Something New

I talked last time about starting out a new project with an ensemble cast, each person with an unusual skill. I had a whisper of an idea about each of four people, their milieu, the shape of stories they could tell. To accomplish anything they need a leader, and I decided which one that would be.

I diddled a bit with the world. Thought up some ideas of how the story would run. Talked with my muse, Linda, over a very long lunch about how the story might get going. Wrote a page of notes and watched a DVD series from the History Channel that pertained to my chosen time period. I even had an idea for an opening scene.

All of this was good--but every time I sat down to look at it, the project became more daunting. After creating five distinct worlds over the course of fifteen books, the notion of starting over from scratch appeared bigger than Trump's ridiculous wall on the Mexican border. Not only did I need to come up with cool ideas, I had to stay out of my own way. Surely I hadn't included every favorite bit of world structure/custom/myth or character foible/skill/hangup that I love!

Certainly not, but still I couldn't get going even to write that first scene. Panic time. And then I went to Vancouver Island...





Now I adore writing retreats at my friend Brenda's house overlooking the Saanich Inlet almost as much as I love retreating to a certain funky little retreat hotel in the heart of the Rockies. Being away from home and its myriad distractions helps me focus. And somehow being surrounded with awe-inspiring beauty provides extra fodder for words. Certainly the energy of other serious writer friends working hard gives me energy. But it was Brenda herself who said about five words that broke the dam. She is a generous listener, and when I started running on about the backstory of my lead, she stopped me.

"Why don't you write that story?" she said. "If it works out, it could be a short story to accompany the novel. If you decide not to write the novel, you'll not have spent so much time and effort on it."

Perfect sense. Seven thousand words appeared over the next few days...like magic.

Now you who have talked about character interviews all these years can laugh at me. Yet this is truly a story, not interview notes.  (Though one could say, Romy is interviewing for a job.) And those who tell me that writing short fiction can be less intimidating that starting a novel...I give you points, too. Old dogs can learn new tricks.

For now I am continuing to write a bit of story that might never appear in a novel, but is a delight for me anyway. We'll see how things pan out. Read more of this post!

Every Project Starts the Same Way - Or Does It?

Every one of my books/series (now up to 15/5) truly begins with a character.  In the Books of the Rai-kirah, it was the arrogant, the-world-is-mine-to-enjoy desert warrior Aleksander (not Seyonne!).  The Bridge of D'Arnath rose from the bitter, exiled duchess Seri.  The novels of the Collegia Magica were to be a home story for the brooding necromancer Dante (nope, not Portier). Lucian, the non-renegade, the upright believer in pureblood discipline, was the whole reason for the Sanctuary Duet. Only for the Lighthouse Duet did I have ideas about the world and the world's problems before I had an idea of that character. But I didn't write a word until the image of a lanky renegade drug addict came to me. He was face down on the floor of an abbey church taking holy orders, and I could hear an unforgettable voice, saying, "What the hell am I doing here?" Anyone who's read those two books knows very well that Valen shaped and drove the story of Flesh and Spirit and Breath and Bone in the same way that Aidan, the visionary musician, shaped the story of Song of the Beast.

Even my pieces of short fiction that now number more than nil took off with the idea of a character. Gareth, the talentless farmer, was the inspiration for Unmasking, Girl told of her experience At Fenwick Faire. Valen, my favorite blackguard, was the seed for Seeds. The encounter of a novice constable with a familiar unnamed necromancer was the starting point for Uncanonical Murder (now out in the spring issue of Pulp Literature ).  And Saverian from Breath and Bone demanded to star in an almost-novelette for a new anthology to be announced later in 2016.

All the other characters, the world, the settings, the plot grew from ideas about that one person, even if, on occasion, a character I believed secondary became the more important than the instigator.  So there.

But when I started noodling around with a new (big) project last month...



I settled on an ensemble cast, each person with an unusual skill. I had a whisper of an idea about each of four people and then I ran into a wall that seemed near insurmountable. This will be a different process. Maybe.  I'll tell you how it's going next time.  Read more of this post!