Along the Old Paths Newly Beaten

First, let’s get this out of the way:  Kolor Ijo is finished as far as the edit of the first draft is concerned.  It’s a done deal.  See?

Done deals are done.

Done deals are done.

So now it’s onto finding a cover and doing another edit pass–which should go quickly–and getting it published.  Sometime this summer, for sure, but it’s gonna get done.  I promise that.

Now that I have this story out of the way, I can say I enjoyed revisiting these two characters, and the supernatural world of Indonesia, and . . . I do want to do it again.  Maybe the next story in this series could be next year’s April NaNo Camp novel.  We’ll see, but I want to go here again.

However, there’s something standing in the way, and that’s only about a month away from fruition . . .

Yesterday afternoon I got back into working on my time line for the Big Euro Tour my kids go on that won’t be talked about for a few more novels.  Yes, I plan years in advance, but that’s how I am–crazy, right?  Right.

The last time I showed the time line I was in Lyon, so where in the world are my kids now?

Technically they exist only in my mind, but we'll assume they're in Eastern Europe.

Technically they exist only in my mind, but we’ll assume they’re in Eastern Europe.

As you can see they made it to Paris, then moved eastward to Bruges, Amsterdam, Burg–which is south of Munich–and then Prague.  If you’ve never heard of Bruges, it’s in Belgium–as the time line points out–and it’s a wonderful old town that at one time was a seaport–even though it’s now eighteen miles from the English Channel–and has a four hundred year old brewery, which makes it one of the oldest in Europe.  It’s about an hour from Brussels by train, so if you happen to be in that neck of the woods, give it a visit.  Also, the movie, In Bruges, was filmed there, so if you want a quick look at the city between scenes of people being killed, give it a gander.

There’s also a mark there which says they’re Seeing the Seer, and that’s a little side trip out of Lyon to fly south so Annie and Kerry can visit Deanna.  Where is she?

Unlike Waldo, she's easy to find.

Unlike Waldo, she’s easy to find.

The entirety of the journey follows the Rhine River to Montélimar, which is a little over one hundred and forty kilometers south of Lyon.  I put in her a secluded chateau, which I hope the people now living there won’t mind, but it’s the sort of place where I can see Deanna living.  And just so you know, they’ll visit a couple of other instructors as well during their trip.

It’s funny, but all the places Annie and Kerry are staying from Barcelona to Bruges are the same places I stayed when I traveled the same route in 2006.  Only I went the whole way by train, and didn’t make any side trips on high tech brooms.  It only makes sense that I would fall back on something I know, however, and looking at those same locations on Google Maps brought back some interesting memories–including one that involved a dream someone had of the same hotel room I stayed in while in Paris, only they were staying with, um, me.  Yeah, it was freaky.

When they get to Amsterdam they stay in a pretty swanky place and spend a few days laying about and decompressing before heading to the south of Germany for a few days.  They check into the Hotel de L’Europe and get a suite that most of us can only dream about getting, which means it’s probably good to be a witch living in The Foundation’s graces, because I don’t know many fourteen year olds–as they’ll be by that time–who can just walk in off the streets and say, “Hey, we’re here to check in,” and no one bats an eye.  It’s something that will come up in a later conversation when Annie and Kerry at chatting with one of their instructors.

On the way out of Amsterdam and heading for the forests of Bavaria they buzz the John Frost Bridge in Arnhem–

Otherwise known a "A Bridge Too Far," and one I have personally stood upon--

Otherwise known as “A Bridge Too Far,” and one I have personally stood upon.

–and continue onto Burg, which isn’t far from the German Alps.  The reason they stay there?  Not saying.  You’ll find out later.

