In October I started writing some fanfiction as a means of giving myself space to think about my novel. This month, I restarted the fanfiction story and added aliens, which I completed at 16,000 words after three days – my biggest daily output in years. It was fun and silly and all about a core character relationship developing across frankly absurd circumstances. There’s a type of relationship I love to explore in my writing, in which advertisaries must work together against a common foe, and the scene I started with, combined with an alien invasion, gave me a chance to write just that.
Then I realised that the only parts of the story that actually involved the original show it was a fanfiction of were the setting, the opening scene and the characters’ names. After that point, well, obviously there are aliens, but that wasn’t the only difference: my two key characters were the one I created and the one who had died in the source material (and in any case was only in about three scenes in that). Other significant characters were original too. The fanfiction part was really an ignition point, and provided a shortcut to remove the need to create a setting from scratch so I could dive right into the story.
So on the 22nd of this month, I started writing a new version, with a new opening scene that ended how I wanted it, but began a little differently. I’ve made a few tweaks both for story reasons and to distance it from the source material, but the general idea is the same.
I’m now over 12,000 words in, so I decided to record my total on NaNoWriMo anyway. Originally was going to be continuing the novel I was working on last month, which wouldn’t be in the spirit of NaNoWriMo, so I didn’t feel it was right to sign up. Since I have started a new story, and been writing a lot more per day than I usually do, I’ve decided to use NaNoWriMo after all. I don’t expect to hit 50,000 words, both because I’d need to write as much each day until the end of the month as I have in total over five days and because I don’t think it will end up even half that long when it’s finished. It’s really more about recording my progress somewhere (my One Million Words spreadsheet hasn’t been updated in about a year) and challenging myself to finish the story within November.
This story and the fanfiction that it spawned from have really invogorated me. I haven’t written this much in a long time. I’ve gone from averaging around 400 words per day to regularly exceeding 1,000 words and, a few times, writing over 3,000 words in a day. I’ve been waking up and going straight to my manuscript to write, without even making coffee or checking Twitter first (yeah, I know, right?!). I’ve written in my notebook when away from my PC, and typed up as soon as I’ve got home.
It’s so nice to feel so excited about what I’m writing, without having to slog over it and work out complex networks and interwoven plotlines and detailed worldbuilding.
If there’s something I really hate, it’s when people on the internet are wrong.
Obviously this happens all the time and I don’t much care when they get it wrong in ways I wouldn’t notice, because who has time to look up every claim made when chances are the top comment will be a snooty correction by someone who does care?
No, what I care about is when people spell idioms and phrases incorrectly. Of course, I can’t correct them in the comments, because that looks petty and snooty. But in a blog post is a different matter: it’s not a direct response to anyone, and in any case my intent here is to educate and entertain, so even if you are getting these phrases right, you’ll still learning something interesting along the way.
So here are five phrases people get wrong on the internet:
Toe the line
Often misspelled “tow the line”, the origins of this phrase are disputed in the detail but not the effect: it comes from the need of a group of people to line up neatly, with their toes touching a line on the ground. Whether these individuals were school boys being inspected at roll-call, sailors in the Royal Navy lining up along the lines of the planks of the deck for inspection, or people in a foot race starting at the exact same starting line is disputed. In modern parlance, “toe the line” means to conform with specific standards, usually of behaviour or productivity.
The phrase has nothing to do with hauling upon a rope, though the Royal Navy sailors of the 18th century who might toe the line would be plenty of that too!
Lo and behold
“Lo and behold” is used to express a turn of events or situation which might have been predicted or considered predictable. When I hear it used, it’s usually to emphasise the speaker’s foresight and the lack of wisdom of their subject, as in “I told him if he let her eat sweets she wouldn’t want her dinner, and lo and behold, five o’clock comes round and she’s throwing her spoon on the floor.” It’s also used when there is a surprising coincidence: “I met a lovely lady while I was on holiday in Cyprus, we really got on, and lo and behold, she lives only a mile away from me!”
It’s an odd one, this phrase, because “lo” is a very uncommon word used only in this idiom and a few archaic and Biblical contexts. It is commonly misspelled “low”, a far more common word which is pronounced identically. “Lo” here is a shortening of “look”, but with a more exclamatory tone; literally the phrase would be equivalent to “look and see”. Being fairly informal, it’s easy to see why it is so commonly misspelled: it’s spoken far more often than it’s written.
