Hard-Earned Lessons

snape study hall

Do your work. You’ll be happy later that you did.

J and I were chatting yesterday as we made the two-hour drive home from his parents’ about what we wish we had known when we started writing nearly 10 years ago. It was such a good list I thought I should share. It’s by no means definitive, and I’ve no doubt other writers would come up with other items, but if it helps anyone avoid the mistakes we made, then it was worth my time.

Structure
There is pretty much nothing easier than writing a giant blob of prose. Writing tens of thousands of words that are novel-shaped is decidedly harder. It’s more than just beginning, middle, and end. It’s advancing character and story, plotting setbacks, making sure the reader isn’t about to nod off or complaining that what you’re telling them is pointless. If I could go back 10 years and tell myself only one thing, it would be to study structure before putting pen to paper.

Chapters
Speaking of structure, how do you know when to end a chapter? How long should it be? What, exactly, ought to go in one? There’s no one answer for every novel, and we’ve intentionally played around with this in different novels, but we had some 7,000 word chapters with 3 POVs, and zero thematic elements tying them together when we started. We write in decidedly more logical chunks these days.

You won’t remember later
Write. It. Down. That brilliant idea that is so awesome you couldn’t possibly forget it? You will. That solution you found and put in Chapter 10 is great, but when you need it again in Chapter 50, you won’t remember if you didn’t put it in the story bible. Really, if we could go back and keep a more organized story bible from Day 1, it would help a ton. And it really would have helped a lot, even if we’d never moved past the original Quartet. Now that we have over two dozen novels in the Myrcia ‘verse, a good story bible is absolutely essential. And for those little ideas that pop up, they all get written down for use later.

Write in order
We thought it would be all awesome and creative to write the scenes that most inspired us as they inspired us. So when we started, we were literally writing scenes from what would become Book 2 before the characters in that scene had even met in Book 1. At the time, it seemed like a good way to get words down, and I suppose it was, but what it mostly did was make revision twice as long as we then rewrote all of those later scenes to take into account earlier material. Sometimes, I still move around a little, but I a) have a much better outline, and therefore, a better of idea of the story as a whole, and b) have made peace with the fact it will entail extra revision.

Sympathetic characters
We thought if we created a character we liked—a smart girl who is ambitious and happy, surrounded by people who also think she’s awesome—the reader would like her, too. Oops. Early betas found her insufferable and much preferred the girl with the crappy family and the worse husband, who was always looking for a way to make her shitty lot in life just a little better. I think we’ve made them both pretty interesting and sympathetic now, but yeah, we really didn’t understand at first that adversity gets a reader on the side of your character far more than showing how popular she is.

Calendar
When you have four POV characters spread over thousands of miles in an era when travel was remarkably difficult, keeping an accurate calendar is a must. We had some general ideas about when things should be happening, but when we plotted out exact dates when things had to happen and figured out how long it would take someone to get from Point A to Point B, we realized the timing was completely off. But, thank heavens for those poor traveling conditions so that freak snow storms could hold people up for a week, and magic allows a message to get to someone almost as fast as by telegram. As I’m about to start an epistolary novel, I’m already dreading my calendar—trying to figure out when someone wrote a letter and more importantly when someone read it, again in a world with much slower travel than today. But I know I will be happy that I did, and just like all of these other lessons, when I think about skipping over them, I do my best to make that my mantra—I will be happy that I did.

~S

Learning All the Wrong Lessons

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My homework was never quite like this.

Not that we’re bloodthirsty or anything, but we sure like ourselves a good character death.  We’ve talked here before about when it’s appropriate, and sometimes even necessary, to kill characters.

Just in case you don’t feel like clicking on those links, our three rules for offing a character are as follows:

1) Would it be intellectually dishonest not to kill the character?

2) Is it dramatically the right choice?

3) Does the character dying have interesting repercussions for those left alive?