While going over the trip I realized that there was a serious exclusion:  there weren’t any stop-offs in Bulgaria.  Now, Annie knows Bulgaria, and if there’s one place she has visited more than a few times it’s Sofia, so . . . why isn’t she taking Kerry there for a little look-see?  In my mind I can see them talking this over, probably in Amsterdam, and deciding that rather than fly from Budapest to Bucharest, they’d fly to Sofia instead and Annie could spend a few days showing Kerry around.  This would involve them flying down a significant part of the Danube River (Kerry will likely dig out the soundtrack from 2001 to play the waltz as they set off) on their way to the capital of Bulgaria.  After that last stop they’ll head back to Pamporovo and Annie’s home, bringing their trip to an end on 31 July as they promised her parents.

Which means the new map looks like this:

Hey, routes are easy to change, don't you know?

Hey, routes are easy to change, don’t you know?

As it is in the time line they only have fifteen more days of sightseeing, and four of those days are spent flying, though since Sofia is on the other side of the mountains from Annie’s home, they can leave the capital after lunch and be back at her place in time for dinner.

There you have it:  all the work I’m doing for something that I may not write about for years to come, if I ever do get around to writing about it.  I hope this happens, though, because it would be the start of the D Level novel, and so much stuff happens during their D Levels–

Things, too.

You knew I’d say that.

After the Turnpike Shuffle

Here I am, more or less safe and sound, back in the old homestead of Indiana.  Let me tell you, it was a wild ride yesterday.

As I may have indicated I started out from Harrisburg about midnight, so by about five in the morning, after only about, oh, no sleep in almost twenty-four hours, I was completely out of it.  I ended up stopping at the service plaza after the one where I posted yesterday’s blog entry, used the bathroom, and slept in the car for a little over an hour.  Outside.  In the cold.  Wrapped up in my jacket.  I’ve done worse, trust me.

Lack of sleep was probably one of the reasons I seemed to get through western Ohio pretty fast, because I wasn’t paying attention to anything but the road before me.  But I made it back to Valparaiso with almost no gas in the car, managed to get unpacked, and napped for almost another hour before taking my shot.

And got the picture in my HRT folder just so I can see how I keep changing.

And got the picture in my HRT folder just so I can see how I keep changing.

I was exhausted though, and was asleep by nine-thirty at night here, or ten-thirty back home, and only woke up once to use the bathroom before crawling out of bed at a little after seven in the morning, or eight back in The Burg.  That’s a good rest for me–

Oh, I should mention, I edited last night.

Really, would you expect anything less?

Really, would you expect anything less?

I did chapters Twenty-Two and Twenty-Three, and started falling asleep as I looked over Chapter Twenty-Four, the penultimate chapter.  It’s because of that last–the falling asleep part–that I decided to call it a night and slink off to bed.

(Just a bit of trivia now:  while Chapter Twenty-Four, the next to last chapter, is known as the penultimate chapter, Chapter Twenty-Three is known as the antepenultimate chapter, Chapter Twenty-Two is the preantepenultimate chapter, and Chapter Twenty-One is the propreantepenultimate chapter.  The Coda is the ultimate chapter, naturally.  Now go forth and amuse your friends.)

I’m happy with how the edit has gone, and I’ll likely do another fast pass through the story before getting to the final draft.  It’s clean, and being as short as it is–just under seventy thousand words–I can give it a read-through in about two weeks.  Bit I will feel far more comfortable with on more pass through the story before I decide it’s ready to upload to Smashwords and ready for publication.

Today I do laundry and a few other things, and I finish Kolor Ijo for sure.  It’s almost ready, and I think it’s a good addition to my tiny catalog of publications.  I’m thinking more about B For Bewitching, and I know I’ll work on the Annie and Kerry Euro Trip time line some, probably this afternoon, because I’m itching to do that.

Oh, and another picture:

Behold the horror of morning without makeup!

Behold the horror of morning without makeup!

Yeah, just to show people I’m alive, I snapped this about forty minutes ago, after a bushed my teeth and shaved.  (Yes, I still do that–bummer.)  No makeup, nothing used to bring out my face, and I’m still in my pajamas.  This is how I look while I’m typing this line . . .

Hope I didn’t scar you with that image.  Haha!

