up to 2015, that’s pretty much all I knew in terms of novel writing projects. Everything had to be a full-immersion, years-long intensity, and I needed not to do that for a while. I needed to know how to write something standalone and concise. Partly to prove to myself that I could do it, and partly because I knew that not all of my newer story ideas would translate well into that long of a format.

I knew I’d come back to the longer form sooner or later. I’ve often said it’s a format I truly enjoy writing. But in the several attempts in writing the temporarily-titled-MU4 novel, each time felt like I wasn’t doing it justice. The deep immersion wasn’t there, only a reflection of the past style. I wasn’t allowing myself that level of focus and, let’s face it, obsession. So it kept getting pushed to the back burner.

This will all eventually change, I hope. I’m not sure when, and I’m not sure how. Perhaps it’ll be a change in my writing schedule, better and more creative use of my break times at work, or perhaps it’ll be something else altogether. Who knows? I may even start a new extended universe instead…?

Into the new universe

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So I’m all caught up with the Queen Ophelia’s War spot-check edits and playing around with cover art, which means…I can finally start work on Theadia! WOOOO!

I figured I’d wait out the end of the month just to get a breather and relax a bit (especially since the Day Job has been a bit busy as of late). Why not start fresh on a new week, new day, new month? No real reason other than what the hell, yeah? Besides, it was great to have a few days off from creativity so I could catch up with real life and other things, but it’s time to get started once again.

I’ve been thinking a lot about making my writing sessions a little more stable as well. Not that they’re bad now, but I just want be a bit more dedicated to it than I’ve been over the last few years. I’m pretty good at working on something daily, but I think I’ve let myself have more than a few Don’t Wanna days than I really should have. I also miss getting stuck deep in on big projects, and it’s been quite a long time since I’ve really allowed myself to do that. Especially with a completely new project that has nothing to do with the Mendaihu Universe.

There’s a big world there in the Theadia Universe. Let’s go see what happens in it.

Stuff to listen to…?

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Not gonna lie, I’m totally looking forward to finding some new albums that could get some heavy rotation during my upcoming writing sessions for Theadia. Each project has had its own playlists and/or albums that become their de facto soundtrack, and I’m sure this one will be no different.

The only difference here, I think, is that I want these albums to have more staying power than the ones tied to my post-trilogy work. There are some records that will always be tied in with the trilogy (And You Think You Know What Life’s About, Sea Change, Fantastic Planet, and so on), and Diwa & Kaffi had The Sound of Arrows’ Stay Free, but that’s about it. I’m not trying to shoehorn any albums into this new project, mind you…I’m just wondering if there’s going to be any that will be as closely tied.

Which brings me to my wanting to pay a little more attention to the music I’ve been listening to. I’ve said previously that the last few years have felt more like I’d focused more on acquisition than connection, and I want to change that. And one of the ways to make that happen is to actively return to some of these albums. That’s what I did in the Belfry back in the day: I’d start off each session putting on a specific cd I wanted to hear to get myself in the mood. Sometimes it was a new release, other times it was an old classic. It really did depend (and still does) on the scene I was about to work on.

I have the music library, I just need to choose what I want to hear.

Getting away with it

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In Theadia, our two main characters are computer nerds. However, I’m trying to avoid as much techspeak infodumping as I can. Can it be done?

That’s a good question. I mean, I’m basing their work background on my own experience at the Former Day Job — basically working behind the scenes as code checkers to make sure system are working the way they’re supposed to work, and to figure out solutions when they’re not. And believe you me, I did a LOT of that over the fourteen years I was there. And if I learned anything, it’s that there are indeed code geeks out there who are not savants but instead kinda sorta know what they’re doing and hope for the best. That is what the leads in my novel are about: they’re good at it, but it really is all held together with sticky tape and dreams most of the time.

This upcoming project is very much like that: you’re probably not going to see the stock characters of the introvert genius who saves the day, but you’ll definitely see the common citizen who’s hoping it doesn’t all go kerflooey at the worst possible moment. I like the idea that the world is not just imperfect, it’s messy as hell, and we’re all pretending that we have it under control. Theadia is about people who aren’t in charge, but do know what they’re doing. Sort of.

Getting back to the question, I do in fact have a few techspeak infodumping scenes, but they’re not the kind you’re expecting. Again, I based it on my own experience: the most common reason for system failure at my FDJ was either someone making a really stupid mistake upstream (or just plain not knowing what they’re doing), or someone forgetting that what works on the shiny and clean test platform will trip up in the messy and chaotic live platform. I have a few scenes not just explaining this, but having my two mains exploit it. The trick isn’t so much hacking in, it’s not getting caught. And if you know how and where to go…

Travel

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[Image courtesy of aas587 on Dribbble]

I’ve noticed that several of my stories contain travel in one way or another, many of them to alternate realities and different galaxies and universes. It’s something I’d been fascinated by since I started the Mendaihu Universe back in the day. Sometimes the travel is metaphysical: the ‘stepping into Light’ of the trilogy is essentially the inversion of astral travel. Sometimes it’s magical, like the weave in In My Blue World, where special blades cut the lattice between universes and create a temporary connection. And in Queen Ophelia’s War, it’s good old fashioned fantasy magic powers weaving a connection between established portals. [You could say even Diwa & Kaffi focuses on travel, considering tintrite flight is a major theme.]

As for Theadia…? Well, I’m finally going for the gold and using the time-honored hard-sf subspace portal. And this time it’s not just a useful function within the story, it’s an important part of the story in and of itself: part of the conflict does indeed involve travel infrastructure! Because I AM A HUGE NERD. [Well, obviously it’s a lot more than that but I’m trying not to give too much away.] I’ll admit that I’m not going too deep into the physics and the theoreticals of space travel, because that way lies madness. I’m just going deep enough to make it believable, complete with red tape, mismanagement and all that ugly bureaucratic nonsense.

All I’ll say is this: when your giant and well-loved station uses a popular and heavily used subspace gate hub, orbits around its own cozy little ball of dirt that didn’t need terraforming and is a beloved tourist destination, and is celebrating its fiftieth year of independence from its former owners who still aren’t too happy about that, there’s going to be a lot of moving parts that are going to need people who know what they’re doing. Especially when said former owners have been thinking about taking it back by force.