OH HAI THERE. I’ve been busy most of November, getting used to the new schedule and Day Job situation. I mean, I’d rather not get used to it, if you know what I mean, but I’ve managed to find workarounds for various things I need and want to do. I chose to take most of November off to recalibrate myself and my situation, see what I can work with, and make it happen.
And make it happen I did! I have managed to set aside time to work on Daily Words! This is going to be pretty much the same as when I was writing In My Blue World and Diwa & Kaffi in tandem — whenever there’s a slow moment during the day, or when I’m on my breaks, I’ll do a lightning round of a few hundred words. As long as I’m working on something, that’s all that matters.
And I’m glad to say that I’ve made some real progress this past week, much to my complete surprise! Right now I’m working on a few Mendaihu Universe ideas — one that’s sort of a fun diversion of a short story, and the other is a Possible Book Four thing. It’s still all in the planning stages, but I’m willing to see where it takes me.
As for the blogs, they’ll probably be a bit erratic over the next few weeks until the end of the year, but I’m hoping I might be able to post at least one entry for each blog a week, time permitting. Like I said, I’m still recalibrating, so it may take a while for me to get back on track.
Thanks for waiting, hope to see you here soon again!
As I’ve mentioned earlier, I’ve been doing a lot of juggling of personal events and situations as of late. I still can’t go into too much detail, but right now I’m hoping that I’m coming close to the end of it all. And with that, I’m hoping I’ll be able to get back into my writing and blogging!
One major change – one that wasn’t my own decision and I’ll be honest, one that I’m not entirely happy with – is that as of yesterday, I am no longer working from home for the time being. After… (does math in head) … five or six years?… of full-time remote work, the Day Job has decided to end that particular setup and starting Monday my commute will go from one room to another to thirty-three miles across the Bay. That’s an hour in a car both ways. I’ll just say I’ve made my peace with it for now.
What will this mean for my writing? Good question indeed. I’ve been thinking a lot about it lately…certainly I won’t be doing any writing during slow times or during breaks, and I may not even be able to do it every single night once I get home. I’ve thought about going back to longhand, but I’m not about to start that just yet. Too many things are still up in the air. I’ll just say I’ve made my peace with that as well for now.
As for Diwa & Kaffi…? That has been going well, actually! I’m about to start working with a reader to help me nail down a few specific points that need nailing down, and once that’s done, I’ll start shopping it around. I’m doing this at my own speed because I want to do this right. Sorry it’s taking so long, but I promise I’ll get it out there one way or another!
I’m not entirely sure when I’ll be posting next, but I’ll do my best. Thanks for waiting!
I’ve been thinking a lot about expectations lately. Personal, professional, emotional, and so on. For years I always felt that I’d had high expectations put on my shoulders, but it’s only in the last decade or so that I’ve realized that most of them have been of my own doing.
When I sent out my first submissions — the short story in 1995 and The Phoenix Effect in 2000 — I wasn’t so much sending them out thinking I was hot shit and The Next Great SF Novelist (though I’ll admit that I let myself half-jokingly hope I had a chance), but thinking ‘OK…you’ve gotten this far in your writing career. That’s a pretty damn good goal to hit, considering.’ My expectations weren’t high, but they weren’t in the gutter either. As long as I did a decent job or at least learned from my mistakes, all was well.
The same thing goes for my Day Job: I certainly don’t expect to ever rise up to CEO level in any job I’ve held, as that’s not a position I want. I like being part of the team rather than its leader. That way my expectations are more realistic: I expect (and hope) that my teammates and I know what we’re doing and that we’re doing it the best we can under a normal deadline. I work so much better behind-the-scenes than I do as a performer, so to speak. The main reason being that it gives me the space to observe the processes, understand them, and maybe even upgrade them if need be.
But what about my own life? That’s a good question. Sometimes I expect too much of myself — that I need to be perfect every single moment, and become frustrated when I fail to hit that bar. Why do I set it so high? Who knows…it has to do with observing others’ actions, whatever they may be, and hoping to reach those same heights. Yes, I know, that way lies madness.
And pretty rich, coming from someone who spent most of his teenage years shouting that nonconformity was the way to go. Heh.
In the last year or so, I’ve been rethinking my expectations. Readjusting them when and where necessary. Part of this came out of my foray into self-publishing: I knew my novels weren’t going to be brilliant and popular and wildly successful, so I let my guard down a bit. I still tried to write the best book I could, I just stopped trying to reach Stephen King or Ray Bradbury heights of quantity and/or quality. The same goes with my personal life: I accepted that I’d fuck up every now and again. I let myself take some blind chances instead of building up Detailed Best Laid Plans.