Admiring the Prior Creation

There was a moment during last night’s editing of Kolor Ijo that had me going, “Hum, really?  I did that?”  And it had nothing to do with clumsy sentence structure, of which a few I discovered during the night.  It had to do with discovering that I’d actually done a great job setting up a mystery–

Allow me to explain.

First off, I’m not good with riddles and mysteries.  Riddles have always set up a mind block in me of some kind, and I usually have no idea what they are, or mean.  I mean, there’s often no point of reference for them, so unless you’re Edward E. Nigma, they seem difficult, if not impossible, to solve.

And mysteries are never good with me.  I can usually see the solution coming a mile a way, or I’m spending too much time trying to figure out how the particular conclusion was reached an I remained puzzled.  This is one of the reasons I don’t mind spoilers in a book, show, or movie, because a lot of time I’m watching how someone–the writer and director in most cases–got from A to Z without tripping over their own feet.  I’ll usually have to go back and reread or watch something to determine if I enjoyed what I’d seen, or if I’d realized that what was before me made no sense.  (I had that happen with a recent re-watching of the movie, The Avengers.  Didn’t make much sense on the second time around.)

But what I’d done in Kolor Ijo was set up a mystery.  I had to, because the events that lead to Part Three are all dependent on things that happen twenty years before, and as I was going through the story last night, I could remember how I’d spent time sinking down into the story and looking up some history on Indonesia to be able to get to that particular point in the novel.  And after I did so, I felt pretty pleased with myself.

I didn't look quite as happy as this, but I was almost there.

I didn’t look quite as happy as this, but I was almost there.

Last night wasn’t the best of nights, what with crying and my toilet deciding it was going to spray water around my bathroom with a little help from me–that last part is true, don’t ask.  But while I was in my little editing zone, I felt a confident and, yes, pleasure, that all those years ago–well, almost three–I was able to set up a background event that, in the long term, made sense.  And I remember now that this story was one of the reasons I started looking into time line software, because I was probably thinking at the time, “This would be a lot easier to lay out if I could actually see what happened in the past.”

That’s carried into today, because I’m setting up little hints and clues to future events in my current set of novels.  Or, if not that, I’m throwing things out there that may seem like I’m just blowing them off, but that will be resolved somewhere down the line.  Maybe in few chapters, maybe in a few novels.

Believe me, though:  I will get back to them, because I know they are there.

From Makassar to Massachusetts

Though there hasn’t been much comment on the subject of late, I’m three chapters into the edit of Part Two of Kolor Ijo.  Really, truly, I am, because I actually worked on two chapters last night.

See?  A manuscript!  It does exist.

See? A manuscript! It does exist.

I was surprised that editing went so quickly last night.  Well, I shouldn’t say quickly:  I finished up Chapter Seven, then polished off Chapters Eight and Nine before settling in for the night, watching a little television, and going to bed.  Actually, I didn’t get heavily into editing until after watching Planet of the Apes, so that means I spent about an hour before that movie came on, and two after, going through about four thousand words.

Now that I’m through the intro–and believe it when I say that Part One really is an intro–I’m starting to enjoy the editing on the story.  I’ve been cutting stuff out; not a lot, but enough that I’ve probably dropped the word count by over a hundred up to these last chapters.  Last night was the first time I ended up with words added to the count:  fifteen exactly.  Wee hoo!  Better watch out, it could be the start of something bad!

There is a pleasantness in being able to read something that I haven’t see in a while, and that makes it easier for me to take my time, read the passages, and see all the little mistakes that were made–or, as the case was last night, a couple of big mistakes when I found paragraphs that made no sense at all and needed some massive fixing.  That’s the idea of an edit–to find stuff like that and get it right.

So it’s coming along nicely.  I plan to get through the next chapter tonight, and this is one of the longer chapters–as you can see from the image above, I started getting a bit wordy in this part of the story, which is normal for me.  At the rate I’m proceeding, I feel I’ll have the first pass edit finished in a couple of weeks, and then I’ll probably send it out for beta reading while doing another edit.  If I can find a cover for cheap, I’ll likely go ahead with my plans to self-publish the book in June.  Or maybe I should just bite the bullet and start sending it out to some of the local horror houses.

