First, I want you all to go here and see the amazing trailer for BORN WICKED, premiered exclusively through Entertainment Weekly. It's pretty much the awesomest thing ever (er, after the book, of course!).

Next I want to talk a little about ACCURSED (& etc.), mainly cause I've still been feeling a little down on myself about not doing enough last year.`

I started ACCURSED at the end of 2009. In my records for December 10, 2009 it's called "Something New." Later I retitled to "Quents" (a level of Curse-working in the book) & then finally changed it to "Accursed". Which means I have worked with Gen & her story (and potential later-story stuff, for now just to give her a place to go when I can't get her voice out of my head) for about two years & one month.

In those 764 days I wrote ~363454 words about Genevieve. (First draft, edits, plotting notes & randomness)

That is approximately 1454 pages.

Or about 476 words per day since she first said "I wish..."

In five revisions, plus random "outside the story" scenes.

So I guess I can cut myself a bit of slack in feeling like I did nothing in 2011, especially considering I...

Wrote nearly 106000 words in/about Darlington.

Did just over 35000 words of critique (quite a bit of it on the book in the above trailer! Eee!)

Added nearly 21000 words to Arion's (The Ties of Blood) world.

Agonized over 14000 words of "pitch material" (i. e. query, synopsis, etc)

Played with nearly 12000 words on the new alt-word futuristic historical mystery (with bonus!magic)

Managed about 4500 words in random pieces.

Found nearly 2200 more words for the Haunted Restaurant Cinderella

And wrote just over 1300 words in the Angel/Immortal piece that's going to be super-difficult for me.

(Also, there was a pitiful 299 words in W&F world, but that story/series is going to have to wait until I know how to fix it.)

So while I didn't get to write as much as I wanted in 2011, apparently I still wrote quite a bit :)

I'm currently reworking THE TIES OF BLOOD, my alt-world Regency-era dark wizardy YA, a.k.a. my heart book. Adding the MC's "girlfriend's" POV wound up working much better than I'd expected, but something was still not-quite-right. Isi's first person sections were taking over the narrative, her voice so compelling it was detracting from the MC's storyline. Now, she's not in a number of key scenes, so having her narrate the whole thing wasn't ever going to work. So I decided to put the whole darn thing in first person, dual-narration.

I hadn't wanted A. in first person. For one, he's so very damaged it's just not a fun place to reside for however long it takes me to rework this opening yet again. {I'm always snappish & irritable when working on this part. Apparently I'm very method that way ;-)} For another thing, every other time I've written in his first-person voice, he sounds quite modern. But writing Isis in third didn't work, so I decided moving A. to first was what the story needed, & attempted reworking chapter one.

It was horrid. Dull & lifeless, making me throw my hands up in frustration. I knew how to fix the book, but it Would Not Cooperate. So I went back to my fifth ACCURSED revision (it was time to work on that anyway) & decided I'd try and plow ahead in the book some more before giving first person another go (yeah, that didn't happen, either).

Fast-forward to few weeks ago. I was in the kitchen-- I assume doing dishes, since I certainly wasn't cooking-- and a line popped into my head:

My father only ever cared for Marius.

And I knew I had found A's voice.

Now, I first "heard" him in first person, and then switched to third when I realized I couldn't sustain first person male POV for an entire novel (at the time-- I think I probably could now). I've gone back to first a few times for backstory or side-scenes or character interviews but never sustained it for long until now.

It's... odd. Being this close to him. Isis is a much more natural voice for me. I have to pay more attention in his voice. But it's so worth it to really see this story inside his head, however messed up it is at this particular point in the story.

And he's funny. I mean, I knew that, but it's different than being on the outside looking in.

Part of me wants to put all the POVs in third so I can switch as need be-- I'd love to give some scenes from Josephine or Mordecai or Connor-- but this feels right. Hard, as all good things are, but right.

Now if someone could tell him to talk a wee bit faster...

