I must have repressed the memory of this stage of writing Ryswyck; in fact I know I did, because I blithely assured myself it wouldn’t take so long to write the second book in this ‘verse now that the ‘verse itself was properly realized. And that’s true so far as it goes. But I forgot about the transitional stage of plotting, where you move from needing to know what happens to needing to know why.
There’s just no rushing this stage, and I hate that. It bears such an aggravating resemblance to nothing being done at all. Since I’ve been obsessed recently with the volcano eruption on La Palma in the Canary Islands, lava metaphors are coming to mind: you hope a lava stream will traverse the topography in a way that is most expedient and least destructive, but of course what the lava is looking for is the path of least resistance.
It’s in this frame of mind that I said to Erica this week:
Me: still tearing my figurative hair out over plot lines in TLT Me: currently Speir is Miles Vorkosiganing her way through Bernhelm Palace and I am half minded to let her Her: lol Me: it’s more entertaining to me right now than the Berenian conspirators are being
Since Speir is the protagonist of all matters happening on the Bernhelm side of the strait, this is hardly surprising. But following this little meander has yielded some cascading insights into other parts of the plot, and so I’m not only not sorry I indulged it, I’ll probably use most of it.
Incidentally, Miles makes a handy metaphor for some of the things I intend for Speir — they’re quite different characters and I wasn’t particularly thinking of Miles when I developed Speir, but as an online acquaintance once said, “Plot doesn’t happen to Miles; Miles happens to plots,” and that’s the kind of person Speir is growing to be. The events of Ryswyck stifled her energies in certain ways, or at least forced her to direct them inward; that dynamic is in a process of change. And like Miles, Speir is having to find workarounds for disability and disadvantage, mostly via trial and error. Sometimes a lot of error.
In any event, aggravatingly slow as it is, this stage of the project is still engaging and holds promise for more velocity in the future, which is the encouragement I need at the moment.
To be honest this was my baseline expectation as far as outcomes for this contest. Though I’ve seen readers of Ryswyck use the word “fantasy” in describing it, it really doesn’t have any of the classic features of fantasy: no magic; no talking animals; the spirituality of the book rises to mysticism in places but not so as to confer, say, Jedi powers or anything.
On the other hand, it doesn’t really have many of those classic sci-fi features either: no space opera, no interesting technology, no aliens — its futurism is almost entirely parabolic. After I entered SPFBO I saw where Hugh Howey was starting up a similar contest for the sci-fi side of things. Watch me enter Ryswyck in that and have someone say it’s not really science fiction. I’m having a genuine laugh imagining that. God, am I glad I didn’t start publishing books till my 40s — I’m continually charmed by my own poverty of fucks to give.
My impression, too, is that people are way more inflexible about science fiction bright lines than fantasy ones. I have tagged Ryswyck as sci-fi in digital marketplaces before but steadfastly describe it as “speculative” in my own venues lest I run into some Heinlein aficionado or similar who wants to start an argument. They’d be disappointed!
There’s an irony in this because although I’ve written a book that appears to straddle genres, I made no attempt whatsoever to be “original,” God help us all. Secondary-world speculative fiction is plentiful, and a lot of it is built with Eurocentric analogues. It gets shelved in all sorts of sections. No, what I cared about when building Ryswyck was not genre features but tropes. I put in all my favorite tropes and the proverbial kitchen sink, and let’s be real, my primary motivation for writing The Lantern Tower is that there are some favorite tropes I missed.
As a former library paraprofessional I get why we have bright lines for genre boundaries; you have to if you’re going to bother having genres at all. People like having the stuff they want conveniently sorted onto one shelving range. As librarians say, a mis-shelved book is a lost book. So, in another way, is a misidentified one. But the convenience can outlive its usefulness and diminish when boundaries proliferate and grow rigid. Still, it’s better to have one’s book be debatably one genre or another than to have it tossed into the literary fiction section where there is 99.44% weeping and gnashing of teeth.