Speaking of novels . . .

I’ve been bothered by the lack of my kids in my life of late.  While I haven’t been thinking much about A For Advanced, yesterday did trigger a lot of thoughts about Annie and Kerry.  As much as writing a four hundred thousand plus word novel was a total pain in the ass, I realize that I do want to tell what happens to them, and that their first level was just the beginning.  There’s a whole lot more ahead–not just their school years, but stuff that happens after.

Therefore, I reached a decision last night.  In May, probably the first weekend in the month, which happens to be 1 and 2 May, I’m going to set up a project and stay laying out the novel.  If I stick to my normal process, about the time Salem would be shutting down for the summer, and Annie and Kerry would be on their way home, I’ll likely start writing The Foundation Chronicles:  B For Bewitching.

There.  I said it.

So it is written, so it is done.

Tales of Writing For Tanya

Here I am, once again, with questions about writing, and I saved some of the best–and longest–for last, all from my friend Tanya, she of the video I released just the other day.  If there is anyone who knows me as a writer it’s her, because she’s been with me from the start of when I began writing once again.  That means she also knows what questions to ask.

And those questions are:

 

What does your writing process look like? Do you have any writing habits that might be considered strange or unusual? Just how important are names in your books? What is your LEAST favorite part of the whole writing/publishing process? Is there a certain type of scene that’s harder to write than others? Have you always enjoyed writing and if so, what were some of the earliest things you remember putting pen to paper about? Do you tend to write your stories in order or do you skip around?

 

A lot of questions, so let me address them one at a time.

 

What does your writing process look like?

 

I spend a lot of time thinking about what I’m going to write, then I start gathering data for my story–if it’s necessary–and once that’s all finished, I plot things out and start writing.  While I’m writing I’m constantly thinking about what’s just around the corner in the story, and I’m working out future scenes in my head as I going through whatever I’m working on currently.  I also do that because with a large enough work–like this last novel–you find that some things didn’t work, some things need more explanation, and sometimes you just gotta add or remove scenes to have the story work.  I try to write every night, and I try to get in between five hundred and a thousand words a night.  Five hundred words doesn’t sound like much, but if you keep at it every day, it adds up.

 

Do you have any writing habits that might be considered strange or unusual?

 

Other that monthly sacrifices to Cthulhu, no.  I enjoy listening to music when I’m writing (as I’m doing right now, listing to a Genesis concert from Zurich, Switzerland, recorded during their Wind and Wuthering tour in 1977), but there aren’t any other unusual habits I have when I’m working on a story.  Though I suppose one could say that once I start a story I dedicate myself to finishing it and not working on or getting sidetracked by other stories that may pop into my head.  If that happens they go into the idea file and I move on.  Remember, kids:  stay focused on what’s before you, and stop with the “But this other story came up and I just had to work on it!”  If that’s the case, then the first story was never meant to be.  And if you get distracted by a third story after you start that second, don’t quit your day job.

 

Just how important are names in your books?

 

They’re important.  As I’ve pointed out in another post, I work on my names until I get them right, and I’ve worked on stories before (Her Demonic Majesty being one) where I had a character and I just had the hardest time writing about that person because I wasn’t diggin’ the name.  But once I know who “they” are, then I’m good to go and I get into them greatly.  Sometimes I get into a character’s name so much that whenever I hear it outside the story, I sort of flash on my character and wonder what they should do next.

 

What is your LEAST favorite part of the whole writing/publishing process?

 

Promotion is, for me, the worse.  That’s because I’m really not good at selling myself, and I always feel like I’m pushing my crap onto other people if I’m trying to get them interested in my stories.  Even though it’s the only way to get any exposure in these days of self publishing, I hate it.  And once you’ve seen another writer spamming every thread they can access with invitations to read their story, you feel like you don’t want to bother people with your requests.  Truly, I suck at this.