One of the examples we used to show the proper killing of a character was Ned Stark from Game of Thrones.  As S wrote:

It would be incredibly dishonest and make the mighty Lannisters look incredibly weak if Ned Stark fails to die. And the drama in that moment is heart wrenching. Plus, so much of what matters in the moment of his death is how it will change the lives of his children, most importantly Robb. Everything about Ned Stark’s death accomplishes precisely what a writer (and reader/viewer) hopes it will.

So Ned’s death was a great moment in the story, and a great moment in TV.  Unfortunately, as we were watching The 100 this past week, it occurred to us that other shows are learning exactly the wrong lesson from Game of Thrones.  Rather than learning that killing a character can drive the story and provide motivation for the characters, it appears as if the writers of The 100 learned that it’s really cool to just bump off characters randomly for shock value.

In what’s been called the show’s ongoing Hunger Games storyline, characters like Jasper and Roan keep getting killed, not because there’s any logic or justification for it, but seemingly just because the writers want us to think “ZOMG!  They totally killed that guy!”  And then applaud them for their bold storytelling.  The worst part is the violation of the third of our rules: there are zero repercussions for anyone left alive, and in fact the other characters barely remember those who died at all.  But then again, that’s always been a problem for that show.  See, for example, poor old…oh, what’s his name?  It’s on the tip of my tongue.

Oh yes, Finn.

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Remember when he was the love of Clarke’s life?  No?  Well, that’s okay.  Neither does Clarke. 

So that’s what’s been on our mind this week.  In other news, S just finished posting her latest fanfic series, and the feedback from readers has been very good.  So huzzah for her!  And I’m about ten chapters into my latest Myrciaverse book, which might hypothetically be a birthday present for someone who might hypothetically be S.

Yes, we write stories for each other for our birthdays.  It’s the unicorniest thing ever.  So I’ve got to get back to that.  In the meantime, let’s all hope The 100 figures out how to make character deaths count.  I mean, I’m not holding my breath, but it could happen.

J

Teasing the Inevitable

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Gosh, I hope it works out for these two crazy kids.

Tonight is the Oscars.  S and I are going to an Oscar party, though that’s mainly just for the fun of going to a party.  As far as the nominees are concerned, as my dad always likes to say, you can’t begin to plumb the depths of my indifference.  I was just looking at the official site, and in pretty much every category, it’s just movie after movie that I’ve never seen.  We got A Man Called Ove from the library.  And we watched about the first half-hour or so of Captain Fantastic.  And I saw Zootopia on Netflix.  But other than that, I’ve seen nothing.

The truth is that S and I spend a lot more time reading and watching TV anymore than we do watching movies.  Especially movies in the theater.  It’s been a very long time since we’ve gone out for a movie, in fact.  But that’s okay, because there’s so much good TV and so many good books.

Speaking of which, we just got the DVDs of Victoria with Jenna Coleman from the library, and we stayed up a bit later than we should have last night watching the first five episodes.  That took us from Victoria’s accession to her marriage to Albert.  It’s very good, and I wouldn’t be surprised if we finish it today.

At the same time, we’re reading Ethan Frome for S’s classic lit book club.  I’ve read it before, years ago, but S hasn’t.  Thanks to a technical glitch in the Google Books version that she’s been reading, she ended up accidentally skipping the introduction.  (For those of you who have read the book, that’s the frame story, where the narrator meets Ethan Frome and ends up having to stay at his house in a snowstorm.)  So we dug out her tablet and I read it to her while she drove.  And of course it changes the story quite a bit when you start out knowing, even from Ethan’s first appearance in the book, that something awful is going to happen to him.  The question becomes, “How did this happen?”

That’s the same issue faced with historical fiction, like Victoria.  No one with even the slightest knowledge of history has any doubt how things are going to work out between Victoria and Albert.  The facts are well known, and there’s not really any way to create suspense there.