I’ve been neglecting my blog — it’s one of the hazards of blog-keeping, but I have been preoccupied with a lot of quotidiana lately, and all you who are signed up to Morning Lights have been getting small bulletins on how writing is going. I’m tempted to say that the short version is “Not great, Bob!” — but really, this is a recognizable stage in any project of mine, so the distress is minimal. To go back to the gardening metaphors, it’s not usually a good idea to dig up plants to see how they’re getting on.
Woke up this morning to the depressing news that the reviewer assigned to Ryswyck for an indie contest I entered has DNF’d it.
It’s true that everyone who has finished the book found it “exponentially rewarding” as one reader termed it. But I can’t hang over everyone’s shoulder urging them to go on reading — can’t, shouldn’t, don’t want to. I find myself in the position of being unable to repent my artistic choices, but knowing they have their consequences, and a depressing DNF percentage is one of them. Well, it was a long shot anyway, and as an old internet acquaintance said, we persevere.
I admit when things like this happen I wonder why I am bothering with this enterprise; but as soon as the thought takes shape its answer is already apparent. This is my vocation, and I can’t not do it. I think we think that if someone has a vocation that its truth will be proved by its success, that deserved fame and fortune is an ontological marker for what you were meant to be doing. But, as long as I’m breathing, I’m making up stories and finding ways to put them out in the world for others to find and enjoy and be lifted by. It doesn’t really matter if the work is bad, and I don’t think mine is. For a writer, writing — like blood — is compulsory.
Anyway, when I run into things like this, I give myself ten to thirty minutes to have a panic attack or a despairfest or a hot flush, and then I carry on.
In other news, my photography kick has extended itself now that I have a good phone camera, and I’ve wanted to post galleries on here to go with my daily selection for Morning Lights. I haven’t had the bandwidth to make selections from what’s becoming hundreds of photos, but if I sat down once a week or so to pick a half dozen I really like, it might be a way to keep the rhythm up here. If I want to. We’ll see. Post-pandemic life is a vast improvement on this time last year, but it does throw into sharp relief the stamina one doesn’t have. The bandwidth may just all go into writing, in which case I must beg my readers’ indulgence.
One day soon I will make a Lenten-themed post, but today is not that day.
I braved the deep freeze last week to get my annual physical and purchase a new phone, as my old one’s memory was stuffed too full to function after five years. The new device, being well-designed in the much more recent past, has a camera that doesn’t suck.
Also, I can get a text from someone that downloads itself and doesn’t take ten minutes to do so, so there’s that.
On the TLT front: I finished the aforementioned chapter and have started on another. This one has been a bit of a slog, to be honest. I don’t know if it’s my mood or the deep freeze or the laborious transition to more promising dialogue, but there it is.
Stitching the plots of my two arenas together is becoming less frustrating as I start to actually do it. I just have to remember to put in all the little touches I thought of to set this or that up.
Since for the most part I’m away up in my little nest, working and cooking and taking random photographs and texting my sibling in Austin to make sure they’re okay, I feel somewhat like my view is telescoped in repeated refracted colors, like a kaleidoscope. It may or may not be good for creating art, but to be honest? I don’t want to leave it.
Perhaps when spring gets here, I’ll feel differently. But for now, it’s just me and the cat and the open Word document. And that’s just fine.
It is very cold and a very fine snow is misting down, and that is just as it should be. Some notes from the home front:
While my tea is steeping, I’ve taken to picking up the camera and practicing shots on whatever I find marginally interesting in my flat. It is not yet light enough in the mornings to tempt me outside, but I take the camera with me when I put the trash out, and got some fine shots of a winter world this morning.
2. I lack half of one scene and the tail end of another to complete a chapter of TLT — I spent all my energy on a grocery trip on Saturday, but put down 1670 words on Sunday, which I call satisfactory.
3. My chromebook charger finally bit the dust last night, so I ordered a replacement and will have to make do with ye olde work computer until tomorrow.