 

Is there a certain type of scene that’s harder to write than others?

 

A lot of people would imagine romance scenes are hard to write, but I’m actually go with those–I enjoy writing them, because if handled right, romantic scenes are great for character building.  Just look at Annie and Kerry and see how they grew in their romance.  (And, no, That Girl does not exist here.  Nope.  Not at all.  Move along.)

The scenes I have the most difficulty writing are action scenes, and here’s the reason why.  These days, action has become associated with visual presentations seen on movies and television.  We now have an expectation of how action is suppose to play out, and directors and special effects people know exactly how those are to look.

The only thing is, action on the screen is difficult to play out on the written page.  There are only so many adjectives one can apply to action before you start repeating yourself, or end up looking ridiculous.  And if you watch closely, some action scenes in movies play out forever:  it’s like they slipped into a Whovian Wibbly Wobbly Timey Wimey ball of stuff, and what should be over in two minutes gone on for twenty.

My action scenes tend to be short and quick, because if you were paying attention, the three main action scenes that were in The Foundation Chronicles:  A For Advanced–Kerry fighting the Abomination; Annie and Kerry against the homunculi in Self Defense class; and the Battle of Link Bridge–went fairly fast.  Well, two of the three, but we’ll get to that . . .  The reason they went fast is either due to some heavy-ass magic flying about–the Link Bridge battle–or one opponent was outclassed by the other–Kerry and the Abomination.  In the second example Kerry quickly came to the conclusion that if he hung around trying to fight this thing he was gonna die, and did what he could to get the creature off Emma and to come after him thinking he could somehow outrun the beast.  In the first example you saw that magic fights were a little like modern day aircraft or submarine battles:  if you get through the defenses and hit, you’ll score a kill.  As I showed, the Link Bridge Battle was over in forty seconds, and most everyone was in bad shape after that little soiree–even the winners needed a quick evac.

The exception to this rule was Annie and Kerry fighting the homunculi scene–or as I lovingly titled it, The Walking Tests.  That went on for about nine thousand words, due to the set up, the preamble of one coven getting their butts kicked, and after the fight hearing about how the test may have been set up, and our two combatants wandering off to clean up.  The actually battle seemed to take some time, only because there was some butt saving, and some talking, and most talking, and finally–well, once the kids figured out how to dust those loser homunculi walkers, it was over quickly.  If I had to put a timer on the action, I’d say Annie and Kerry were on the mat no more than a couple of minutes at most–and that took four thousand words.

Though I have to admit that scene was one of my favorites to write, even if it did take me almost a week . . .

 

Have you always enjoyed writing and if so, what were some of the earliest things you remember putting pen to paper about?

 

While I like telling stories, I can’t say I’ve always enjoyed writing.  Mostly because, at least in the beginning, one, I have horrible handwriting; two, I can’t spell worth a damn; and three, I couldn’t type.  Once I learned to type I only had Point Two holding me back, and spell checkers help out there greatly.

The first story I remember completing was a horror tale that was really about as amateur as they get, complete with creepy, unknown things going bump in the night, and the overused trope of the author (the story was told in first person point of view) continuing to write as the Horror Outta The Basement came to eat his ass–otherwise known as the Apocalyptic Log with the writing making sure everyone read The Last Entry.

At the time I thought I was doing something great, but now it’s not hard to see it was complete crap.  I really had no idea what I was doing, and I was totally coping the style of a write whose work I enjoyed.  All writers do this (well, almost all), and I learned from that work, because my next two were much better.  The second story I wrote was done with original characters, and involved a trio of time travelers realizing the part they had to play in the assassination attempt on President Reagan in 1981.  It was the first time I worked with original characters who weren’t just there as part of the scenery, and there was the first inkling of a story starting to play out.  (True story:  this was written as an assignment for an adult writing night course I was taking.  The instructor had wanted something along the lines of four to five pages; I turned in twenty-eight.  She made certain to tell the whole class that I’d actually turned in a story, which I found a little embarrassing.)

