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Posts published in “Fiction”

Things I make up for a living.

BLOOD ROCK Radio: Preparing the Reading

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blood rock radio script, updated I thought it might be useful to see the script a bit closer to completion. The script-style "SPEAKER: Dialogue goes here" style is my idea, and the color coding is an idea suggested by my wife (I'd been thinking of it but it was her suggestion that prompted me to actually do it). I also time it, and put time notes in the script when producing the sound bed - the list of music tracks that goes with the dialogue. Previously the time notes were scribbled notes on a printout, but I've got a little more time now so I'm doing it right. Oh, and I've eliminated the Seven Dirty Words - trickier than it sounds as you can't easily do a search and replace. I prefer to practice at least three times - once to get timing, once with the soundbed, and once for polish. If time permits, I do these on the three evenings prior to appearing on Ann Arbor's show just before going to bed, as there's some evidence that sleep improves memory consolidation (e.g., here, here and here). But having a nice relaxed holiday afternoon to practice counts too. See you all tomorrow at 7:20AM on Ann Arbor's Unbedtime Stories. -the Centaur Pictured: a screenshot of the reading script. Crossposted from the Dakota Frost blog.

BLOOD ROCK Radio, Redux

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a page from the reading of blood rock, pre-seven-dirty-words cleanup Hey there, Cinnamon and Dakota fans ... I'll be reading from the revised-for-print version of BLOOD ROCK on Ann Arbor's Unbedtime Stories on KFJC 89.7 FM for the whole month of July. Interestingly, this is the SECOND time I've made the early morning trip to Foothill College to read from BLOOD ROCK ... the first time was two and a half years ago and marked the first time I appeared on Ann Arbor's program. The text has changed slightly, but the story remains the same. I hope you enjoy! -the Centaur Pictured: my reading copy of BLOOD ROCK, prior to search-and-replace of the Seven Dirty Words. Crossposted at the Dakota Frost blog.

Closing in on a first draft …

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Some strange device I saw at the Maker Faire I'm getting close to a first draft of THE CLOCKWORK TIME MACHINE. First book in a new series, and I'm having a blast writing steampunk. I've also written a story with the same characters, "Steampunk Fairy Chick", that I've submitted to an upcoming anthology. Very exciting! -the Centaur Pictured: a strange machine I saw at the Bay Area Maker Faire that looks vaguely steampunky, vaguely time-machiney.

Plotting from the bottom up

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piles of books in my library Recently I was asked about how I plot books:
I was wondering if you could help me out a bit. I've always wanted to create my own comicbook from my own design and mind but I always, I mean ALWAYS have problems coming up with and sticking with a good plot. I can make the basis of the story, the characters, the world and different terms and creatures but I can never stick with a plot or make a good one that I know will drive the story. Could you give me any advice on these things or some pointers on how to make a really great story I could draw out? I'm so close to it blossoming I can taste it!
Great question! I'm not sure I'm the best person in the world to answer it - my first pointer to anyone on plot would be Ayn Rand's The Art of Fiction - yes, I know, it's Ayn Rand, but if you're one of those idiots who can't see past your unjustified distaste for her political philosophy, well, then you deserve to miss out on her opinions in other areas which might prove of more value to you despite your disagreements - but I do think about plot quite a bit, so I'll give it a go. A lot of what I do is simply write cool scenes I enjoy ... and then think hard about who's the protagonist and what's their major conflict. Once you know, for example, the protagonist is a magic tattoo artist, that suggests she's going to be in conflict over some tattoo related thing - like someone skinning people who have tattoos. Once you know the conflict, then you can design the climax - well, your tattoo artist will eventually have to meet the evil skinning person, who will want to make her a victim. That basic strategy - write stuff that's fun, figure out who the protagonist really is, find what conflict they're embroiled in, design the final conflict, then work backwards from there - has worked very well for me. Why take this approach, rather than, say, starting with some theme and working back from there. Start with an abstract goal? Yuk! That might work for nonfiction but in fiction it's a recipe for heartless exercises in craft - and craft can't sell a story. The instant someone notices you're telling a story on skill alone, you're done. There are prominent authors I can't read anymore because I realized they had some point they were driving to and were using all of their craft to get me there ... even though there was no reason to go there in the first place. That might work in a movie with a lot of explosions, but it's not going to sustain a 300 page book. So. I need concrete events, realized situations with full-bodied characters where interesting things are happening. In short, I need to be entertained - in my writing most of all. That's why I start with "cool scenes" - I write to entertain myself first, so I have to write what I enjoy writing. But I want others to enjoy it too - someone once said the hallmark of a great writer is that they take what they find interesting and make it interesting to other people. To do that, to make my stories interesting to people not invested in my characters, I need to create a strong conflict that will engage. And to do so, I listen to the story. Whether the story features a tattoo artist accosted by a werewolf deep in the Lovecraftian underbelly of Atlanta - or that same tattoo artist and her adopted weretiger daughter out school shopping in the sun - those first key scenes of the story, those first inspirations, will tell you what belongs in the story. If the story begins with Dakota school shopping with Cinnamon, then some part of the story must hinge on Cinnamon and Dakota in a school - or that scene's got to go. If the story features a magic tattoo artist investigating magic graffiti, then some part of the story must hinge on our tattoo artist confronting the graffiti artist. And for the story to really be interesting, something important must be at stake - generally, life has to be on the line in the kind of melodramatic action adventures I write, but it can be more subtle if you're writing something more subtle. One famous way of looking at this idea is Chekov's Gun - "If in the first act you have hung a pistol on the wall, then in the following one it should be fired. Otherwise don't put it there." Ayn Rand's take on this is similar: you should decide on your theme (what your story is about), then your plot-theme (what type of events realize your theme), then your conflict (what is being fought over in the plot) then the plot itself (the actual sequence of events) which will then dictate the characters, scenes and settings in your story. I believe in the same causal structure, but prefer the opposite order. I let my subconscious play scenes out I find entertaining, and then let the characters and the situations tell me who they are, what conflicts they encounter, and what themes I should explore. You have to find your own way of doing things, of course; every writer is unique, and it's your unique story and vision that matter. Whatever you have to do - outline or no outline, start from the beginning or write backwards for the end - just do it. Just write, and eventually it will all sort itself out. -the Centaur

