Progress notes for 14 August 2006:
By the Mountain Bound
Pages revised: 49
Total pages: 418
Things cut or added: Still weaseling out bits of that plotline that needs to be put into The Sea thy Mistress. There is this problem with a set of books that span about two and a half millennia in narrative. It is the fact that there's a lot of stuff that needs dealing with, and if one was clever on the first draft and tried to tie the book set in 500 in with the book set in 2400, one finds one's self a bit tangled up.
Still, it gets me from Ragnarok to shoggoth main battle groups, with room to spare. What's not to love?
Also, wrote a three page sex scene, and a bunch of expansion bits.
Deadline: nothing but self-imposed ones.
Reason for stopping: bedtime loometh.
49 / 418
Stimulants: sparkling water
Exercise: walked a mile to get to a pizza.
Mammalian assistance: Mebd is still ignoring me in favor of stillnotbored, who is the Best Toy Ever!
Mail: Lots of blogreviews of Blood and Iron.
almeda was underwhelmed. I lost her in the bushes somewhere.
oursin liked it much better, but at lesser length.
As did etumukutenyak, though sie thinks my plotting is hackneyed.
Today's words Word don't know: borning, sharped, cocooned (every time I get a new HD, I have to teach it the same old words.), scree,
Mean Things: Strifbjorn just committed an act of good Samaritanhood that will be haunting him through thirty incarnations. Moral: If you find a half-drowned goddess on the beach, finish the job.
Darling du jour: All the good ones are spoilers or make no sense out of context.
Jury-rigging: I may have the voices down, though Strifbjorn's remains tricky. At it's base, it's that he's less formal than the other two, far more direct that Queen Circumlocution (a/k/a Muire), uses more complete sentences and has less of a tendency to drop unnecessary words than Mingan. Mingan's voice is almost enough to be called an accent. Also, he gets present-tense. Muire has a better vocabulary than the other two. Strifbjorn breaks the fourth wall and talks directly to his percieved audience, and he is a bit self-mocking. Muire's too big of a stiff to laugh at herself. The problem is, Muire and Strifbjorn are brother and sister and live in the same house, so the actual voices can't be too different. Rather, I have to show the differences in perception, what they see and what they notice.
That's harder than funny voices. Funny voices are a snap.
So Muire tends towards elaborate metaphors, and she's more detached/analytical. Strifbjorn is visual; that's where he always goes with his description if he can. He's aware of people as people, and he gets why they do stuff, and he's on to stuff they keep secret. Something that shocks Muire because she never sees it coming is, for him, an "I'm not supposed to know that, and I hope nobody finds out about that who would make it a scandal." Muire is socially awkward, and teased. Strifbjorn is socially careful, and respected.
It's a technical challenge, especially since the POV sections can be as short as three pages.
Also, when writing the zipless fuck in a medieval setting, it's important to remember the sword harness.
There's always one more quirk in the character: Mingan has a nasty tendency to run away from his problems. And an unsettling taste for really rough, messy sex.
Other writing-related work: Wrote the back cover copy for New Amsterdam.
Books in progress: Hal Duncan, Vellum
The glamour!: work, dishes, the usual.