it's a great life, if you don't weaken (matociquala) wrote,
it's a great life, if you don't weaken
matociquala

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buymeaclue gets smart about telling detail in situations where we may tend to resort to cliche

Gearing up for Comicon. I have business cards (which have a typo on them--bad kinko's, no biscuit--but it's not a critical typo and no time to get them fixed), I have a draft of Worldwired (and the redraft is starting to chew on the inside of my head to get out, always a good sign), and today is my last day of day job before the con.

Also, the next project is starting to suggest itself. I think I'll see if I can get a draft of One-Eyed Jack (I hear you cheering over there, Jackie fans) between whenever I finish my rewrite and whenever arcaedia gets back to me with her suggestions.

I don't think my second draft will be too onerous--it's mostly a matter of some insert scenes and figuring out what happens to a couple of characters who Mysteriously Cease To Have An Important Role when all the big climactic things are going on; either taking POV away from one character who isn't justifying her need for a POV, or justifying it; and showing what happens to bring two threads to resolution rather than implying it. All stuff I rushed trying to hack my way to the ending before it wriggled away.

Also, there's a whole bunch of characterization and character development that's glossed, early on, and some Chekovs to gun down... um. You know what I mean. But that's all the sort of stuff that's easily handled with an adjective here, a line of dialogue there, a paragraph here.

Suppose I should make all the language pretty while I'm in there, too.

At least I have Dick. Mr. Infobolus. He comes in handy.

Something interesting about writing SF that I hadn't noticed before this particular novel (which may be because I haven't had to do a lot of tying up of long-form SF before, and the way I write short stories tends to rely on the reader making an aha! connection at the end, which means frontloading the clues) is that a lot of the techniques of resolving the problem-solving type of science-fictional plot are identical to the techniques of resolving a mystery plot--lay the clues out, as they've been presented, and then connect them for the reader in a way that makes sense.

Meanwhile, I'm trying to balance three books' worth of that and also of political-thriller tension with one book's worth of character arcs (I've been at least trying to introduce and resolve new internal arcs with each book, to offer the reader some sense of closure even while the Big External Questions remained unanswered.) and tie them all up, tidy but not too tidy, and in an emotionally and intellectually satisfying manner.

Heh. You know that advice about never trying to eat something bigger than your head?
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