4. A fellow community member said that thanks to C.’s rec she picked up Ryswyck and wound up reading it all in one sitting! — thereby confirming further that once a reader gets to a certain early point in the characters’ trajectory, the momentum takes care of itself. Gratifying.
5. I have named some characters from the diplomatic delegation of the Southern Consortium and made a start building up the part of the world where they enter. This also involves building up some of the world of Berenia, but that is less complicated: just think of the world’s most disadvantageous game of Settlers of Catan.
Things to be done:
I have promised myself to make no promises to keep up the habit of taking morning shots.
Keep going, of course. What else?
One of these days I will need to get a more comprehensive laptop, but I’m allergic to spending large sums of money, so I expect it to be a while before I actually do any such thing.
I really need to find someone with a good signal-boost radius willing to read and rec Ryswyck far and wide. Like, how do you ask someone to do this??
What I’d really like is to have a conversation with someone who actually knows at least one region of Africa well and can speculate on the nuances of a secondary-world Global South empire. Quite apart from authorial primary research, it’d be an interesting conversation! Must gird myself to forage on Twitter, I suppose.
And that’s the state of the state. Now back to work.
It’s a thoroughly rainy Saturday: perfect for writing.
To be honest, it hasn’t been one of those dancing-through-meadows-of-daisies kinds of months, at least as far as writing mojo is concerned. Nevertheless, I did complete the chapter I started before the whole “white nationalist attempted coup” thing, sent it to beta, and started storyboarding for the next.
There’s a way in which storyboarding is a glorified means of procrastination for me, but the glorified part is useful: ordinary procrastination is about the paralysis of perfectionism, but storyboarding gives me something to do while I negotiate myself an acceptable level of not-perfect to get started with.
And it often turns out to be useful! In this case, I had some things to figure out to illuminate the immediate path forward. Like whose POV to introduce where and at what vantage point; what’s happening in one location while X is happening in the other; what tempo to start with so that it accelerates in the right place; trajectories for characters I’m just getting to know…
My usual MO is, as I’ve said, pretty analog — index cards and notepad scratches and sticky-notes with quotations and bits of dialogue jotted for later reference. But this week I also made a personal Miro account to keep track of the larger items. I’d been using it for a rolling workflow project at work; while their templates are attractive and (probably) useful, what I like is just having a virtual whiteboard for keeping sticky-notes in color-coded order, and drawing my own lines between text elements. I want to design it myself, dammit — which is the main reason I couldn’t get along with my trial of Scrivener. I will decide how section breaks and chapters are to be designed, thank you very much.
I hear that Scrivener also has a character naming function that you can use for minor characters and extras, which sounds cool when you’ve been faffing about on Behind the Name for an hour or two, but I suspect there’s a similar options funnel, and just, no. Sadly, though, BTN is rather thin on African names (like, hey, it’s a Really Big Continent, right?), so I’ve had to extrapolate somewhat to name a couple of Southern Consortium characters. Coding a more-developed quasi-empire to the Global South should be an interesting endeavor, to say the least. But what’s the fun in setting oneself an easy task?
Today, I’ve put in some satisfying work: finished a scene introducing a character POV, copied in a scene-plug from my greenhouse and cleaned it up, and sketched plans for the transitional material between the two. Not bad for a rainy Saturday.
Now to figure out what I’m going to have for dinner.
So we are well away into the New Year, and I have sat down with The Lantern Tower again, determined to make the most of my favorite season for writing in. As usual I had bogged down right about the point where I’d be starting to build connective tissue between the first section and the second — fascia rather than plot; I know what happens at the end of Chapter Six, that part’s not a mystery. I’ll go back and fill that in much like I did the last couple chapters of Act One in Ryswyck.
So here I’m starting again at the beginning of the second section, writing scenes I know, planting out scene plugs I’ve got socked away in Google docs (gardening metaphors are rising to mind just now; I’ve been watching a lot of Monty Don specials and really wish I had some unshaded gardening space).