My crit group has been helping me with a *coff* fifth-ish revision on THE TIES OF BLOOD. It's a story I knew was too big for me when I started it eight years ago, and I think I'm finally finding the best way to tell it. (Yeah, some books just take that long.) Anyway, the major change in this draft is that Isis now gets to narrate some of the book, not just third-close on Arion.

The problem with working with Isis is that now my tone is off. It's a historical YA fantasy, set in a Regency-era world, and while it has a Very Strong romantic element, it isn't entirely a romance-- but the beginning is very heavy on the romantic issues. And Isis's voice is very honest, so reading her in first and then Arion's parts in third creates a bit of a disconnect with Arion and the main thrust of the story. (Or so I'm told-- I'm a little too close to it to really know, but I totally see where Amelia & Janelle are coming from when they tell me this.)

Solution? Change Isis's parts to third-close as well. I've written a bit of WITH SOUL SO DEAD (#2) and the Epilogue to THE MIDST OF EVILS (#3), all of which have parts that are third-close on Isis. So I know I've done it before-- but for some reason, changing her current opening is just Not Working.

It's stilted. The same information coming across in third sounds whiny or doormat-ish, not aching and heartbroken. I still wind up with the problem where Arion sounds like an ass (which, OK, he kinda is at times). And I'm not sure if it's my issue, trying to keep the same 'format' for her prologue, or if it's going to be a problem later in the story as well-- but it feels like the latter. The reason I love this prologue is because it fixes a lot of issues I had with old drafts very efficiently, but if it doesn't work, I'm willing to scrap it and start over (and yes, Amelia & Janelle, I added that bit we discussed at the last meeting-- you'll get it next week).

To be fair, I've also tried writing Arion's parts in first. For some reason, whenever I write him in first, it feels Way Too Modern. I can barely get a few sentences without running screaming back to third. *headdesk*

Anyone else switched point-of-view like this? Did you question the decision or did you switch because it was obviously the best solution? I don't want to give up on it too soon, but usually when I make a big change like this I know it's for the best-- and this one I just don't know yet.

ARGH.

I woke up this morning with a line in my head. This happens quite a bit. But of course, it wasn't a line for Gen. Or Isis. Or even D.

Nope. This was a line from the unnamed guy in a project I've been poking at on and off for about a year. I got up, wrote the scenelet, and realized I haven't done a project round-up on here in a while. So, if you're interested, take a peek into my insanity.

Top O' the "Must Finish ASAP" list is Gen's story, ACCURSED. I'm more than halfway through the first pass revision, and things are progressing. Granted, it isn't progressing quite as fast as I'd like, but hey, things take time to simmer. Especially bigger changes. Trying to figure out how to make Gen's life even suckier at this moment in story-time is harder than you'd think!

Next up is the *coff* fifth draft of THE TIES OF BLOOD (formerly ARION). And by fifth I really do mean more like eighth, at least for the beginning. But I think I've finally got it. (All y'all out there saying "I told you so" for adding Isis's voice... yeah, yeah, I hear you!) I'm doing recursive editing on this one, so it's incredibly slow-going, but it's working out well. Moody atmosphere FTW!

Third in line is the Cinderella retelling, which is my attempt at writing something not-dark and fun. Plus, it's an exploration in plotting, since it came with a pre-determined structure. Still trying to figure out all the little twists & such, but I'm thinking if I do decide to NaNo I'll use this one (yeah, I realize it's in a week, but my NaNo-ing is "write 50k in-story" not... whatever NaNo actually is)

Those are the major projects. The Not-Major-At-The-Moment projects are as follows:

WINGS AND FANGS: TAKEN-- Still debating structure on this one, since Phillip gets to talk (a lot, whether he wants to or not) and David's off in David-land and D's... well, she's got some issues. Er, a lot of issues.