The trick, in both cases, seems to be a focus on the characters.  Both Edith Wharton and the writers of Victoria seem to be concentrating not on trying to create false suspense where suspense is impossible, but rather giving us marvelous and telling little bits of character development.  In other words, rather than focusing on the outcome (What will happen to Ethan Frome?  Who will Victoria marry?), we focus on the internal qualities of the characters—the flaws and strengths that will lead them to this outcome that we already know.

Here, for example, is the third paragraph of the main narrative of Ethan Frome:

The night was perfectly still, and the air so dry and pure that it gave little sensation of cold. The effect produced on Frome was rather of a complete absence of atmosphere, as though nothing less tenuous than ether intervened between the white earth under his feet and the metallic dome overhead. “It’s like being in an exhausted receiver,” he thought. Four or five years earlier he had taken a year’s course at a technological college at Worcester, and dabbled in the laboratory with a friendly professor of physics; and the images supplied by that experience still cropped up, at unexpected moments, through the totally different associations of thought in which he had since been living. His father’s death, and the misfortunes following it, had put a premature end to Ethan’s studies; but though they had not gone far enough to be of much practical use they had fed his fancy and made him aware of huge cloudy meanings behind the daily face of things.

Even before we know why this much younger, healthier Ethan has walked into Starkfield, we know something vitally important about him—he’s a frustrated scholar unhappy with his lot in life.  Similarly, there’s a fantastic scene in episode 5 of Victoria, where Albert’s libertine older brother, Ernest, takes him to a brothel to “educate” him before his marriage.  Albert goes off with one of the prostitutes, but rather than sleep with her, he just talks to her and takes notes on what he should do on his wedding night.  It really explains a lot about the character, and about the kind of relationship we (as viewers who know our history) know we’ll be seeing later on between the queen and her beloved prince consort.

As a writer, I suppose the lesson here is to remember that “how” and “why” are sometimes more important than “what” happened.  If you create interest in your characters, you can make the reader want to keep reading, even when there’s no suspense as to how things are going to end up.

J

The Long and the Short of It

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my silly edit from Versailles

Last weekend I finished the longest solo work of my writing life. (J and I discussed that I’ve easily written 200K+ words of the Quartet on my own, but that’s not really a solo project.) It’s a Musketeers fanfic of limited appeal I started it back in July. It will never be widely read, and it took a boatload of time and effort to write, but I’m really glad I did it. I think it’s quite good, which is something I almost never say about my own writing. I’m, frankly, crazy proud of it. I’m still in the process of posting it for the rest of the world to see, so it’s not out of my life yet, but the blood and tears have been shed, and it’s time to think about what’s next.

Returning to the pattern I had going about this time last year, I think I’m going to juggle multiple projects, at least until one insists upon itself and demands my full attention. Some of it’s going to be original fiction, some is going to be fanfic, and some of it will be Myrcia ‘verse. It’s going to be a mix of short and long pieces, with a healthy dose of outlining thrown in.

The Swift True Road/Mercenary stories

This is my Italian Renaissance mercenary novel I started back for NaNoWriMo.  I never felt truly comfortable with the setting, and my outline is a giant mess, and I was trying to squeeze way too much into one novel. Dropping it was one of the best choices I ever made. But I do want to get back to it, and this time I want to do it right. I asked J for advice, and he came up with something I wasn’t expecting.

Write short stories.

“Huh?” I thought as I tried to figure out how that was going to fix my novel, but then he explained. Since part of my problem was not feeling comfortable in the world, J suggested I write some short stories, almost like character prompts. I should focus on one character and a part of the setting I need to understand better, and just write that. Once I’ve written, for instance, Francesco’s first night in camp as a mercenary, I’ll know more about that character and how mercenary camps work. (It also helps focus my research, so I’m not “GAH! Must know entire Renaissance world!”) I want to write at least one story for each of my named characters, so I’m thinking that perhaps after a dozen or so of these, I’ll be ready to dive back into restructuring the novel. And I’ll have a nice little collection of short stories I might look into posting somewhere.