With bated breath
As with “lo”, “bated” isn’t a common word outside this idiom. It is an abbreviated form of “abated”, which means reduced or lessened. So “with bated breath” could be interpreted as holding your breath – which you might be doing as you eagerly await to hear news of something, which is the idiomatic meaning: “eagerly, with great anticipation”, according to Wiktionary. The first recorded use of the phrase, like thousands of others, is in Shakespeare, who used it in The Merchant of Venice. And while perhaps we shouldn’t be taking spelling lessons from a man who spelled his own name in several different ways, that spelling has indeed stuck, in parallel to the word it abbreviates.
The homonym “baited” is the incorrect alternative – and it crops up even in published books like Harry Potter and the Prisoner of Azkaban, according to The Phrase Finder. But how can you bait breath? And what are you attempting to catch with that bait? It makes much more sense when spelled correctly, once you understand the root.
The alternative (incorrect) spelling of this phrase, “free reign”, appears in 46% of uses of this phrase, so it’s a very common error (according to Jeremy Butterfield in the Oxford A-Z of English Usage). The image it conjures up is persuasive, as if a king or queen can act as they wish, though in that case they wouldn’t need a free reign at all, only a reign. The actual origins come from horse riding, where the rider slackens the reins and allows the horse to choose where to go and at what speed. This makes more sense considering the meaning: someone is given the freedom to make decisions where they might not usually, such as a junior team member having free rein over a project, where normally their manager directs their work.
For all intents and purposes
I end with a phrase that is both commonly misspelled and commonly corrected, so hopefully you’re getting this one right anyway. It means “in the practical sense” or “in respect to what is important”. It may be used in contrast to what is technically the case but not viable: “While producing this part itself isn’t banned, importing one of the raw materials is illegal, so for all intents and purposes it is impossible.”
The origins of this are even older than Shakespeare (though not by much): in an Act of Parliament under King Henry VIII in 1546, the phrase was used as “to all intents, constructions and purposes”.
The incorrect construction, “for all intensive purposes”, is pretty old too: The Phrase Finder quotes The Fort Wayne Daily Gazette from 1870, where a political figure is described as follows: “to all intensive purposes, politically speaking, he might as well have been dead.”
What misspelled phrases and idioms do you notice people getting wrong a lot? Which phrases have etymologies that are particularly interesting or obscure?
I’ve been aware of NaNoWriMo for about 12 years now. I first attempted it ten years ago, in 2007 when I first went to university, so a city that had an active NaNoWriMo group. Since completing my studies, though, I haven’t done much with NaNo: I’ve signed up several times, updated my profile, filled in the novel info, and so on, but after winning in 2008 and 2009, I have not been successful since.
If you are not familiar with NaNoWriMo, it is an annual writing challenge that takes place in November. The goal is to write 50,000 words of a novel in 30 days. The website provides pep talks, community forums and a tracking system, as well as rewards for successful challengers.
Over the last decade I have learned a great deal about writing. I’ve read a lot of books, including several about writing; I have written several novels and numerous short stories; I have agonised over scenes and despaired of ever writing something I could be happy with. NaNoWriMo was an important part of that journey, but it is no longer a good fit for me. At least, not at this stage; I won’t rule out the possibility of it becoming useful to me again.
Part of NaNoWriMo is building discipline: to succeed at such a challenge, a writer must write an average of 1,667 words per day for a whole month. That’s not a trivial amount of words; if I know what I’m writing, I’m not interrupted and I don’t get stuck, that quantity of words would probably take me about an hour and a half. If you miss a day, an even higher daily time commitment would be needed to meet the 50,000-word goal, so writing every day is pretty important.
Developing discipline is an important tool for a writer, but it’s not one I need NaNoWriMo for anymore. Since July 2015, I’ve been writing every day without fail: I’ve got that discipline, even it doesn’t involve as much of a time commitment as NaNoWriMo would require.
NaNoWriMo is a fantastic motivating tool. There are a lot of people who want to write a novel some day but never manage it, or who spend a lot of time planning and never start. Having a major global event which has a start and end date and a clearly-defined goal, in which tens of thousands of people communicate with one another, and regional groups arrange in-person meetings, is incredibly powerful.
But those are not problems I currently have: I’m not a “some day” writer, I’m an “every day” writer. I’m not stuck in the rabbit hole of planning. I’m four chapters deep in my current WIP (work in progress) so I don’t need help starting. I don’t need community forums to motivate me to write, and I can’t easily access regional in-person meetings from the rural backend of the west midlands.