WITH SOUL SO DEAD-- This is the second Arion book, formerly MORDAGRIN. There's a lot that I need to happen here, and with Isis back in the mix for narration, I've got to find a way to keep the first draft word count under control. But as book 2 affects what I need to place in book 1, keeping both storylines in my head is a good thing. I promise.

HEXED-- This might become JINXED. Yes, this is a book 2 for Gen. I couldn't help myself. But book 1 still does not have a cliffhanger. Yay, me! And I'm only vaguely poking at this one. I need more excuses for Gen/Wynne kissing scenes. (Right, Jess?)

Angels/Immortals Book-- This one is the one that woke me up this morning. No, this is not about fallen angels. I'm super-excited about this, but it has to wait, because if the MCs haven't even told me their names yet, they're not that eager for their book to be written. When they're ready to tell me, then they can move up a list ;-)

Think that's enough to keep me busy? Eh, probably not... Plus I'm sure I'm forgetting something.

So, I've gotten myself into a bit of a mood lately-- just a general funk and melancholy and feeling of stuckness-- in writing, in life, in everything. This is a horrid mood for me, because then I wind up thinking that's the mood I'm in, which leads to me staying in that mood because I keep thinking about it... Anyway. It sucks.

Today I decided damnit, if I'm going to be in this mood anyway, I might as well work on THE TIES OF BLOOD, cause hell, the whole opening of that book is like ripping myself open and letting all the sad and moaning and pain spill out anyway, so might as well, right?

Can we say cathartic much?

Between Arion burying his feelings over two things now, not one, and Isis *fretting* and talking to Marius's portrait, I'm suddenly in a much better mood. Even if I am reasonably worried over a few IRL things, well, I'm not the emotionally abused son of the most feared wizard ever-- or in love with him.

So there's that.

Today is Arion's birthday. He's the character I've worked with the longest*, one of the ones I know best. His story is the one that tickles the back of my mind when it drifts, the one I have to finish**, no matter what.

So happy birthday, Arion. I'm sorry I make things suck for you. Go have a beer, on me.

(Yes, this is on Arion's playlist. It's so very him, if he were ever allowed long enough of a break to do such things as hang out on a beach in Mexico.)

*I started many other novels before THE TIES OF BLOOD. I haven't worked with any of them nearly as long.

**By story, I mean all three books.

"You sit down and you do it, and you do it, and you do it, until you have learned to do it." ~ Ursula K. Le Guin

This is what synopsis writing has been for me, in a step-by-step format:

1) Open synopsis document

2) Stare at synopsis document

3) Print synopsis

4) Scribble on it with a red pen. Want to jab red pen through lines I know aren't working and I can't figure out how to make them work.

5) Decide it is all crap. Open notebook & start scribbling new synopsis.

6) Type up new version of synopsis.

7) Go back to step 2 and repeat.

When I was younger and didn't consider writing any more important than any of the other activities that filled my days, I always wanted to find "my thing," the thing I could just do. I had this strange idea that if I could do something well the first time, if everything just clicked when I tried to do it, that was what I was supposed to do with my life.

Well, since I'm not blogging about the art of stained glass right now, you've probably figured out that my life didn't exactly work out like that. I figured out that it wasn't about what I could "just do," it was about what I really wanted to put the time into learning how to do well.

Synopsis writing? Yeah, it was not part of my initial "be a writer" plan. But now that I know that a synopsis is a somewhat necessary evil, I'm working on it. I want it to be good. Hell, I want it to be great; I want someone to read it and say "I want that book now, gimme gimme gimme."

Which means I'm back on step four, even though I'm sick of trying to find the perfect two-word phrase to describe Mordecai, or the best way to make Arion sound more wounded than brat-like. Do I wish it came more easily to me? Oh, youbetcha. But since it doesn't, here I am, with the zillionth draft of my synopsis, red pen in hand.

And so, I do it again.

But, um, can we please try and make this one of the last agains? *prays*

For those of you also on the non-pro LJ, there's a new beta call up for help kicking me in the pants.