Besides the propagated sceneage, also already there are fascinating decisions to make. Like in what manner I should alternate locations for the action in Bernhelm and at Ryswyck Academy. If this were a film by Greta Gerwig I might dare to interleave by scene or section, without keying first to the objective chronology: but a book is not a film, so if I want a similar effect I will want to use tools of the written art. But which ones? That is a fun mystery, running one’s mental fingers over rows of smooth-worn tool handles.
Too, I have discovered a tension that is the mirror reverse to a tension I had to manage in the first book. In that book, though I consider Speir and Douglas to be co-equal protagonists, there was a point at which the action, the momentum and moral thrust of the story belonged to Douglas. I concerned myself intensely with the art of putting Speir on a sideline without sidelining her. Here, the opposite tension is in effect; and in this case I’m wrangling not only the balance of Speir as emerging primary agent with Douglas as subordinate agent, but also the residual sexism of fearing that as a wrongness. Once I identified the tension, however, I felt a small sense of relief: oh, I see, it isn’t wrong.
So that’s the state of things in the word trenches greenhouse at the moment.
Meanwhile, I had forgotten to add a music post to my blog hiatus list, partly because I’ll run across music, think “oh, that would be good to add to my collection of Ryswyckian atmospherics,” and then promptly lose track of it because I haven’t done anything practical like make a playlist or something that neurotypicals are likely to do as a matter of course. Anyway, here are two shots of Ryswyckian atmosphere for your Monday: one a tune by Penguin Café called “Protection” (I listened to several versions and preferred the most acoustic possible one, so you get the Tiny Desk Concert here); and a traditional waulking song from Mary Jane Lomond. It would be great to get some French/Alsace-based country songs to build atmosphere for the Bernhelm sequences in TLT; will have to keep my eye out, but if you know of any, link me!
Happy Christmas Eve, everyone! I am enjoying the day off by eating a champion’s breakfast and perusing my list of blog topics saved during the Great Blog Hiatus.
To begin, a tweet from November 25:
Spoiler alert: the next tweet in the thread begins with the words “total bullshit.”
When I read this tweet a month ago, my reaction was mainly an indignant Now you tell me! But I’ve thought it over a little in the time since (a little, not a lot — it’s not like there’s nothing else going on), and aside from the sprinkling of salt, for me it still really comes down to a question of competing priorities.
As Long’s tweet thread suggests, the problem of word count is a bit more nuanced than the Hard and Fast Advice of the Internet would suggest. But although my decision to self-publish was precipitated by a piece of Hard and Fast Advice about wordcount, it wasn’t actually that difficult a decision. When it comes to selling your manuscript to a publisher vs. selling your book to the public, the question was and is: which set of upsides do you value more, and which set of problems would you rather have?
Traditional publishing upsides:
In a word, cachet. You passed the gatekeepers! A Real Publisher published your Real Book!
You don’t have to do every last bit of the marketing yourself.
You also don’t have to do every last bit of the distro yourself.
Project managers produce the book for you.
You have access to professional editors as part of the deal.
All of this equals a head start in making bank, and as a friend said when I demurred about this as an ambition: “No. Make fucking money. If it’s worth doing, it’s worth making money with.”
Reverse these, and you pretty much have the defining features of independent authorship. Whether those are downsides depends on your point of view. From my point of view, these are the upsides of independent publishing:
“Project management” may not be a pair of words that an ADHD person likes to hear spoken together, but with that comes sweet, sweet control. To a publisher, you sell a manuscript. To the public, you sell a product: a product whose cover design you commissioned, whose layout you fashioned, and whose content you exerted your authority on. That’s worth a lot.
Likewise, this product takes as long to produce as you decide it should take. You can arrange another editing pass (or not), choose the release date, set up your targets, and go. There’s no hurry-up-and-wait once you’ve finished the writing part.