And instead of trying to be Everything to Everyone, I realized, maybe it’s time for me to be happy on my own terms again. Sure, that sounds like I’ve hit my Midlife Crisis stage, but I really haven’t. This is the least stressed out I’ve ever felt in decades. I’m more proactive than reactive now. I feel no need to recapture my youth (my music collection does that for me). All in all, this is the most content I’ve been in a long time.
All I’m doing now is making needed changes, many of them overdue, to make things even better for myself.
The downside to using 750Words for my daily* writing exercise platform is that I don’t always get around to making offline copies of them. And I’ve been using the site for quite a few years, so I’m not entirely sure what I have out there right now.
[* It hasn’t actually been daily for a while now due to other projects and responsibilities that I’ve been working on. But hopefully I can get back into the habit soon enough.]
Last night I read a temporary project I did save was something I’d called The Hurleys. It was an idea in the Mendaihu Universe that took place in the current day instead of far into the future; its central characters were three adult siblings living in midwestern Massachusetts (go with what you know) who are some of the very few who are awakened to the fact that they’re connected to the Mendaihu. I didn’t get too far with it other than maybe five or six entries, but I gave it enough life and detail that it’s something I could possibly expand on.
I know I’ve written quite a few of these over the years I’ve used 750Words. My last three novels all grew out of these. And now I’m curious as to how many others are out there on my account, just waiting to be picked up and expanded upon. Thankfully it’s an easy enough thing to do, as the site keeps everything no matter how old, and I’m the only one who can access it.
Perhaps within the next month or so I’ll take a bit of time and do a deep dive. Maybe I’ll find my next novel idea!
As I’d mentioned earlier, I’d done a recent reread of the Bridgetown Trilogy for possible future Book 4 ideas. One of the unexpected things I’d noticed was a distinct difference in influences. These three books are definitely different from Meet the Lidwells and In My Blue World, and not just in mood and length. I knew that going in of course, given its long and rambling history.
One of its early influences was of course Stephen King. This was my ex’s doing, having suggested I read him to understand how to write a large ensemble piece. I read The Stand (the unedited version, which I actually find more enjoyable than the shorter original release) right about the same time the 1994 tv miniseries had been released. It made sense to read this particular story and study it a bit, because I already knew that my idea was going to be about an event that affects scores of people and not just the main characters. [I was big on the Big Idea plot at the time.]
While the trilogy changed and evolved in numerous ways over the two decades I worked on it, so did the influences. I’d started reading more fantasy and science fiction, starting with Holly Lisle and CJ Cherryh and moving then to Kate Elliott. [This was about the time I’d started making my frequent road trips to Toadstool Bookshop in Keene and Barnes & Noble in Leominster, with my book buying habits growing exponentially.] The rewrites in turn became less action-oriented and more character driven. The end result, so many years later, is a mishmash of all those years of influences.
Reading Meet the Lidwells so soon after, on the other hand, was quite the whiplash. That particular novel has one influence only: rock history books, many of which I’d been reading either for pleasure or for Walk in Silence reference and research. I’d also written it to prove to myself that I could write a book less than 100k words! I haven’t reread In My Blue World yet, but I already know that novel’s influences was the YA fantasy I’d been reading. And as I’ve mentioned many times before, Diwa & Kaffi‘s influence is Studio Ghibli. I knew I’d had to severely change my thought processes once I finished the Bridgetown Trilogy project…but seeing the change now, a few years later, it surprised me at how much it had changed.
I suppose in a way this is why I’ve left future possible projects up in the air this year…I’ve caught up with all the ideas I’d been wanting to work on, so once D&K is out and away, it will truly be a clean slate. Which means one thing:
So A finally made me sit down and watch the original 1998 Blade film, and HOO BOY yeah that was certainly something. Definitely one of those “this is terrible” but in a fun popcorn flick kind of way if you’re into that sort of thing.
It reminded me of something that I’ve been thinking about over the last few weeks or so: man, the 90s were fucked up. I’m not just talking about world events here, which goes without saying. I’m talking about some of the films, books, music, art, pretty much any medium. It’s almost as if us Gen-Xers, realizing that we were essentially the Generation Nobody Paid Attention To, decided to see how far we could push our creativity. And then push it just that little bit more. See what we could get away with. And it usually paid off, because the Gen-X audience loved it when the boundaries were pushed like that. It’s part of our DNA.