Jeremiah Willstone Is On The Air

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The Mic at KFJC Somehow, after only 4 hours of sleep (AGAIN after trying hard to crash early and failing to take care of myself) and heavy rains on the way to Foothills College, I managed to stumble in to Ann Arbor's studio at KFJC at seven after ten and still made my reading time ten minutes later. I come on the air at about 25 minutes in to the audio archive, reading from JEREMIAH WILLSTONE AND THE CLOCKWORK TIME MACHINE:
http://www.kfjc.org/broadcast_archives/archives/1103230653h_ann_arbor.mp3 Lightning gouged a chunk of the wainscoting an inch from Jeremiah Willstone’s head and she hurled herself back, bumping down the stairs on her tailcoat, firing both Kathodenstrahls again and again until the doorpanels were blasted into sparks and splinters. Her shoulders hit the landing hard enough to rattle her teeth, but Jeremiah didn’t lose her grip: she just kept both guns trained on the cracked door, watching foxfire shimmer off its hinges and knobs. The crackling green tracers crept around the frame, and with horror she realized the door was reinforced with iron bands. She’d intended to blast the thing apart and deny her enemy cover, but had just created more arrowholes for him-or-her to shoot from. As the foxfire dissipated, the crackling continued, and her eyes flicked aside to see sparks escaping the broken glass of her left Kathodenstrahl’s vacuum tubes. Its thermionics were shot, and she tossed it aside with a curse and checked the charge canister on her remaining gun. The little brass bead was hovering between three and four notches. Briefly she thought of swapping canisters, but a slight creak upstairs refocused her attention. No. You only need three shots. Keep them pinned, wait for reinforcements.
Get it now, before it disappears from the archive a couple of weeks from now. -the Centaur

Reading Jeremiah Willstone on Wednesday

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I am reading from JEREMIAH WILLSTONE AND THE CLOCKWORK TIME MACHINE at 7:20am Wednesday morning on Ann Arbor's radio program Unbedtime Stories. A teaser:
Lightning gouged a chunk of the wainscoting an inch from Jeremiah Willstone’s head and she hurled herself back, bumping down the stairs on her tailcoat, firing both Kathodenstrahls again and again until the doorpanels were blasted into sparks and splinters. Her shoulders hit the landing hard enough to rattle her teeth, but Jeremiah didn’t lose her grip: she just kept both guns trained on the cracked door, watching foxfire shimmer off its hinges and knobs. The crackling green tracers crept around the frame, and with horror she realized the door was reinforced with iron bands. She’d intended to blast the thing apart and deny her enemy cover, but had just created more arrowholes for him-or-her to shoot from. As the foxfire dissipated, the crackling continued, and her eyes flicked aside to see sparks escaping the broken glass of her left Kathodenstrahl’s vacuum tubes. Its thermionics were shot, and she tossed it aside with a curse and checked the charge canister on her remaining gun. The little brass bead was hovering between three and four notches. Briefly she thought of swapping canisters, but a slight creak upstairs refocused her attention. No. You only need three shots. Keep them pinned, wait for reinforcements.
-the Centaur

Take Care Of Yourself Before It’s Too Late

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Gabby naps, with the sabretooth skull in the background.