Two Shots of Bourbon/Versailles fanfic

I think I’m about to dive into a new fandom with my fanfic—Versailles. I mentioned the show briefly  after we finished watching Season 1 the first time, and since then my obsession with the show has just grown. I’m particularly interested in the brothers at the center of the show, Louis XIV and Philippe I, Duke of Orleans. But as I’ve started outlining my first fanfic and toying with ideas, I’m finding myself a little hesitant for a lot of reasons. My biggest concern is getting Louis’s voice right. Chatting with the lovely Storyskein this morning, I mentioned that maybe I should do a one-shot from Louis’s POV before diving into the longer fic I have planned. In other words…

Write short stories.

I already have a one-shot piece in mind to write from Louis’s POV, after which switching to Philippe’s POV for a story would probably not go amiss. (Just because I’m not as nervous about getting his voice correct right now doesn’t mean I won’t be later if I skip practicing it now.) Also, a couple of short pieces would be a nice way to introduce myself to a new fandom. Plus, having just finished my longest work, I could probably use the mental change of something shorter.

Oleg Omdahl 4

When I’ll get around to actually writing this, who knows. I certainly won’t be ready for April Camp NaNoWriMo, but perhaps July Camp or NaNo proper in November. In any case, it’s never too early to start extreme outlining. I actually outlined Oleg 3 (Fiat Justitia) a year and a half before I wrote it, so there’s no reason I can’t get to work on this at any time J might be up to diving into it with me. (I will admit I really adore outlining with J. It’s one of my great joys in life.) I already know a lot of what I want to do in this one, it will just be a matter of filling in blanks.

And that’s what’s on my plate. And it looks really quite tasty. I’ll be sure to report back on how the short story theory works out.

~S

The Persuasion Project: Chapter 6

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CE Brock illustration from mollands.net

 

It’s Persuasion Live Read time again! Chapter 6 opens with a nice bit of character building for Anne, but without a ton of plot happening during her stay with her sister, Mary Musgrove, at Uppercross Coattage. And even though things pick up a bit later on, I think I’m just going to pull some quotes that struck me. It’s as “live” as I can make my read. (Crazy thought—Read aloud with asides. Post audio.) Anyhow, here’s my favorite example of what Austen is doing in this chapter with Anne.

She played a great deal better than either of the Miss Musgroves, but having no voice, no knowledge of the harp, and no fond parents, to sit by and fancy themselves delighted, her performance was little thought of, only out of civility, or to refresh the others, as she was well aware. She knew that when she played she was giving pleasure only to herself; but this was no new sensation.

Just in case you were questioning whether or not Anne Eliot is a better person than you. Truly, she is always willing to be underappreciated, put everyone’s complaints and desires above her own. Is there any heroine who is so content to be unassuming without also coming across as spineless and unsympathetic? (I’m looking at you, Fanny Price. I’m looking at you.)

But then in the second half of the chapter, the Crofts arrive to take up residence at Kellynch. I immediately love Mrs. Croft when she comes to visit Anne and Mary at Uppercross Cottage.

Her manners were open, easy, and decided, like one who had no distrust of herself, and no doubts of what to do; without any approach to coarseness, however, or any want of good humour.

She’s entirely my kind of woman, and frankly, after all of the shallow, fake, and conniving people in Anne’s life, exactly the friend our heroine deserves. However, Mrs. Croft then nearly gives Anne a heart attack.

“It was you, and not your sister, I find, that my brother had the pleasure of being acquainted with, when he was in this country.”

Anne hoped she had outlived the age of blushing; but the age of emotion she certainly had not.

“Perhaps you may not have heard that he is married?” added Mrs Croft.

Of course, this turns out to be Captain Wentworth’s brother who used to live in their neighborhood, and the man the Captain was visiting when he and Anne fell in love. It could be a cheap ploy, but it works, and my heart is in my mouth along with Anne’s.