And my third story was really sort of a fan fiction, as it took place inside a role playing universe that I was running at the time–however, I used all original character (save for two who were really in a position to help drive the plot along), and there was an actual history developed in the course of telling this story, where I was giving background on some of the characters, and even giving them, in the course of the story, motivation for their actions.  It was also my first really cinematic story, as I could see scenes playing out as if I was watching this play out on HBO–and given all the swearing and mayhem that occurred in the story, it would have been perfect for HBO before the coming of the show known as A Song of Breasts and Dragons.

The most important thing about the story, however, was the length:  it was about forty-five thousand words, which means long before I wrote my first novel, this was my first novel, at least according to the guild lines set down by the Science Fiction and Fantasy Writers of America.  And only a few friend ever heard the whole story:  I never posted it on the Internet, I never tried to get it published because I know, as a derivative entity of an existing work with a legitimate copywrite, I couldn’t do anything with the story.  I read it at writer’s meetings, and that was that.

None of these works exist any longer.  They all resided on the hard drive an old computer that eventually went belly up, and were lost to history.  I managed to find a hard copy of almost half of the third story about fifteen years ago (all these things were written in the late 1980s, early 1990s), but even that has vanished.  I could, however, rewrite the third story if I had to, because even to this day I remember it well, because, really, you never forget your first.

 

Do you tend to write your stories in order or do you skip around?

 

And we finally come to the last question, and the crowd goes wild!  Just kidding . . .

I write everything in order, and even I find that a bit strange, because as I have my stories laid out so well, it doesn’t make sense that I start at the beginning, work my way through the middle, and work towards the end, because if I know what’s going into a scene months before I get to it, why not write said scene?  Writing software makes this possible, and with all my scenes for my last novel developed before setting down word one, then why not skip around?  Why not write about what happened to Annie and Kerry in Kansas City long before they go to the Samhain Dance, or why not write the ending–which I knew before I started writing–and then get the kids together?

Because even though I know what’s going to happen before I get to those scenes, I don’t know what’s going to happen until I get there.

Allow me to explain.

When I laid out A For Advanced I knew the kids would go to Kansas City on a field op for the good guys.  And, in a metadata view of the story, I knew certain things would happen there.  What I didn’t know were the details, and I didn’t start working on those until I was about ready to write them.  This was after I had months to think about that adventure, and even when I started writing, I only knew maybe six events in any kind of detail.

Annie and Kerry talking about France outside the school?  Came to me that day before I wrote the scene.  Same with the Dreamspace scene; had that idea the night before because I knew it made sense given what they knew.  The CDC?  Also figured out the day before I wrote the scene, based upon what I knew of the world I’d developed over the last year.  And the Magic Show the kids gave in the park only came about due to knowing what they had already done magically, and want I wanted to bring up in a later scene.

In short, I couldn’t have written any of the Kansas City scenes without knowing what my kids had been through before getting there.  I mean, I could have, but those scenes would have been completely different, and it’s very likely I may have needed to rewrite them completely to fit with what I’d written if I’d decided to work the whole field op out of order.

There are scenes I could write now for later novels because I know them well–and believe it when I say I would love to sometimes, just to write them out.  But I would probably end up rewriting them later, and I hate to do that.  It’s best to get to them in the right order so I know that my kids have advanced the way they’re supposed to advance.

Though if I did write out The Polar Express now it would answer one burning question . . .

"She finally tells us if Kerry nailed that tramp Emma and ends up cheating on Annie, who is just way too good for him!  Yay!"

“She’s finally going to tell us if Kerry nails that horrible tramp Emma and ends up breaking Annie’s heart! Yay!”

Ummm, on second thought, I’ll just keep that information to myself for a few more years.

There you have it:  twenty-five hundred words telling you a bit more about me as a writer.  I hope you found it entertaining.

Because I remembered things that I thought I’d lost.  And that’s a good thing.