I can't even begin to tell you all that I've gone through recently: sleep deprivation, tonsillitis, tinnitus, internal injuries, a trip to the emergency room (unrelated), and near disasters at work. I've started another blog entry to explain what's been going on, but even that had to be put on hold by other disasters.

The quick point I want to pass on is that I work hard sometimes. I used to describe as working two jobs: by day, my work at the Search Engine That Starts With A G, and by night, the author of the Dakota Frost series. Both could take 40 hours a week or more, meaning normally almsot every nonworking minute ends up on writing.

Recently, that's become like four jobs: my old project at the Search Engine, a brand new project at the Search Engine, both with hard and conflicting deadlines, a scientific paper for my new project, also with a hard deadline, and my fiction writing, also with deadlines. Each one could be a full time job. Aaa.

Recently, this came to a head: I'd finished my scientific paper, had a breather on the writing, yet still knew I was going to have to work hard, nights and weekends, just on my two work projects. So I decided one night I needed to take a break, to chill out, to go to bed early and catch up on sleep. To recharge my batteries.

Too late.

That night, when I got home, planning to crash out early, one of my cats urinated all over our curtains, then tracked it through our house, necessitating a 3:45AM cleaning job (cats will urinate after each other unless it is completely cleaned up), just before a Monday at work. The next night I was kept up by a sore throat, was worn out Tuesday, and was diagnosed with tonsillitis on Wednesday. The throat pain caused sleep deprivation, the coughing fits caused hemorrhoids (yuk!), the nasal congestion caused tinnitus and hearing loss in one ear, and all of this indirectly caused my trip to the emergency room (more on that later). This went on for days, then for over a week. And all of this just before a huge presentation at work, which we figured out we needed to cancel much too late to cancel - so I had to keep working, even though I could barely keep working. I couldn't really code in my exhaustion, and when I did readings for my other project - and I did work on my other project, because its deadlines wouldn't stop either - the textbooks actually blurred when I sat down to read them.

It was almost two weeks later, a day after the presentation, when I finally crashed, for essentially 36 hours straight.

So my point, and I do have one, is that you should take care of yourself. Now. While you're still feeling good about yourself. Because if you wait to take care of yourself until you're all worn out ... it may be too late.

