Do both every day.
I see variations on that with a degree of frequency. When I have a chance, I do my very best to edit Tesseract, write “The Mirror Of Tila,” and try really hard to be good to everyone.
The town I live in is one of the most conservative placed in the United States. I am not a conservative. Still, I have many local friends. There’s a warmth in my heart knowing that I have a diverse group of people I care about. Both genders, several religious affiliations, no less than four races. Continue reading
The novel I’m showing to agents currently is Blanc Noir, which was born in part from seeing so many forms of exploitation in modern society. While the main thrust of the story is an investigation, the setting thrives on taking advantage of the masses, usually to make an extra dollar or two.
What kind of writer would I be if I suddenly ignored situations of exploitation when they continue to spring up? Finishing drafts of a novel doesn’t exempt me from noticing such things, especially when I will have to work on further drafts in the future. In the interest of sharing what’s important to me, and possibly making you laugh, here’s a clip from John Oliver’s Last Week Tonight:
School administrators sitting in posh offices while the athletes bringing in revenue starve; promising an education only to strip it away when an athlete gets injured; issuing penalties for someone giving a young man lunch–it all echoes of a nightmare government. This is the sort of thing that makes me glad that the villain organization in my book is called the Chamber of Commerce.
I’ve been working through another edit of Blanc Noir. With it’s modern social themes and satirical character names (Koch, Boehner, Limbaugh), I think it could win an audience. More importantly, I think it could motivate people to make society better.
I discovered an odd development with my future noir novel when I showed the first chapter to some friends: I’d given great details to the side characters and none to the leads. The more important a character was to the story, the less I’d said about how they look or move.
Talk about backwards.
Talking with two of my writer friends, I started wondering if I needed to change the name of the main character in my future noir novel, Blanc Noir. I’ve been using one name for a while, but another was suggested to me. For fun, I thought I’d share the dilemma with you.
Autumn is officially upon us, which means a lot of work is coming my way, whether I’m ready for it or not. Let’s take a look at what I’ve got planned so far.
For a few months, I worked to get my future noir story, Blanc Noir, sorted out. I didn’t have to sort the entire story out, I just needed a path from one set of events to another. My problem was that there weren’t any sets of events, much less a path between them. I knew some things that needed to happen and I had the framework of several characters, but I didn’t have a good way to put them together.
Once I figured out the end scene, I felt better about the story, but I didn’t know anything else. Then I decided to do what a lot of puzzle solvers do: Work Backwards.
This year has been rough, though not without its gains.
The main writing highlights came from the usual forces. A second steampunk adventure featuring Harrison and Bianca was released. It took a few months longer than I’d expected, but “Heart of Steel” is out as part of Gadgets: Dreams of Steam.
I managed to get some momentum with Vitamin F as well. To date, it’s the best I’ve done financially with any of my releases. Soon, I plan to clean it up and expand its digital reach.
NaNoWriMo is just around the corner and I have a lot of writing to work on as it is. Aside from editing Mind & Machine, setting up several promotions, and trying to get the word out about Dreams of Steam II: Brass and Bolts (featuring my story, “Dreams of Freedom”), I need to get back into the swing of writing. So far, I’ve tried working out a new opening to Dual Identities, but I need to dive into something fresh and untapped. For that, I’m calling on you. Continue reading