As for deadlines and word targets, I don’t think that suits the way I write at the moment. I don’t want to rush. When I rush for word targets, I write a lot of useless fluff, which only creates more work in the editing stage. I can see the value in it, certainly: a way to prevent self-editing in the writing stage and let the story flow, a challenge to spur you forward. But the pace that suits me is a lot slower than NaNoWriMo aims for. Perhaps in time I will increase my productivity to a rate that makes NaNoWriMo more viable, but that is not the case right now, especially since my current process involves planning and writing one chapter at a time rather than planning everything in advance and then writing the whole story in one go.
That is perhaps a long way of saying “I’m not doing NaNoWriMo this year”. It’s been a useful tool for me in the past, and I don’t want anyone to think my decision not to use it this year means I don’t think it’s useful: it is. It just doesn’t fit with my process this year.
“Write what you know” is a popular piece of advice given to writers, and over the course of the many years I have been writing, I’ve interpreted it in a few different ways.
As a novice, I thought it meant sticking to what you’re already knowledgable about.
After that, I thought it meant putting in the work to do the research and become knowledgable about the topics you want to write about.
In forum posts I made in the last couple of years I’ve argued that it’s about putting personal feelings and experiences into what you write – drawing upon your emotional responses to events to inform the way you write characters.
These days I think it’s a combination of all three. Which is predominant depends on the needs of the scene in question.
Recently I’ve been working on “Fiarra Beginnings”, the latest version of my volcanic island survival fantasy story. It has undergone a lot of changes and seen a fair few restarts over the years, but this time I’ve been taking a different approach by taking it chapter by chapter: I start with notes about what I want from the chapter, look into the characters involved in the chapter and what their motivations are, find out what I need to know about to write convincingly on the topics covered in the chapter, develop a chapter outline, and then write the chapter. Then I move on to the next.
This approach has highlighted to me these different definitions of “write what you know”.
I had decided fairly early in the process that Fiarra’s background needed to be in a profession that becomes useless after the eruption of the volcano and evacuation of everyone who can get on board the ships in the harbour at the time. The setting in terms of technology is roughly equivalent to the late 18th and early 19th centuries in Britain, so I made her a glass-maker. In the aftermath of the eruption, there’s no call for glass when people are simply struggling to survive, and in any case it would be thought to be a pointless extravagance when there’s always the risk of another eruption that would rain down more rocks to smash windows, or shake the earth to knock bottles off shelves. So to get that right, I needed to do a lot of research into early glass-making, including raw materials and processes. I have to know what I’m writing about after all.
For the secondary protagonist, Macky, I had a similar requirement: his background needed to be in the service of the Governor, but not in direct contact. I needed him to feel betrayed by the Governor specifically as part of his motivation. Initially I felt a gardener position would be fine, but I wanted a bit more prestige and a bit more of a sense of dedication and hard work, so I made him a beekeeper. I have been researching the history of beekeeping this summer, in particular in the ancient Greek and Roman worlds, and my Dad keeps bees, so I have plenty of knowledge on this already, from the kinds of hives that might have been used, to the ways to prevent and treat stings. In this I am writing on a topic that I know about in depth already.
And as for drawing upon personal experience, that’s always an easy one once you have enough of it. I have drawn upon my personal experiences in work, after experiencing loss, after major life changes, in personal relationships with the people around me, and more.
Still, there’s always more to learn, more to know – and more to write about.
But it’s all about to change, honest. I’ve got a few reviews coming up in July, for starters. A couple of authors have been waiting a while for me to get to reviewing them, for which I apologise, but I will be posting reviews in the next few weeks.
Today’s post is a general update about what I’m doing at the moment.
I have a problem. I can waste hours at a time in a WHSmith or Waterstones branch, or even in a supermarket or on Amazon, admiring notebooks, caressing their covers and assessing their features. About ten months ago this is how I occupied my time when I reached my fiance’s workplace early to pick him up: I went to the stationary section of his store and talked myself into buying a notebook. It wasn’t expensive – about £3. Simple and smart: a black cover made of a smooth matt substance, with a black elastic strip to hold it closed and, poking out the bottom, a black bookmark ribbon. Inside the pages were pale cream, medium lined with slightly thicker lines at the very top and bottom of the page, as if framing it.
I bought it, and then I didn’t use it.
The problem with particularly nice notebooks is that I am scared to write in them. What if I mess it up? What if I stop writing after a few pages and don’t use it again? I must save it for something special!