Blade in particular is a ridiculous vampire action film with all the bingo spots that makes up 90s action films: badass martial arts battles, quote-worthy dialogue, insane weaponry, a secret rave in a bizarre location, a ridiculous car chase, a few insane how-the-hell-did-they-shoot-that sequences, and all of it edited to fast-bpm techno dialed up to 11. It also features quite a few ‘let’s see how far we can push this’ moments, one especially squicky scene within the first five minutes of the film.
I watched a hell of a lot of these in the 90s and 00s, from the Matrix films to the Underworld films and yes, even the Mortal Kombat films. They were all good fun on a stupidly hot Saturday afternoon during the summer.
They also feature some great whoa! moments, and I’m not talking the Keanu Reeves kind or the car-jumping-a-moving-train kind. I’m talking about the kind that a writer like me would love: the little seemingly inconsequential shots that make me perk up. There’s a shot in Blade that did it for me, when our heroes are being chased down a subway tunnel with way-too-fast trains zipping by every couple of seconds. Dr Karen Jenson somehow loses her balance and lands on the tracks, but at the last second reaches her arm over at an odd angle, thus keeping her face from landing on the electrified third rail by mere inches. It’s a three second shot that didn’t need to be in there, but for me it was definitely an ooh, nice detail! moment. A lot of 90s films are filled with those kinds of shots, and they add charm and reality to the moment.
These often inspired my writing at the time. The original version of the Bridgetown Trilogy (The Phoenix Effect, written 1997-98) features the same level of detail alongside some of the classic tropes. Some of them even show up in the final books. I had a rule for writing them: if I wanted to add a ‘this would look really cool’ moment, I had to give it a reason for being there. I realized the best way to do this was similar to that Blade moment I mentioned above: it had to tie in with the character’s personality. Dr Jenson’s purposely avoiding the third rail underlines a major point of her character: she’s smart and always thinks ahead, especially on the fly. Whenever the Mendaihu gang had one of those similar Hollywood moments, I made sure it had consequences.
While a number of more recent action films have dialed back the over-the-top ridiculousness somewhat, that’s not to say they’ve completely disappeared. See the still-going Fast and Furious series for a prime example of that. It’s even there with more recent stories: the John Wick series is just one over the top fight scene after another. Even there we have a nice attention to character detail: Wick hardly ever speaks in any of the movies. And when he does, he does so for a reason, and his words are important.
My point here? Well, let’s just say that watching 90s action films might be a fun and enjoyable way to waste an afternoon…but even these films have moments that inspire a writer like me.
As of Thursday, one major chapter in my ongoing Spare Oom Cleanup Project has finally come to a close with the final sorting and filing of my writing! Everything’s in binders (or in some case, boxes) now and and in its own specific place.
Early, finished and trunked projects are over on the bottom shelf of the (Formerly) Forgotten Bookshelf, with journals and poetry notebooks on the top shelf with easy access from Fancy New Chair. All my artwork, maps and Murph doodles are finally in one place. Numerous dead pens have been given a proper sendoff along with disintegrating manila folders and Crap I Really Don’t Need to Save.
And of course I saved the best for last, and it took me a few days to go through it: The Mendaihu Universe Library! Heh. This is every scrap of paper, every story idea I scribbled down during a day job, every character reference, every outtake (longhand and typed), every chapter printout with revision notes, and One Clean Full Printout of every related project, from its humble 1993 beginnings all the way to the 2015 prep for self-publication. And let me tell you, there’s a lot less of it than there used to be! Many clean printouts have been sent to the shredder over the years, and I’ve finally managed to get them down to one single box full of them.
I really enjoyed going through all those folders and documents and getting them into chronological order. For a project that lasted 22 years (!!), it was quite interesting to see how it evolved from one version to the next. It started off as a science fictional re-imagining of my Infamous War Novel (which in 1993 was already nine years old!) but quickly took on a life of its own with all kinds of detours, rewrites and re-imaginings along the way.
I even managed to get some clarity on how it evolved from 1997-8 with The Phoenix Effect to 2001 with the start of A Division of Souls. I knew I’d tried submitting TPE, attempted to rewrite it, and also write a sequel to it, but I couldn’t quite remember the path all that clearly. Come to find out, a lot of it lines up with my day jobs shifting — leaving HMV in September 2000, starting second shift at Yankee Candle, and moving to first shift in April 2001. That last date pretty much coincides with the time I’d decided to nuke TPE and start from scratch with ADoS.