-the Centaur

Taking a Sabbath from Microsoft Word

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The Notes on Blood Rock I'm not a very literal Christian, but I do believe that a lot of Christianity is good. But I don't think it's good because God says so - I think it's God said so because it's good for you. One example is the Sabbath. But what is a Sabbath? Going to church on Sunday, then sitting around reading psalms? No, a Sabbath is first and foremost a day of rest, and second a day of worship. And God doesn't ask us to observe it because he's needy for worship: he asks us to do it because we need time off. I'm not going to go into the Episcopal theology which suggests that Jesus doesn't care what day you take your Sabbath as long as you do take one - I'll let my fundamentalist and atheist friends thumbwrestle over that one. I'm just going to take it as a given that we need a day off. So ... what does the Sabbath have to do with Microsoft Word? In my personal life, I'm like a submarine: I disappear into whatever project I'm working on (see the bursty timing of my blogposts as evidence for this). And even though I usually have something on the order of four to six major projects going at once, I'm really only good at focusing on one of them at a time. My current project: revising my second novel BLOOD ROCK, which I've been doing since something like September, responding to hundreds of comments from my editor. I'm down to the wire now. The book is over 100 pages shorter and tighter after months of edits. I've gone from a HUGE list of TODO items that sprawled over two pages down to a short list of items I'd written on the back of a receipt. One of my last items is re-reviewing all the remaining Microsoft Word comments, which I've been doing over the last several days. But as I did so, I found that somehow I'd either lost my memory or Word had neglected to show a whole bunch of comments to me. Months ago, I went through the entire document in detail resolving differences and addressing comments before starting my big tightening edit, and yet there are real, material important comments I would remember if I'd seen them that only showed up in the last few days. Having observed Word's behavior looking for possible bugs, I'm guessing either it was collapsing comments when there were lots of edits on a page, or, more likely, this is a scrolling bug that caused some comments to appear "over the top of the page" and thus effectively become invisible. Another alternative is that it might have to do with the "ribbon" ... I recently switched from Word 2004 for Mac to Word 2011 and the interface for comments seems to have changed. A simple interface change; they happen. But that's not the point. My frustration is that even minor offhand comments from the editor can lead to big changes. If she asks me to delete something on page 204, I might just do it --- but if I don't agree, I generally think hard about whether I need it, whether it's important to me, and if so how to integrate it so deeply into the novel that it's inevitable --- ideally to the point where she'd tell me to put it back in if I took it out, though I don't know if I ever achieve that. :-) So now I have a whole load of comments that I'm essentially getting fresh. Worse, they're commenting on things in sections that I had previously reworked in response to the editor's written comments, sections where I didn't think there were major in-line comments. So I've spent a great deal of effort fixing things in response to the revision email, the suggested changes, and a long hallway conversation with the editor at Dragon*Con, but I'm now finding dozens of things, both little and great, that would have potentially changed what I would have done. So ... what does Microsoft Word have to do with the Sabbath? Well ... I am taking today off. :-) I have a great job at the Search Engine That Starts With a G, but it takes a lot of time - partly work, partly travel time, partly mental recuperation time. And I have a wife, and friends, and cats. By lugging my laptop to breakfast, lunch, dinner and coffee, I can eke out 3-4 hours a night 3-4 days a week, but that's not enough, and generally need to work on my writings on the weekends. This gets especially intense when editing, because I can't futz around doing research reading or shift gears to another story if I'm stumped; I've got to keep my brain focused on the EDITING process. But my frustration reached its limit last night. I blew my stack and fired off a few frustrated emails to the editor, and decided to take today off. To use the Sabbath that God gave us. I don't have a link to the great sermon that Father Ken of Saint Stephens in the Field gave on the topic, but I do have a link to my atheist friend Jim Davies, who takes Saturdays completely off so he is free the rest of the week to pursue the top priority items on his nobility list. The theology is different - but the idea is the same. The point? The moment I decided to take the day off, I felt completely liberated. I'm going to do something fun like ride a bike or design a robot brain - or maybe visit a bookstore for something other than their wifi or coffee. Before writing this blog post, I spent the previous hour implementing "Hello World" in every language installed on my new Macbook Air as part of a project to crack my programming knuckles again (and oddly, the hardest language was Awk, which I actually use so much at the command line it's like a reflex. Weird). I've been wanting to do this for weeks, but I've spent it revising. Now instead, I've had a little fun. My batteries are already recharged. Maybe you're one of those people who find it easy to take time off. Good for you. If you're not, especially if you live in the Bay Area ... take a break. Maybe not even take a break from work; take a break from whatever you won't let yourself take a break from.

BLOOD ROCK now under 500 pages…

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Me at work at the kitchen table Editing BLOOD ROCK in response to the notes from Bell Bridge Books is progressing. It's been quite the challenge, but I've preserved the bulk of the book and got it to under 500 pages. I'm going to try to get this editing pass (#2) done today, a third editing pass done next week, and send it to the editors the following week. -the Centaur UPDATE: BLOOD ROCK is now 488 pages (as my personal reading copies are formatted, which is probably about 400-450 pages of a normal novel), meaning I've successfully cut 100 pages from the novel. And, as I hoped, I JUST FINISHED THE SECOND REVISION. On to pass 3.

Cracked 70,000 Words

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58,000 Added Words Just reached 70,000 total words in THE CLOCKWORK TIME MACHINE ... 58,735 total added during this month, so it looks good to hit 60,000 words tomorrow. Woohoo! As usual, Nano's raw rough-drafty stuff, but here's where we are in the story (suitably snipped and edited not to give too much away):
The engines of the Machine spun up with a terrific rising whine and discharged all at once, lightning in a bottle, illuminating the entire diving bell interior with a crackling foxfire glow. Even the handcuff that pinned her left hand to a support arch shimmered as the transelectric field rippled through it, but as she was grounded to the same pole it left her with little more than a shudder. As the Clockwork Time Machine rattled and clacked, ticked and swayed through the tunnels of possibility, Jeremiah hunched in a little ball by the pillar in her bloodied shift, her left hand high over her head, twisting uselessly in the cuff as two footmen stood over her, watching, their six-strings at the ready. It made her feel small and helpless, even though they’d made the mistake of cuffing her bad hand; but she hadn’t the heart to do her usual scheming for escape. She had to see this through.
-the Centaur