A week ago I finally started. A discussion on Reddit asked writers whether they often write by hand. I have in the past – three quarters of the notebook my former colleagues gave me as a leaving present contains the notes and first draft for a story I really should finish typing up. That gift, in turn, was inspired by a project I’d been working on shortly before that which ended up taking two and a half notebooks. But for the last year and a half I have almost exclusively written on my computer, resorting to notebooks (cheap wire-bound notebooks of the kind in which I am quite happy to intersperse story notes with shopping lists, interview notes and crochet project calculations) only when I was babysitting in the evenings, and thus cut off from my PC.
The discussion was well-timed for me. I was unhappy with the story I’d been writing – with, specifically, the third restart of it. I’d barely written 200 words a day on that project for the whole previous week. I needed something new, and I needed to change more than the story. I needed to change my process too. I needed to step away from the computer and refocus.
Back in January I started writing something in response to a prompt suggesting a stone age level of technology. But at the time I was temping full time and working my part time job too, and I didn’t have the time or mental energy to get far with it. I picked it up again earlier this month, which I think was the perfect time: the news here in the UK since the General Election has been busy, to say the least, and a few of the things that have happened already had parallels in my story. With the political situation around the election and Grenfell fire fresh in my mind, I opened my new ten-month-old notebook and started working through what I wanted in the story. I wrote pages of notes.
One morning I got up early, made some coffee in my thermos flask and went for a walk down to the river. I found a bench with a nice view and sat drinking coffee, writing, and petting every passing dog.
After a week of writing notes, I began writing the story. It’s slow going – I handwrite at about a third the speed that I type at, and for all my notes it’s still difficult to actually write the story while I’m still getting into it. I signed up for Camp NaNoWriMo, but the story might well be half finished before July starts, and then it’s a matter of finishing it, typing it up and editing it.
So that’s where I am at the moment: excited about a story, and freed from my PC so I can go and write down by the river (weather permitting – it’s forecast to rain heavily tomorrow, more’s the pity) or in my favourite cafe.
A recent disappointment with a job application has given me fresh resolve, so while I have the time I’m going to dedicate more time to writing, blogging, reading, researching, plotting, proofreading and learning – not to mention walks down to the river while the weather is nice. I’ve created a new schedule, a rather busy schedule, that I will begin tomorrow, which dedicates about six hours per day (except when I’m working) to working on all those things I just listed. Not including walks to the river: there’s another hour and a half set aside for those.
So today I am infused with a fresh energy, a fresh determination, and a new plan. This post is a promise that you’ll see at least some of it right here on my blog.
On Monday I decided I wasn’t happy with what I’d written so far this month and scrapped it to start again (though I’m still counting my earlier wordcount towards the month’s total).
The main problem with the story as I’d written it was that my protagonist, Fiarra, wasn’t making the decisions. Things were happening, and she was reacting to them. Not just reacting, but reacting in a passive manner – watching and waiting, not deciding to take action. It made the story boring. It made her boring. And it created a contradiction in her character, because my goal at this stage of the story is to have her at odds with others in the group, and she was just getting on with her work while being disdainful about gossip and small talk.
If I’m honest, it was obvious that the story wasn’t working several days before I decided to restart. I attempted to make it work by giving her more decisions, but I’d already put her on a path of passivity and it was hard to get her off that.
So I went back to the start and thought about how things might have reached the stage they need to be at the start of the story to get where I want to go. One of the important aspects of Fiarra in the Pact – a coalition of about a hundred people who have secured territory in the abandoned town of Royal Newport in the aftermath of the eruptions and evacuation – was that she felt that she didn’t fit in. But if that’s the case, why is she there at all? Why has she joined this group? The original version had her living in a former inn, along with several other members of the Pact, and a friendship with Pact leader Embry that dated to after the Pact had been formed.
I scrapped this background, and decided that the Pact had begun in Fiarra’s street, right outside her own house, and that she had met Embry during the crisis. With Fiarra living in her own home, there’s a stronger contrast between the familiarity of the house and the street she grew up in, and the strangers that have arrived there to join the Pact, who have now moved into the homes of Fiarra’s deceased neighbours.
Her role in the origin of the Pact also enables me to give her an independent, even anti-authoritarian streak – not taking part in communal tasks or adhering to curfews – that Embry allows her a certain amount of leeway on. And that in turn means that when she hears rumours about someone she used to know, she can act upon them instead of sitting alone thinking about the nature of loss in the context of a volcano having killed almost everyone she knew only a few months earlier.