But the best part is that I was able to recalibrate my thoughts on the Mendaihu Universe and future plans for a Book Four. There will be a Book Four, no doubt about it…I’ve been planning to write one for ages, I just had to finish off all the other projects first.
And now I finally have the time and the inspiration for it!
Granted, I still need to finish off the final revision for Diwa and Kaffi and get that one submitted; that of course comes first. But this also means I can start playing around with story ideas, character development, and more. (And yes, there will be more Songs from the Eden Cycle mix tapes. Volume 5 was created last October, with more on the way.)
Yeah, I should know better than to announce my next project, as inevitably it crashes and burns, I ragequit it a few times, and put it on the back burner for a few more years. I’m not promising anything…so let’s just say that I’m willing to push this one pretty hard to keep it active this time out.
As I’ve mentioned before, I’ve been contemplating submitting Diwa and Kaffi to agents and/or publishers. I haven’t taken this route since probably 2013, when I submitted A Division of Souls out to a few publishers. I’ve self-published everything since then.
So why go the submission route this time out? Well, my first and most important reason is that I have high expectations for this particular novel. I’m quite proud of how it’s come out; it’s quite possibly my best work since I started self-releasing my work. And to be honest, I really don’t want this one to fall into a void like my other books have tended to do. [That’s partially my own fault, but that’s for another post.] I want Diwa and Kaffi to get the best cover, the best production, the best editing, the best everything. While I could find an artist to commission for a great cover, and while I could do my damnedest to get this book into the hands of as many people as possible, I also know that going the ‘pro’ route would provide me with better chances than I could ever give myself.
Which means I need to start researching for agents and publishers for the first time in ages. I’m aware that the process and the field has changed considerably over the last ten or so years since I last researched it, so I’m going in knowing full well that I may need to relearn it all. I’m totally down with that, considering I’ve been in this writing gig for pretty much my entire life. I’ve read all the Writer’s Digest articles. I’ve read the how-to books. I’ve talked to the panelists at conventions. I know where to look and who to ask.
So what’s different for me this time out? On a personal level, I’m going into the submission process with a bit of context and experience. I’m not mailing these printouts passively into the wind and hoping they graduate past the slush pile. I’m not looking at the process with rose-tinted glasses and getting my feelings hurt when I get rejection letters back. And most importantly: I understand why those past submissions failed as they did. I learned how to read my own work clinically so I could see why they were rejected. I was able to understand that changing my style or my process or whatever had no bearing on me personally; there’s going against the grain and then there’s just using that as an excuse for sloppy work.
Do I know who I want to submit to? I have a few ideas. I look at who’s published my favorite books in the last decade, who the editors were, who their agents are. I’ve met a few of them at cons, or know of them through some of my other writer friends (this is one of the reasons I do enjoy social media).
I know it’ll still be high-stakes. I know the turnaround will be significantly longer. I know it might still get published but not get any promotion whatsoever. I know it might still get rejected. I know it still depends on timing and luck. But I’m willing to try it anyway.
And if all else fails, I can still self-publish it.
In my ongoing process of cleaning up my files and getting them in order, I’ve come across quite a few printed copies of the same stories. Which surprises me, because I though I’d thinned out that particular collection of papers back in 2006 when I got rid of all those three ring binders. Apparently not…?
And these copies of stories that I mailed off to publishers? Yeah, I definitely don’t need them. Hell, I don’t really need the rejection letters either, to be honest…most of those date back to over fifteen years ago and I’d like to think I’ve learned from my writing mistakes by now. I’m in 100% agreement with them for rejecting that short story from the mid-90s — it’s kind of embarrassing to read now, and I’m embarrassed to admit I even submitted such a piece of half-baked trash.
Which leaves me with…what? Oh, I still have some of the printouts saved. These are the ones I actually used for revision purposes, writing detailed notes in the margins. Those were helpful and I’m okay with those cluttering up my bookcase. And I’m definitely saving those scraps of paper where I’d originally come up with the idea during a slow moment at the Day Job. Those are always fun to look at and remember how it all started.
