Between migraines, three days of being unable to sleep, and actually being sick for the first time in a long time, I did not have a great weekend. Or get anything done.
But I’m set up to write now. I’m starting at 4915 words, and shooting for 1500 tonight. And I want to develop the conflict between the hero and the heroine.
I already know it’s big. I’ve outlined the whole thing on screens full of index cards. But it has to start big. I hate trite. The stupid misunderstanding, the disagreement over the trivial—to me, if you have two people that you want to have end up together and a part of the story is about the conflict that is keeping them apart, that conflict has to matter. To both of them. They both have to know what it is, they both have to understand the terms, and it has to be something big enough that they won’t bend their principles.
They have to earn being together, by building the thing that fixes the conflict. Not a patch, not he gives in to get her, not a compromise. A real fix.
So tonight, I’m laying the groundwork for that big conflict. It needs to start with both of them telling the truth—and discovering that their truths put them on opposite sides of a great divide.
Yes, they are attracted to each other.
No, they aren’t going to pursue this relationship, because they would be wrong for each other. Events will then clobber hell out of them while proving them wrong…but that’s then. This is now, and tonight is all about Yes/No.
Onward, then.
Somewhere along the way, someone told me something was impossible.
Actually, I know exactly where and when.
It was my first day of seventh-grade art class, and my art teacher told me that the gray in the center of the color wheel, that color representative of what you got when you mixed all the colors, could not actually be made without the use of either black or white.
I said I bet I could do it, and she said if I could, she’d give me an A for the year.
I set out to prove her wrong, mixing colors madly, and ending up with a very nice gray.
Of course, I realized later, I had mixed it all on white paper, so while I got extra credit for the day for having taken on the challenge (and ended up earning an A for the year anyway), I discovered to my chagrin that I had failed to conquer that challenge.
I haven’t tried it since. Some part of me is holding on to the, “Oh, yes, I can,” of that moment, and not wanting to believe it can’t be done.
I hate the word “impossible.” To me, it means both “oh, yeah, just watch me,” and “just one more attempt and I’ll have this.”
So I figured that we could do a quick, painless, efficient move, and I’d be back up and running at full steam in a week. I gave myself two weeks just as a buffer.
Nobody I had ever known had done this, but I was willing to bet I could.
Ha!
We started the move on February 23rd.
TODAY is the first day that I can actually sit down at my desk and write.
So, for those of you who might be considering a move, here are ten DOs and DON’Ts to help you achieve the rumored-to-be-impossible… the quick and painless move.
As much as you had to begin with, anyway.
So, no, moving is not impossible. Having fun while doing it may be. Doing it in the timeframe you allotted for it may be. But prepare for everything, assume nothing, and remember that redundancy is nature’s way of ensuring survival and have redundant support for everything critical. You’ll get through it.
Finally, here’s my Rome—not built in a day, but worth the effort.
My New Office





by Holly Lisle on June 2, 2007 · 99 comments
in Administrivia, Books, Gods Old and Dark, I See You, Last Girl Dancing, MATRIN, Midnight Rain, Night Echoes, PARANORMAL, SUSPENSE, Talyn, The Wreck of Heaven, Vincalis, WORLD GATES, WORLD OF KORRE
I See You started meandering on me. I could feel it turning sideways, so rather than continue, I spent this morning doing a line-per-scene for the last 24 scenes of the book. I’m not quite satisfied yet, but I have enough to keep the boat sailing in the right direction while I get the last bit right before the ending (which I’ve known since I finished the proposal, and which will NOT need to be reworked). I’m still okay on time to finish this.
Now I need to get to work on Hawkspar, where I need a solid charge-ahead day. I’m in the middle of the Wall of Alarming Colors, managed to rip out two completely unnecessary red-card scenes and toss them [insert wild cheering here], and am facing the rest with grim determination. After this, a field of cool green revision awaits.
Okay, I know a little more now. The manuscript for Midnight Rain will be due April 15, 2004. Probably will be on the schedule in 2005, but I don’t know exactly when yet and won’t for a while. Contracts are on the way, which is very, very fast.
So. My writing schedule looks like this. 135,000 more words on Talyn by Nov. 15, revise from Nov. 15-December 13, print on Dec. 14, mail on the 14th or 15th. Take off until Jan. 1. Start the revisions of Midnight Rain then, hand in a segment of around 70-100 pages by Feb. 1st, hand in the completed novel by April 15th. (I’m hoping to do this part of the schedule faster, frankly.)
