Reestablishing Contact

First things, I have to acknowledge the holidays.  First, it’s Easter, so if you are celebrating, don’t eat too much, and leave room for the eggs.  And second, Happy First Contact Day, which happens forty-eight years from now.  I’m pretty confident when the aliens come to visit, they won’t get blown away like we’ll do to them in another universe, but will be met with open arms, ’cause in fifty years I’m sure we’ll be mostly harmless.

Mostly.

Mostly.

While Witness to the Prosecution played on my TV last night, I sat reading.  I went over some of the stuff I wrote for A For Advanced, in particular the scenes with the coming of Gabriel and his conversation with Helena, and Kerry’s “dream” which led to him discovering it was a vision, which led to Annie’s vision, which led to the discussion of the rune dreams and the final breakthrough in their relationship.  I was struck by one thing, and it wasn’t the instances where I found a typo and resisted the urge to call up the project and correct words on the spot–it’s only a first draft, it’s only a first draft, it’s supposed to have some errors, take deep breaths–but rather, I loved how tight the scenes were.  I liked the flow of story from one scene to another, and I liked the interaction between the characters.

I can say I loved what I wrote.  And I don’t say that lightly, because I’m my own worse critic.

Creative people are like that:  we tend to get down on ourselves and point out all the bad things about our work that drive us nuts.  Or we’ll be deep in the creative process and want to walk away.  I did that several times with the last novel, ’cause I was convinced at certain points in the story that it was all a bunch of crap and I was wasting my time on the project.  That’s not the first time I’ve done that, but this was the first time I’ve written while going through something like puberty, and that made the feelings even worse.  (I won’t say “the feels” because I don’t want to hit myself in the head with a hammer for saying something so stupid.)

I also went back and reread the conversation between Emma and Kerry at the Observatory during the Day of the Dead attacks, and I like Kerry’s innocence in the scene, as well as his awakening, where he was starting to understand what that tugging at his heart actually meant–and that he was still fairly oblivious to what the girl on his right really wanted to know.  I don’t want to say she’s a bit desperate, but Emma did set her sights on another red head kid and went after him in a fairly passive-aggressive way, and failed miserably, which is the way of love at times.  She didn’t know she was Born to Lose, however, for the odds were stacked against her; poor girl never stood a chance.  At least he saved her from being eaten, which likely means she been dreaming about him over the summer . . .

Right now I need something to do.  I’m sure a few of your will say, “Start writing!” and I can understand that, because you want to see what happens with next with these kids.  Not much changes with the cast of characters:  they stay the same.  You’ll see a little more of the dumb crap that is Kerry’s Family, and you’ll find out a little more about the Kirilovi Family as well.  (Someone asked if Annie’s dad will meet Kerry, and the answer is . . .)  There will be a lot of flying, a lot of racing, very little in the way of school work, and my favorite nasty spirit who loves to torture kids during their E & A’s will put in an appearance and actually be nice–

It won't make any difference.

It won’t make any difference.

You’re just a font of happiness, aren’t you, kid?