Another thing I love about Austen especially in this novel—her practical, honest narrative voice. Here’s how she describes the loss of the youngest of the Musgrove sons, Richard.

The real circumstances of this pathetic piece of family history were, that the Musgroves had had the ill fortune of a very troublesome, hopeless son; and the good fortune to lose him before he reached his twentieth year; that he had been sent to sea because he was stupid and unmanageable on shore; that he had been very little cared for at any time by his family, though quite as much as he deserved; seldom heard of, and scarcely at all regretted, when the intelligence of his death abroad had worked its way to Uppercross, two years before.

So blunt and honest in a way you don’t expect the well-mannered to be, and no one (seemingly) has better manners than Jane Austen. J and I were just discussing why Pride and Prejudice has received far and away the best adaptation (the BBC mini), and he proposed it’s because Austen’s narrative voice is so significant to the enjoyment of her novels, and that the narrative voice in P&P is so close to Elizabeth Bennet’s voice you can have her believably deliver the famous opening line about a man of large fortune and other tidbits from the narration. It feels so natural and the best of Austen remains. What more can you want? The narrative voice of Persuasion is so wonderfully blunt and subtle all at once, without the restrictions Anne feels since she is such a decent, unassuming woman. (Crazy idea—work out this theory some more and write about it in detail.)

And that’s all for now, but I’m so excited because Captain Wentworth is coming!!!!!

~S

 

The Long Count

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1,243, count them, 1,243 pages!  Mwahaha!

It’s Sunday again, and we almost forgot to blog. S has been working on a rather important project for work that we won’t discuss here. I’ve been working a little on some reference works for the Myrciaverse. Also, we made a pot roast for supper, and it was delicious.

Over the weekend we finished The Count of Monte Cristo for S’s book club. It’s the second time I’ve read it, and it’s easy to forget just how incredibly long it is. How long is it? Well, it’s so long that the book club is doing War and Peace this summer, and thanks to The Count of Monte Cristo, War and Peace will only be the second-longest book we’re reading this year. That’s how long it is. S may post her thoughts on it sometime, but here’s my super-quick review.

It’s very good, and if you’ve got a few months free, I would highly recommend it. However, we had a few issues with it. For one thing, Dumas really drags the story out. There are long books that feel shorter than they are, like War and Peace. And for the most part, The Count of Monte Cristo is one of those. It reads pretty quickly. But there are times, like the chapters where Luigi Vampa, the Roman bandit, is introduced, that take up far, far more space than they really need to.

Then there are problems with the story itself. The count’s relationship with Haydée, his Greek slave girl, seems awfully forced. The count ends up with her because reasons, basically. One gets the sense that Dumas planned it that way, and forgot to show their relationship developing believably over the course of the story. As I remarked to S right after we reached the end, Haydée is the Ginny Weasley of the book.

As for the count himself, the fact that he decides that revenge is bad at the end comes out of pretty much nowhere. And the way he treats Maximilien Morrel at the end—refusing to come right out and say that Maximilien’s sweetheart, Valentine de Villefort, is still alive—is just cruel. When Maximilien and Valentine are reunited, they both act absurdly grateful to the count, when any normal person in their place would smack the guy in the face.

But even so, it was a good book. Good enough to read twice, in fact.

J

It’s Not a Retcon Until You Hit “Publish”

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Don’t zoom in unless you want spoilers!

Here at Unicorn HQ, we have a three-day weekend, which means plenty of time for writing projects.  At the moment, of course, we’re just sitting around drinking coffee, but we’ll get back to work later on.  Maybe after we go grocery shopping.  But rest assured, we’ll be hard at work sometime soon.