Gods Old and Dark should land on the shelves right around then, so that will be my new book in 2004.
Then, as soon as Midnight Rain is in the mail, I’ll start on Tor II. Have to conceive, outline, and write 250,000 words on that one by Nov. 15, 2004, and have the final draft mailed in by Dec. 15, 2004. Take off until Jan. 1st, 2005. Start in on Mainstream II, which I’ve just contracted, with a submittable draft due by, I think, June 2005.
Steady work. I’m really excited about this.
I’m making real progress again on Talyn. Got a 1500 word net gain yesterday in spite of removing a solid chunk of text. I did it by going back to exactly the point where things went badly wrong, and writing the scene I should have written the first time. Sometimes I can pretend I got it right and just keep going, but this time I couldn’t get the brain to play along with the fingers.
So I actually fixed something in mid-first-draft.
I left in everything that I know that I’ll eventually have to cut, too — I know this is cowardice on my part — the equivalent of pretending the badly damage net under the tightrope is better than nothing — but I’m hoping that as I work my way through I’ll find something salvageable in the material that has to go. Any part of that hundred pages that I don’t have to discard will be to the good.
And just to add to the excitement, now I have to finish the galleys for Gods Old and Dark and get them back to Diana promptly, something that I’m going to have to do sitting on the couch in the afternoon while the kidlet is building Bionicles.
:: celebrating ::
Tomorrow I print, the next day I mail. In the meantime, I’m going to get into that line-for-scene thing for Talyn.
I’ve been plugging away on editor-requested revisions for the better part of the month, and I’m finally down to the last new scene that I have to write (and in fact when I quit today I was halfway through it). After completing it, I have two more scenes total to revise — I think I’ll be able to finish the whole thing tomorrow. I’m relieved. This has been a revision done with a tremendous amount of outside stress, and it has consequently taken a lot longer than the two weeks I estimated for the project.
This starts me out a bit behind where I wanted to be with Talyn but I’d built enough padding into my schedule that I should still be able to catch up fairly well. I’m guessing that I’ll be ready to start the actual writing on the new book next week (still a bit out line-for-scene outlining that remains to be done before I leap into that.) It’ll be good to get into something new.
Every once in a while, working your way through a revision, you’ll notice that you’ve reused a phrase two or three times, or, if you really weren’t careful, more. In Gods Old and Dark, I had six — count ‘em, six — instances of ’sad smiles’, which has to be a recent record for pounding a phrase into the ground.
Goddamn. This is the sort of thing that isn’t so obvious when you’re writing the book, because you’re doing the writing over a period of months and individual words and phrases fade into the fog as you fight to come up with your next batch of pages. But when you’re reading it, you start hoping for the horrific deaths of all these sad smilers.
Well, none remain. Not a single one. It’s a boring image anyway. Ah, yes, the poor woman with her sad little smile, screaming ‘pity me’ from the slump of her shoulders to her big, woeful eyes. I did not take a flamethrower to the characters, though after about the third sad little smile I was ready. But I did replace all that pitifulness with better imagery and a bit more punch.
Thank God for revision.
I’m about to the end of the revisions for Gods Old and Dark — at least that’s what the ever-shrinking pile of paper to my left would attest. I’m doing a new scene right at the moment, setting up Raymond Smetty and Louise Tate for their eventual just desserts. (I left their fate hanging in the first version, and my slow-turn-around readers thumped me over the head for it.) Mark is downstairs either cleaning his room or doing demolition work: the sounds are identical and I haven’t the guts to go look. My other two guys are out raiding Toys ‘R’ Us to give me a chance to finish this thing, and I’m taking a five-minute breather while I figure out the next part of this scene, so I figured I’d make a note of where I am.
I’m having to come up with an end-of-series ending for Gods Old and Dark. I’m not sure there will be more books in the world, and I don’t want to leave readers hanging forever. So I’ll leave two carefully chosen threads wrapped but not clipped, so that I can pick up the storyline if I get the chance to do more World Gates books, but the rest get snipped and cauterized this time. It’s been making for a lot of rewriting. S’alright. The book will live through it, and the ending will be stronger than it was. And in a couple more days I’ll dive into Talyn and ten pages a day of Korre and alternating first/third and a couple of characters I just adore and thought I was never going to get to write.