(no subject)
Feb. 9th, 2009 11:16 amApropos of nothing else in this post: This is cultural trufax.
You know the bit in Ender's Game right near the beginning where they take out the monitor and Ender keeps having these moments of "wtf was I just doing, did I forget something"? I spent most of last night like that. I mean, I wrote the little Lumo-clipping blurb at the end of The Dead Isle, and then I kind of stared stupidly at it for a while before I realised it was done. Then I posted about being done, because I like to mark these things, and I sat down on the futon and sort of shook for a while. Which is normal for me, even though it screams SENSITIVE ARTISTE, it's what I do.
And then I ate some pizza and everything was fine, except, you know, every so often I'd get this sense of WTF that I couldn't shake. For the first time in over a year, I have no original work in progress. I'm going to have to do some editing, but the story is complete, there's no more need to be concerned with the suspense of the reader. Besides, I'm giving myself a week off, at least, before I start editing.
I've been trying to articulate what the process of editing will be for The Dead Isle, and why it'll be different from most other stories I've written, but it's hard going. I don't ordinarily outline my stories in much detail, but usually I know an endpoint that I'm working towards. With this story, the endpoint shifted and changed, and there were a lot of ways to get to it. So within the body of the story there are all these starts at plots and subplots that seem to drift off into unimportance as the main thread of narrative emerged. I'm glad those starts are there because they allowed me a diversity of choice as I wrote -- I had options and could choose the strongest plot of several to continue with -- but now begins the process of eliminating those false starts from the story. Which is complicated in its own way, because while they are false starts they also lead into events that are part of the main narrative, so they can't just be removed -- something else has to be put in their place.
Essentially, I'm going to be performing a cross between topiary and a quadruple bypass.
But all that is in the future -- for today I'm resting my brain a bit, and today and tomorrow I need to start making some choices about the Sekrit Project. I'm still not sure precisely how it will be presented, but affecting my decision will be my stupidly recent realisation that that non-paying users and the general public see ads when they visit non-paid comms, and that sucks. So we'll see...
You know the bit in Ender's Game right near the beginning where they take out the monitor and Ender keeps having these moments of "wtf was I just doing, did I forget something"? I spent most of last night like that. I mean, I wrote the little Lumo-clipping blurb at the end of The Dead Isle, and then I kind of stared stupidly at it for a while before I realised it was done. Then I posted about being done, because I like to mark these things, and I sat down on the futon and sort of shook for a while. Which is normal for me, even though it screams SENSITIVE ARTISTE, it's what I do.
And then I ate some pizza and everything was fine, except, you know, every so often I'd get this sense of WTF that I couldn't shake. For the first time in over a year, I have no original work in progress. I'm going to have to do some editing, but the story is complete, there's no more need to be concerned with the suspense of the reader. Besides, I'm giving myself a week off, at least, before I start editing.
I've been trying to articulate what the process of editing will be for The Dead Isle, and why it'll be different from most other stories I've written, but it's hard going. I don't ordinarily outline my stories in much detail, but usually I know an endpoint that I'm working towards. With this story, the endpoint shifted and changed, and there were a lot of ways to get to it. So within the body of the story there are all these starts at plots and subplots that seem to drift off into unimportance as the main thread of narrative emerged. I'm glad those starts are there because they allowed me a diversity of choice as I wrote -- I had options and could choose the strongest plot of several to continue with -- but now begins the process of eliminating those false starts from the story. Which is complicated in its own way, because while they are false starts they also lead into events that are part of the main narrative, so they can't just be removed -- something else has to be put in their place.
Essentially, I'm going to be performing a cross between topiary and a quadruple bypass.
But all that is in the future -- for today I'm resting my brain a bit, and today and tomorrow I need to start making some choices about the Sekrit Project. I'm still not sure precisely how it will be presented, but affecting my decision will be my stupidly recent realisation that that non-paying users and the general public see ads when they visit non-paid comms, and that sucks. So we'll see...