I wonder if this is evidence I didn’t do enough planning in the first place. I certainly didn’t plan for Fiarra to be passive in the first two chapters, but that’s how it turned out. I think perhaps the process of writing it enabled me to identify what the problem was and how best to fix it; if I had done more planning work back in March perhaps I would have noticed that Fiarra was too passive, but I don’t think I would have come up with the same solution, and I may have ended up with other problems instead.
As I continue to attempt to refine and improve my process for writing, this is something that I will have to consider.
This week has been all about plotting. Last year when I was working on Horrible Monster, I was rather hands-off with plotting: I had a general idea of where I wanted things to go, and a few key scenes, but the rest was left to be worked out as I was writing.
The problem with that was that I slowed down hugely when I didn’t know where things were going, and on several occasions struck out pages and pages – days’ worth of writing – when I decided I didn’t like what I’d written. And now I’m left with a first draft that needs a mountain of work doing to it before it’s even close to completion.
For the Volcano Island project I’m working on this April for Camp NaNoWriMo, I’ve decided I need to do a lot more planning.
A few times over the last decade or so, I’ve attempted the Snowflake method. It’s a process of planning where you start with a very condensed summary of the story and the protagonist, and expand upon these summaries with every step, going from a sentence to a paragraph to a page by adding detail and nuance. In general, I’ve found it a bit rigid and stale when I’ve followed it exactly, but I think the general principle is sound.
With the Volcano Island project, I think I’ve got three stories there. Maybe more, but I can’t think that far in advance at the moment. I wrote very brief summaries of the three stories, and I have expanded upon the first by breaking the overall plot down into chapters and outlining those, as well as the protagonist’s personal journey, in about a paragraph each.
I have now started writing longer chapter summaries, one page each in my A5 notebook (so roughly 100-130 words per chapter), and I think this will be as far as I go for plot. For character, though, I might go to three or four A5 pages, at least for Fiarra, the protagonist, and Macky, the second most important character, plus a page each for another five or six characters.
Striking a balance with planning is important to me. I’ve done too little in the past; but when I do too much I soon tire of the project. I’m hoping this level of planning will be just right to give me the structure I need without sapping my passion for the project.
In April I will be attempting Camp NaNoWriMo. I’ve signed up, added my novel details and set my cabin preferences. My target is 30,000 words and the story I’ll be working on is a fresh attempt at the Penal Colony story I was working on way back in 2013.
There’s still a lot to do before April 1st, though. In the past I’ve tried to “pants” various NaNoWriMo challenges – to write with minimal preparation, flying by the seat of my pants (or trousers, since I’m British). It doesn’t work for me; I get so far and don’t know where to go next, and end up dithering around with long conversations between characters, or meaningless sequences of events that I later delete once I’ve made a decision about the direction I want to go. That was the downfall of Kell’s Adventures and Kell & Atoni: no direction and no plan.
But I’ve also not found much success with an outlining-heavy approach. I get bored of going over the minutiae of characters or the world, or I feel I’ve covered the plot in so much detail in the plan that I don’t need or want to write it anymore because there’s nothing more I can add. It becomes a chore. There’s no exploration, no discovery, no fun to it. And what’s the point if it’s not fun to write, at least some of the time?
With Horrible Monster, I took a middle ground. It was, perhaps, rather too much on the pantsing side of the scale – there were passages thousands of words long, covering multiple scenes, which I removed, and started again from a point I’d written a week or longer earlier. As for the ending, I hadn’t made a decision about that until literally a week before I finished the novel.
So with this story I’ll be doing more planning than I did for Horrible Monster, including working out the ending and writing chapter summaries. In order to distinguish this version from the 2013 version in my file system, I’ll be using a new working title – Volcano Island. A huge amount has changed, including most of the key characters (though I’ve kept the protagonist and a couple of other characters) and the plot. I see the original Penal Colony plot as being potentially the foundation for a sequel, if I get that far, but it’s not the story I want to tell right now, and the story I do want to tell needs to happen earlier in the chronology.
On my to-do list for the rest of this month, I have:
Draw maps showing the islands before and after the major eruptions – while the story takes place after most of the eruptions, I want an idea of where there used to be land, towns, ports and other features as my characters will encounter buried buildings and so on. I’m also considering having an eruption during the story, so I’d like to map out how that changes the islands too.
Create characters lists to draw upon when needing to use less developed/important characters – I’ve decided on the names and a few characteristics of my main cast, but there will be other characters involved too. I’ll need to sort them into groups, create short descriptions of them and have them ready to put into action when I need them so I don’t have to make this stuff up when I’m writing, and potentially lose flow.