Last night, we worked on the outline for S’s latest fanfic saga.  Maybe at some point she’ll post some more about it, but for now all you need to know is that it’s a sort of romance story with a love triangle.  As originally conceived, it was all about the romance, though with just enough plot to explain how, at various points of the story, two of the three members of the triangle get into rather serious trouble.  (I can’t say how they get in trouble, because that would be a spoiler.)

So a few weeks ago, S started posting chapters of this fanfic at her favorite fanfic-publishing site.  And an odd thing happened.  It turned out that her readers were actually quite interested in the plot.  They liked her original characters and said they were looking forward to seeing what happened later.

You can see her problem now, can’t you?  The plot was never intended to be important.  It was just window dressing—an excuse to get the members of the love triangle in position (as it were) for their romance to blossom.  Now S suddenly realized that she really needed to flesh out the plot.  And that meant going back and outlining again.

We got out the butcher paper, rolled it out on the floor, and she wrote out a quick summary of each chapter.  Then we went through, figured out where the plotting and political intrigue could be expanded, and wrote it in with a pencil.  After that, we did some quick character profiles for some of her original characters.  In the story as originally written, these people barely showed up.  But if they’re going to become a bit more important, S needs to know what they look like, where they’re from, and what their motivations are.

This kind of re-outlining is always a bit tricky.  When you write a scene, it hopefully has a certain flow or rhythm to it.  So it’s not always easy to find places to add new information.  Let’s say you have a scene where Susan and Bob are talking about their friend Frank.  And in your new outline, you’ve decided (for some reason) that it’s really important to find some way to mention that Susan and Frank went to college together.  Maybe that could be entirely straightforward—rather than telling a story about something stupid Frank did at last year’s office Christmas party, you can just change that so it’s a story about something Frank did at a frat party in college.  Bingo—you’ve got that information into the scene for the reader to see, and almost nothing had to change.

Sometimes, though, you’re left pulling your hair and banging your head against the keyboard, thinking, “There’s no where to put it!  There’s no reason why Susan’s college years would ever come up in this conversation!”  Now you’re faced with either rewriting the conversation from scratch, or writing a new scene.  Which means more outlining, of course.

But that’s what you have to do, and that’s what we’re up to this weekend.  Also, I’m still working my way through the reference guide that I’m writing about the main city in the Myrciaverse.  Last night I invented a number of markets and shopping districts.  It’s good fun.  Just the thing for a cold winter afternoon.

J

A Side Trip to Versailles

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Alexander Vlahos as Philippe on Versailles. Pic from Ovation.

Last night J and I took a break from NaNoWriMo to watch the two-hour season finale of Versailles. (Well, I think J never stopped typing, and I wrote during commercials, so not a complete break. And I need to get back to it again soon, so like a side trip to a famous location, this is going to be sadly incomplete and miss a lot of good stuff.) The show focuses on the young Louis XIV as he begins to expand the family’s old hunting lodge into the palace we all know today. Louis is played by the wonderful George Blagden, who we both still miss horribly as Athelstan on Vikings, and it’s just about one of the prettiest shows on TV. The costumes, sets, and cast are all supremely lovely to look at it.

And none more so than the King’s brother, Philippe, Duke of Orleans, aka Monsieur. Played by Alexander Vlahos, Philippe is one of my favorite kinds of characters, a perpetually angry, wounded animal, lashing out at everyone around him. However, the show pushes the boundaries of how far a character can lash out and still be sympathetic. Not to give away spoilers, but the way he treats his wife in the first episode of the season and the last are so different that I’m not sure it’s so much a character arc as inconsistent writing. Since I firmly believe most shows should get a pass on questionable decisions made in the first few episodes while they are finding their legs, and I prefer Philippe in the finale to the Philippe of the pilot, I’m basically indulging in some willful forgetting in order to enjoy the show more.