A big fat Thank You!!! to everyone who responded to the super f-locked post yesterday. Your comments are fantastic & I really appreciate them & will work them into today's revising session.

And if you're just hearing about this now & still want to comment, I'd appreciate that, too! :)

I've found if there's one thing that gets people arguing faster than yelling "Twilight is the best book evar!" in a room full of Harry Potter fans, it's mentioning that your book begins with... the dreaded prologue.

I have a prologue. Actually, I've had two. The first one I cut up and inserted into chapter seven, which is exactly where it should have always been. But I put the new one in it's place, because I felt, and still do feel, that something needed to be there.

I have a few reasons for wanting to keep my prologue. The main one being that I think the reader needs to see the relationship Arion had with the brother he lost to truly understand his actions. But he's emotionally shut down throughout the beginning of the book and, in that state of mind, wouldn't allow himself to think about his brother. Being in third close, I have few options for bringing up things he wouldn't think about. And he certainly wouldn't stand for anyone else talking about his brother.

Also, when I asked my beta readers if they thought the prologue added to their understanding of the characters/conflict, 4 out of 4 of those who have responded gave a very emphatic "YES." And my bff whines at me every time I say I'm thinking of cutting it. So it's kinda hard to argue with that. :)

Of course, I somewhat understand people who dismiss prologues out of hand. I've seen a lot that are info-dumps, that don't add to the story, and whose set-up goes nowhere. I get the annoyance there. And I know I probably sound like every other writer who whines, "but mine is different!" but... I feel like mine should be there.

But would I cut it if it meant the difference between being published and not? Yeah. I probably would. I'm at the point where I feel like most of the story is malleable. I do like revision, and I love it when I can see the story getting better. So if it worked out that there was a way for me to do thing things the current prologue does within the context of the chapters, I'd cut it. For now, it stands.

Why am I muttering about this? Mainly because I'm about to send out queries, and my first five pages happen to be my prologue. I think they're pretty good pages. But, without the rest of the story behind them, I worry. Then again, I am a known worrier. I tend to worry about pretty much everything. So I'm hoping this is going to be like most things I worry about and it won't be a problem. But if it is?

Changeable. Cause that's just how I roll. (Ugh, I did not just say that, did I? I did. I'm such a dork.)

So, I've seen this going around & figured what they hey, I'm up, might as well. So here are some of my first lines...

Arion (Prologue)

"Marius, tell me a story," Arion said, gazing up at his older brother from the depths of his monstrous bed. "You haven't in ages."

Mordagrin (Prologue- might change as story evolves)

"No-" Marius's stomach plunged as he pushed away from his father's desk. "No! You- you can't be."

Wings & Fangs: Bewitched (Chapter One- Deirdre)

My fingers itch. That's usually the first sign, but I forgot. I mean, as symptoms go, it's kind-of weird.

Wings & Fangs: Taken (Scene One- David) (not in chapters yet)

"Where exactly am I?" I asked, looking around. As far as I could see there was nothing but unbroken field.

Broken Promise (Chapter One)

Can it be a rule that great-grandmothers do not leave demon-trapping rings lying around with their things? Especially without leaving specific instructions regarding the keeping of said demon inside said piece of jewelry…

Jora (Chapter Two- Cause Ch. 1 is probably getting cut)

The horse's hooves clopped softly on the dusty road. Jora held the reins loosely in one hand as she walked alongside her tall, tan* mare.

Knight School (Prologue? Chapter One? Haven't decided...)

I found a girl in the yard. He'd left her in a place where he knew I'd find her, be the first to see her hair glint in the sunlight, nearly trip over myself to check her pulse.

Yeah... those are all in various stages of completion... but they're my main ones. And really, all are subject to change if I come up with a better first line! ;-)

*No, Brittany, I have not yet changed the color of the horse. I realize horses are not tan. I will choose another color. Eventually.