I found myself doing the same exact thing when I cleaned out my old collection of 3″ floppies. I’d saved a lot of my work on multiple disks over the course of a decade, and making duplicates seemed like a great idea, given how easily they’d get corrupted over time. Especially when I reused older disks. Some documents I had only one surviving copy, while others I’d had maybe three or four. (I narrowed these down by way of moving them to folders on my shared drive and deleting the duplicates via matching the timestamps. I may still have some duplicates, but it’s a hell of a lot more organized now.) Once that particular project is done, I’ll save it to my cloud account for security.
But with the paper versions…I’ve come to the conclusion that the most important things I want to save is the longhand notes and outtakes, the original sketches, the partial outlines…the work behind the finished product. Anything else can go either way.
Thankfully, I’ve kind of grown out of being a pack rat. I used to be a horrible one, both with my writing and pretty much everything I collected. Marriage and moving across the country made me rethink that. Hell, I’ve even cut down on my books! Seriously, though…I’ve still got my digital writings in their various versions (I save each new revision version under a different name so you can still see the work in progress.)
I no longer feel bad getting rid of that fifth print-out of chapter 3 of a book I’ve trunked over a decade ago…as long as I have it saved digitally, that’s good enough.
Sometimes it blows my mind that I’ve been connected online for roughly a quarter century. I believe my first AOL account was in the autumn of 1994, using my roommate’s computer, which I used sparingly because I was too damn broke to pay for the subscription or the phone bill half the time. And even then, I mostly stuck to AOL’s chat rooms.
When I moved back home in late ’95 I talked my family into signing up for it. While the subscription and phone bill weren’t as hard to pay, it was reminding my family not to use the phone when I was online. Most of the time they remembered, but every now and again someone would forget, pick up the phone, and start dialing, severing my connection. (Surprisingly, it wouldn’t be until around 2001 or so when we finally got DSL. It just wasn’t available to us out in the sticks of central MA until then.)
I’d had various emails over the years and started the joncwriter one around 2001 (I think?), but it probably wasn’t until 2004 when I finally took the plunge into full-time social media with LiveJournal. And things have grown exponentially since then. So many platforms, websites, browsers, apps, and everything in between. I’m amazed I can remember half my passwords.
Mind you, I’m not complaining about how Kids These Days Are Always Online, or How The Internet Was More Fun In My Day. I’ve got other things to think about most of the time. It’s more about how I’ve eased off using the internet over the years.
Sure, I still use it a ton, more than I really should. I go through spells of overindulgence followed by bouts of internet detox. As a writer, though, I can’t completely disconnect. I rely on a lot of internetty things to keep me going. I stream radio stations during the day for entertainment and background noise. I have multiple links to online dictionaries and thesauruses (that’s a legit plural, I just looked it up on Merriam-Webster’s site). I almost exclusively download all my music now. It’s a vital part of my writing career. [Yes, even the music. Heh.] And most importantly, I save all my writing on Dropbox so I can access them at any time, even on my phone.
The trick is to catch myself when I know I’m just wasting time that could be better used elsewhere. Catch myself when I feel I’m getting worked up and caught up in the latest drama. Catch myself when I’m faffing about on YouTube watching viral videos. Easy enough to do, but sometimes it’s embarrassing when I realize how often I catch myself. I’ve had to figure out ways to keep myself from goofing off.
Lately, though, I’ve been doing a lot of logging off, closing the browsers. Not out of desperation or frustration, but just because I want to. Part of it is inspired by some of my pre-internet high school and college friends out there who are surprisingly impossible to find on social media — it’s like they decided that they’d rather have a real life than a digital one.
It’s also been a mental and physical choice. The longer and later I’m online, the harder it is for me to fall asleep at night. And sometimes I just don’t have all that much to say that I haven’t already written or blogged about already. Sometimes I just need to take a break and just use my PC or my laptop for its intended use: my writing and music.
I just recently bought a new laptop to replace an old one (which was dated 2013!!) and I’m once again out in the living room in the evenings, sitting next to A while we stream whatever movie or show we’re currently into, and I can focus on the revision for Diwa and Kaffi. I might pop online and check my email or the latest webcomic update or Twitter, but I’m doing that much less nowadays. And I kind of like that.
I’m not nearly as addicted to the internet as I used to be, which is always a good thing. Life goes on both digitally and IRL, and it’s up to me to find that balance that works best for me.
[PS: This entry was partly inspired by a panel I’ll be running at BayCon this year: Strange Days: Hollywood’s Take on the Internet, Hacking, and the Digital World in the 90s. I’m looking forward to this particular one!]