Writing at the Speed of Imagination

After a slow start to the day I’ve come back to a point where I am actually thinking straight, almost like a real person.  It’s wonderful that I’m not crashing out right about now.

Today I’m going to answer another reader’s question and this one is from Christy Birmingham, who I’ve followed for sometime as well.  Her question is simple:

 

What are your top three reasons for using Scrivener?

 

That’s an interesting question, because I’m not certain I can answer it sufficiently.  You see, there are so many different reasons why I use it, but let me see if I can break this down to something that makes sense.

 

One:  I can organize everything from the shortest story to the longest novel however I like.

 

Let me show you a few things.  First up is, believe it or not, the only real short story I’ve ever written, The Relocater, which clocks in at fifty-eight hundred words.  I wrote it in September, 2013, over the course of five nights, just to prove to myself that I could write a short story.

Looks kinda cute, doesn't it?

Looks kinda cute, doesn’t it?

There isn’t much to organize here, and Scrivener even has a short story template that allows you to just rip off some quick stories when you’re in the mood.  In this case I wanted quick and dirty, and that’s what I got.

Now, here is the novel I’m currently editing, Kolor Ijo:

Welcome back, 2012 NaNoWriMo story!

Welcome back, my friend, to the show that never ends.

When I laid out this novel I’d used Scrivener for about fifteen months, so I had a better grasp of how I wanted to set up my novel.  You can see that here I’m setting things up in parts, and that each text file is really a chapter.  And since most are short and separated in action from each other, I can get away with having it neatly laid out this way.

Now, maybe you recognize this work . . .

Every time I think I'm finished, you pull me back in.

Every time I think I’m finished, you pull me back in.

This is, right here, the most advanced layout I’ve ever done, which is for, naturally, The Foundation Chronicles:  A For Advanced.  And I should mention that the layout I have today is not the one with which I started.  When I began writing this in October, 2013, there were parts, there were chapters, there were scenes–but there were no acts.  It was only after I was close to finishing what is now Act One that I realized this story was gonna be huge, and trying to release it as one large tome might not be a good idea.  Therefore, I added the acts, began moving Parts into those Acts, and everything followed.  And that’s one of the things I love about the program.  However I want to set up my story, however I want to lay out my research, however I want to link to information from internal and external sources, I can.  It’s all up to you.  It’s even possible-though I haven’t tried it yet–to build your own template so these setups are available when you go to create a new project.  Like I’ll need with I write that B Level novel.

 

Two:  Write in one simple format, compile it into anything.

 

As a word processor Scrivener is simple:  it’s just text files where you can set margins, font styles, and font sizes.  You can so most everything that you can do in, say, MS Word, though for some functions you need to be hooked up to the Internet to get them to work, but who isn’t these days?  (And those functions are really needed to get the story written–I know; I’ve done that.)

But where the program really shines is in the area of how your final product look.  The Compile function is the formatting system of the program, and it makes it possible to just write lines of information in each text box, and by setting definitions in the Compile pop-up box, you can make the output look any way that makes you happy.

So many options, so little time to play with this stuff.

So many options, so little time to play with this stuff.

Most of the time I’ll compile into PDF format to look for errors and to send to beta readers, because you can’t change the stuff in that format–well, you can, but I have to trust my beta readers.  When I’m ready to send something up for self-publishing, I’ll compile the document to a Word .doc and run it through various checks as it’s converted into an epublishing format–

Which Scrivener will actually do for you.  .Epub and .Mobi are the two epiblishing formats supported by Scrivener, and if I remember correctly, Amazon will allow you to upload .mobi to Kindle Direct.  And those options on the left of the popup window?  Those are you selection and formatting options.  It’s actually possible to take plain, unaltered text an set your margins, fonts, and sizes in there, and have a ball getting your final product ready for whatever you like.  I haven’t explored all that because, well, it would take away from my writing.

And speaking of writing, the most important reason I use Scrivener:

 

Three:  It keeps everything I need for the story right in front of me.