Create a more detailed chapter-by-chapter summary. I’ve already got a very brief chapter outline, with about 2 lines of text per chapter describing the main events. I want to expand this into about 150-200 words per chapter, plus a list of the immediate goals and motives of the characters in the chapter to help me with interactions.
There’s plenty to be getting on with, but not so much it can’t be done by the end of March.
I know, I’ve been radio silence for a while. It’s been a hectic time involving job hunting, job doing, Christmas, bereavement, house sitting, being ill, studying and more in the weeks since I last posted. This is not a thorough update, but rest assured that I have:
Continued to write daily since my last update
Read some more books since my last update, though not as many as I planned
I intended to post an update on my writing progress, and an end-of year post about what I’ve been reading, last month. I obviously didn’t get to them but something along those lines will probably be forthcoming once things settle back down again.
I also wanted to set out my goals for 2017, both in terms of reading and writing. I shall do that now.
Reading Goals 2017
In 2016 I managed probably more than 30 books, smashing my 26 book goal, but I didn’t quite manage the 50% female authors goal, I don’t think. I’d have to check, but I don’t think I got there. So this year that goal is back, and the book total goal is going up to 39, which is 3 books per 4 weeks – half way between 26 and 52.
Writing Goals 2017
I still intend to write daily, and work towards that million word mark, but for 2017 I want to be more focused on improving and on finishing. This will manifest in two key ways:
Finish “Horrible Monster”. I’ve got a first draft, and now I need to turn that into something more polished. I made a couple of false starts with a second draft in the first week of this year, but really I need to go back, reread what I’ve written, and create a chapter outline.
Improve my writing by studying others’ writing. This will focus on 12 books – one per month – which I have already read and want to understand better. Each month I will copy out an extended passage from that month’s book (a chapter, for example) by hand into an A4 notebook, specifically the right hand page, leaving the left page to make notes about what I observe in the process of copying. Authors will include Austen, Tolkien, Gemmell, Rowling, Wynne-Jones, O’Brian and more.
And I dare say this will manifest itself in the occasional blog post to highlight what I’m learning along the way.
I’ve been a bit lax on updates lately, but I’m here to catch up now.
My current total is 307,504/1,000,000, or 30.8%. So I’m nearly a third of the way there now. Since my last update some time ago, I have written:
September: 13,776 words
October: 14,822 words
November: 15,812 words
December until the 10th: 3,195 words
Over the last three and a bit months, I’ve worked on a range of stories, including time travel fanfiction (that’s not a typo where I missed a comma, that’s a fanfiction involving a time travelling character from the modern world ending up on a British naval hired vessel in 1813; followers of my reading updates can guess exactly which ship that might have been), preparatory stories to help me get into the world and characters of Kell and Atoni, and my NaNoWriMo project, Kell & Atoni.
It is this latter which I wish to talk about.
It’s crap. I restarted it in the middle of November (don’t worry, I still counted the words I’d written). And I’m not happy with the restart either. I’ve been trying to work out why that might be today, and I think I have an answer: lack of preparation. Or at least, the right kind of preparation. I’ve got no outline, no theme, no goal for this story except to write a fantasy story in the same stylistic tradition as the Aubrey-Maturin novels, with a friendship much like that model at its core.
But it’s clear I need a more structured approach than I have been using. For now, I’m putting the project aside while I develop not only that structure, but also a deeper understanding of what I want from the story and the source material I wish to emulate. I also need to better develop the characters. At the moment they are barely distinguishable from any protagonist I’ve ever written, and it’s clear to me now that I have a significant weakness in that area.
I’ve got a short project planned in response to a challenge on /r/fantasywriters, so I’ll be working on that for at least a few days this month. The challenge is to use a stone age setting, which is something I’ve played with for a while but never quite got anything working (including one story in which Kell discovered a stone circle used by mammoths as scratching posts). So if nothing else I’ll have fun.
Beyond that, I need to work on exercises that enable me to develop the characters of Kell and Atoni and practice writing their voices.
I’m feeling rather lost with my writing at the moment, but it’s about time I got back on track so I’ll be working hard in the near future to move forward. Funny, I always seem more motivated with hobbies when I have less time for them, and the same is true now – I’ve got a temp job that just started which is full time, in addition to my existing part time job, and of course with Christmas fast approaching I’ve got a lot to sort out in the way of gifts and cards and decorations. So we’ll see how that goes.