Because it really did take the show about four episodes to find a rhythm with the characters, narrative, and editing. And once it did, I enjoyed the show more and more, and I’m very excited about where Season 1 left off. When we will get Season 2 in America is anyone’s guess. (Actually, it may have already been announced and I missed it, because I’ve been avoiding a lot of news about the show until I saw the season finale.) Season 1 aired in Europe about a year ago now, but only made it to Ovation here in the US in October, but perhaps, now that the show has a US distributor, Ovation will show it closer to the European air dates? I hope?

Anyhow, for anyone interested, Ovation will be having a marathon of all 10 episodes Thanksgiving weekend. I’d love for folks to check it out and come chat with me about Philippe and what a viewer can forgive and forget in both characters and writers. He’s an intriguing and complex character. Perhaps in between seasons I’ll have to try my hand at fanfic and see if that helps me figure him out.

~S

 

Unicorning: an Update

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Old-school Unicorning.

This is mid-November, so you can’t actually expect that we’re going to write anything lengthy or thoughtful for our blog, can you?  No, of course not.

I’ve finished my first novel, A Tincture of Silver, and I think it turned out pretty well.  It’s interesting how, no matter how much you prepare for a book, you still discover more when you actually go to write it.  For example, I thought I knew one of my characters pretty well, but at the end of Chapter 9, she had to write a farewell letter to someone she had tricked.  The tone of it started pretty pleasant, actually, but then, at the end, I had the idea to add a nasty little burn as a postscript.  And suddenly I found I understood her a lot better.  What sort of person is she?  Well, she’s the sort of person who would write something like that, just to rub it in.

For the past few days, I’ve been doing character prompts for my second novel, When Uppance Comes.  It’ll be more of a comedy than the first one, I’m hoping.  It’s a sequel of sorts to both A Meager Education and Joint Command.  Here’s the summary of it I just wrote for my novel page on the NaNoWriMo website:

Selfish, conniving, and beautiful, Lisette comes to the royal court, determined to take her rightful place in society.  She schemes to win a place accompanying the queen on a vital diplomatic mission, but she’ll have to win the trust of the army officer vetting the candidates, who unfortunately is her old school roommate, and who knows Lisette all too well.  Meanwhile, an enemy spy infiltrates the court, thanks to the wandering eye of Lisette’s wayward husband.  They can’t all get what they want, but they might get exactly what they deserve.

S is doing very well, too.  She came into this weekend thinking she was about 6,000 words behind, but she’s going to finish ahead.  That’s pretty impressive, I think.  So huzzah for S!

J

Time Management

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Did you remember to set your clocks back? (The astronomical clock in Prague. Our picture.)

I was all excited when I started NaNoWriMo this year with how together I was. I used October to not only to do my outline and research, but I finished up a couple of other writing projects so they wouldn’t be looming over my head all month. Next year, though, could someone please remind me that I need to write a couple of blog posts in October as well? There’s nothing like being behind on your NaNo novel and waking up in a cold sweat because it’s also your day to blog.

But, I did get an extra hour this morning, because I forgot to set the clocks back, so I can ramble at you all for a few minutes about what’s currently bothering me with my NaNo novel, which I titled The Swift True Road. (It’s a line from Petrarch, which suits my well-read Renaissance characters.) The characters and some of the incidents are based on a fanfic I wrote, and I just hit one of the scenes that I figured I could use from my fanfic. Obviously, I always knew I would need to make some changes, because they aren’t the exact same characters, and I was changing the POV of the scene. But when I started to write it yesterday, I realized I had a problem.

I wrote the scene better the first time.

There was a reason I chose the POV I did in the fanfic. And the setup there was so much easier, because I didn’t have to explain who the characters were or why they would be interested in one another. A lovely friend on Twitter tried valiantly to talk me through my despair last night, as did J, and I think what they helped me see is that my instincts were right when I planned this chapter—this is the story I need to tell and this is the POV I need to tell it from. I need to figure out how to make it work.

So, today, I’m going to push my way through this chapter, no matter what. It may suck, but that’s a problem for December me.

~S