Like, I love Lois McMaster Bujold’s writing, but her books have had some god-awful cover art, which she was not responsible for and over which her control was very limited. When I imagined myself having as little say over what Ryswyck looked like, I thought: ughhh. It’s worth it to me to shell out some cash for a cover design that I like.
And that brings me to the downside of my chosen lot, which is: just as the control is all mine, the success of the product is all on me. In a traditional-publishing scenario, I would only have to sell the book to one agent. The agent then sells the book to a publishing house, and the publishing house sells it to the people. But in the modern environment, the author still has to do some of the marketing, they’re not going to clear that much overhead, and their name’s still on it, so people have to decide the book is good. Is there all that much difference, when all is said and done, between this and what I’m doing, selling the book person by person?
I admit, I am sometimes inclined to lament my bad karma when it comes to viral magic. I’ve known for years that my social media prowess is not destined to bring me cultic popularity — or even, let’s be real, a double-digit number of engagements per post. That’s not a vicissitude that an independent author likes to have on the list.
But I don’t suck at small-bore networking. I have friends who, when I ask nicely, have been happy to assist me out of their expertise, and not only that but to introduce me to their friends who have helped my project along. This is how I was able to purchase stellar cover art and launch a website with minimal outlay.
It’s true, Ryswyck is 248k words, a daunting prospect for the potential reader of an unknown indie author, designed (God help me) to turn the ratchet of tension by slow degrees at the beginning. Selling that to one agent might have been difficult, but selling it copy by copy to each individual reader is, let’s just say a heavy lift.
But though the return data is small, it suggests that if I get a reader to a certain early point in the book, they’re likely to really want to finish; and if they finish, they’ll have been highly rewarded. It’s a damn good book, it’s a damn good product, and I’m proud of it. More people should read it.
So, for a minute there, Long’s tweet thread made me wonder if I made the wrong decision. But all things considered…I don’t think I did after all.
With this site back online and transitioning to a more robust server, I’m getting back into the swing of blogging with a dispatch update on the word trenches along this front. Regrettably, it turns out Pandemic Brain is not terribly conducive to writerly output. Fortunately, the solstice is approaching, and I’ve made use of some of this year, if not to put pixels on the page, at least to make notes on structure and dialogue.
And, I have put a few pixels on the page — in the form of a couple loose scenes out of order which I will either use when I get there or cannibalize for other uses.
Plus there have been some very useful meta conversations with my betas the past several months, which I may attempt to synthesize in future posts; for the moment, here’s a snippet.
Me: Meanwhile I've found my metaphor for the plot of TLT
Me: it's a textile one
Me: everyone has vital information that can darn the fabric of peace, and Speir is elected to be the needle
Me: but she has to figure that out first
Me: I think I'm going to indulge nearly all of my crackalicious ideas, too
Erica: I mean why not
Then follows some of the crackalicious ideas, which I won’t spoil here, except to say that it involves all hell breaking loose in a ballroom, and this anticipated bit of dialogue:
"Speir, don't -- Speir! Sacred fucking lights," said Selkirk.
(The good thing about conducting most interactions with my betas over IM is that I have a record of things I am otherwise likely to forget. This pandemic situation has left me with the memory of a goddamn goldfish.)
All in all, I did what I could with a difficult year, and not only did I get Household Lights out, I got a few other things done as well. Next goal: get back on track marketing-wise. If there are opps for virtual interviews or panels, I want to find them.
It’s Book Day! To celebrate the launch of Household Lights, I’m running a special at the Smashwords outlet via their July Summer/Winter sale. For the month of July, Ryswyck will be available FREE in .mobi (Kindle), EPUB, and other formats. That’s right, if you’ve been hesitating, you can get the whole backstory for zero moneys this month at Smashwords. Meanwhile, if you’ve read Ryswyck, you can boost Household Lights by reviewing Ryswyck at Goodreads or wherever you hang out to discuss books. Help me with my marketing shenanigans, Obi-Wan Kenobi!