 

Scrivener is not a word processing program:  it’s a project management program.  That’s why, when you go to create something new, you’re not creating a story or a short or a novel, you’re creating a project.  And into that project goes–

Everything.

Here’s something I’ve not shown much:  the research section for A For Advanced.

I seem to have an interest in aircraft . . .

I seem to have an interest in aircraft . . .

All that stuff on the left are things I slipped into the binder almost a year and a half ago, and some of the information I’ve kept updated, or even changed, as I went along with the story.  After all, the Spell List was being updated and added to constantly, because I’d come up with new things as I wrote.  But all the world building I did in October, 2013–it’s there.  Everything.  And up above I have information on students and who’s in every coven, and the levels and . . . you get the idea.

Now, in the picture above, there are four entries that look like little globes.  Those are interactive webpages that you can set up inside the project–you know, some of those functions that you need an Internet connection for?  Here’s what that looks like:

I seem to recall looking for these schedules back in 2013--

I seem to recall looking for these schedules back in 2013–

And the website is completely functional, so while I’m working on a scene, if I really needed to know the time for the train from Rockport–which, if you remember, is the end of the train line on Cape Ann and not that far from the school’s main gate–to Salem, it’s right here.  That was why I set this page up:  so I would have access to these schedules if they were needed.  And they will be–maybe.

The great thing is when it comes time to set up a project for B For Bewitching, I have an option to import another Scrivener project, so I’ll just zip all of this into that new project, delete what I don’t need, and keep the rest.  There you have it:  all my research is available for the new novel, with a little fuss as possible.

That’s pretty much it:  three main reasons why I use Scrivener.  There are a lot more, but those three are the biggest reasons.

And with reasons like those, I don’t really need any others.

The Path to Knowing is In the Missing

Here is an interesting quandary:  I was supposed to work on Kolor Ijo last night, because when you’re in the editing, you should edit, right?  And editing doesn’t seem like that big of a deal, because the novel is only (I would put that in quotes but then it feels like I’m showing off if I do) twenty-four chapters long, with a prologue and a code that stretches it out to twenty-six chapters, the whole novel is sixty-eight thousand, eight hundred words total.  And nearly all of the chapters are short:  in Part One the longest chapter is just under three thousand words, and that was a standard with my last novel.

See?  Just little bitty chapters.  The good ol' days when you could rip off something like this in a month.

See? Just little bitty chapters. The good ol’ days when you could rip off something like this in a month.

The nice thing that comes from editing a work like this is that you can take your time reading the tome and see what needs to be changed, and what has to be changed.  I found a lot of interesting but messed-up sections in the chapters I’ve read, and without a careful re-reading, that crap would have slipped through.  That’s one of the hazards of NaNoWriMo:  you’re writing so quickly at times that words just flying into the page, and there are sentences where those words make no damn sense.  I found about a dozen of them so far, and it’s a scary thing, let me tell you.

But at the same time I’m editing this–and I should mention I’m taking my time editing, because I’m reading this once for the first time in over two years, and it’s taking me time to get to know the characters once again–I’m thinking about another couple–and you know who they are.  Over the weekend I began thinking about something that happens to the kids–here it comes–after they leave Salem, because they do have a life outside the reinforced walls of that environment, and the things that happened to them when the Real Annie and I started thinking about their lives at school have changed slightly.  Meaning their future has changed slightly as well.  This is a perfect example of Wibbly Wobbly Timey Wimey stuff going on, and one must adjust.

There are things that happen to them both that need to be adjusted, because what happened before was, frankly, a little strange.  Also, life is a little different in The World of the Foundation, and it’s pretty obvious that Annie has her sights set on doing something that she wants to make her own, and it seems likely that Kerry may follow in her footsteps.  They’re gonna be busy kids from their F Levels on for a couple of years, and later on into their lives.

In fact, one of the things I was time lining out was . . . hum, should I do this? Naw, better to keep you guessing and wondering.

I don’t need to wonder:  I know what’s coming.  In both the future and the past.

I just gotta get their on my own power.