Fly Away


I’ve had to kill more than a few flies over the past few days.

Part of it, I think, is that the little buggers feel the end of summer coming on, and they’re trying to get indoors before the cooler weather comes. And part of it, of course, owes to the fact that the building I now work in was built in the 70s and shows every sign of it, down to the poor ventilation and the likely hundreds of nests and colonies in the walls. My room is always host to some six-legged creature or other, and this week, it’s been flies.

Which are the hardest things to deal with, it turns out. Mosquitoes you can catch in a closed fist. Bees drone along and then hover in space. But not flies. Flies catapult themselves through the air like UFOs powered by technology that shatters physics.

I remember reading once upon a time that flies have all kinds of extra sensory organs — from their tiny little antennae to the hair-like structures on their legs and body to their 800-faceted eyes — which make them one of nature’s most talented getaway artists. They end up with the reflexes of a cat that can see into the future, so that you’re always just a snap too slow, you always seem to strike the air just behind them. It’s almost as if they can sense that you’re about to swat them, and they leap out of the way.

Turns out, the actual air pressure created by your rapidly descending hands is sufficient to push the little critters out of the way; in other words, the act itself of swatting at the fly increases the fly’s odds of escape. The only way to counteract this is to anticipate where the fly is going to jump to and try clapping your hands at that spot, rather than aiming at the fly itself.

Which is a mug’s game, right? You can’t predict which way a fly is going to jump, any more than you can predict which way a flipped coin will land or which face a tossed die will fall on.

Still, guessing — even guessing wrong — gives you better odds than striking straight at the thing itself.

And there’s metaphors here, aren’t there? Life is a moving target, and all that. And by the time you think you’ve drawn a good bead on something, it’s moved along and you’re swiping at the empty air.

Sure feels like that lately, anyway. Working on this new story, it feels like the real thing — the good stuff, the soft, nougaty center of this idea — is buzzing around my head, lighting here on a bookcase, there on a lamp, occasionally on the skin of my scalp. But every time I try to nail the thing down, it flits away effortlessly, and I can almost hear its tiny, incessant insectoid laughter. And I bang my head away against some weak facsimile of the story I want to write and curse the muse for not dropping any of her glittery inspiration turdlets in my direction.

But then I strike off in a totally new direction; rather than trying to write the story I thought I was writing, I make a hard left and take the story in a new direction, and for a few blessed days at least, I get to bottle the lightning. I trap the fly between my hands and work gleefully while it bangs itself silly trying to escape.

And of course, it does. It escapes again. You can’t hold onto these things any more than you can hold on to a fistful of the ocean.

But you keep grabbing onto it all the same, as long as the story cries out to be told.

So if you’ll excuse me, I’ll be flailing around like an insane person trying to swat this storyfly.

Sometimes I write Good


 

The new novel is at the 1/3 mark — just the spot for a turn, a twist, a change that will color the story to come. And much like my two previous novels, the 1/3 point was an important landmark: a point of no return. The edge of the aircraft carrier, where the jet must either take wing or splash into the ocean, a multi-million dollar failure to fly.

And just like in my first two novels, there’s that horrible moment, right before that turn. That slow sensation, that creeping dread, that the story is a dead man walking, that the legs I thought it had are shot through with story-cancer and the whole thing is going to collapse before it ever has a chance to get going. The jet drifts toward the edge. The vast, indifferent ocean looms large. The wheels clear the edge of the carrier, and the craft does what heavy things do — it drops.

But then.

Like the very breath of God, the wind catches its wings. It defies all logic and it ascends into the sky — not like a bird on the wing, but like a shot from a cannon. And within the space of a heartbeat, from one moment to the next — from the terrible, awful, I-don’t-even-think-this-idea-is-viable-anymore words on one page to the next — the thing is flying not just under its own power, but on its own momentum. The very fact that it’s in motion keeps it in motion. The air rushing across its wings is working to keep the thing aloft just as much as the thing itself is fighting to fly.

And, well. That’s enough to keep you coming back for at least one more day of writing, innit?

It’s time once again for an old staple — my favorite thing I wrote today.

For a moment, Linc thinks about arguing the point — that he doesn’t hate these things, not really — but he realizes before he can form the thoughts that Michaels is right. He does hate them. Not in an overt, fiery way that smashes down walls and crumbles buildings, but in the quietly smoldering way of a not-quite extinguished campfire, smoking and hissing and spitting and waiting for a stray breeze to kick it up into a raging, all-consuming blaze.

Whee!

Suddenly Supercharged


There comes that moment when you’re writing a story and it just gets stuck.

Maybe it’s in a rut and not a lot is happening, or maybe the characters have backed themselves into a corner, or maybe it’s you the author who is blocked and unsure where to go next.

I’ve been in that place for the last couple of weeks with my project, probably owing in no small part to the fact that summer is over and I’m back to work. New employer, new commute, new routine, new stress. Hard to dedicate the grey matter that I’d like to the book, and it’s suffered for it. I’ve been writing by rote, pushing the story forward like it’s a stalled Ford Fiesta miles from the nearest gas station. (To say nothing of my scanty posts around here.)

Luckily, though, characters have a life of their own, and every once in a while, if you keep at it, the muse will flutter down and blow some glitter up your butt. My main character — perhaps as frustrated as me at the aimless wandering going on at this point in the draft — took the wheel and steered us right off the road during my morning session. Jumped ahead to a conflict I wasn’t planning until very late in the book indeed, if at all. Exposed the raw nerve floating right beneath the skin and vented some spleen all over the gooey sludge of this story.

It’s a turn I wasn’t expecting — wasn’t even thinking about when I sat down to write — but it fits perfectly with the character and the story. Of course it does. I told myself when I sat down to write not to force anything but just to let a conversation happen, and before I knew it, I was over quota for the day and my protagonist and antagonist have increased the boiler pressure well past the safe range.

Which serves as a good reminder of something I forget often: sometimes you just have to get the fargo out of the story’s way.

 

Project Update


I can’t write about the thing I really want to write about. I can’t. Dammit!

I just can’t. It’s too close to home. Fargo. That’s okay. There are other things.

So instead, I’ll share with you something I haven’t done in quite some time. Here, then, is my favorite passage from today’s writing session:

“Just go away.”
An ordinary little sister might climb up on the mattress and bounce on him to frustrate him. Rip the covers off and throw the blinds open. Maybe dump a cup of ice water on him as he lies there. But Kitty is never so subtle. She lifts the entire bed and shakes Linc out of it, like a chef sliding an omelet out of the pan. He thumps to the ground, clutching at the blankets and pulling them close around him, but she rips them away with enough force to spin him around on his rear end.

So I’m not 100% on the names as yet, but I’m 110% on the dynamic between the two of these characters. (That’s a lie. I’m never 110% on anything, because YOU CAN’T BE 110% ON ANYTHING. 100% is the max. People who say otherwise need to go back to … sharknado, I dunno, 4th grade math, or whenever you learn percentages. I’m especially talking to you, high school coaches of EVERY SPORT.)

Did I mention that the new project features superheroes? The new project features superheroes. AND SUPER VILLAINS. Especially villains.

Anyway.

I got 1200 words done today, which is a pretty good yield for a one hour session. I only crank out that kind of word count when I’m really feeling the idea, and today, well, I was feeling it. I’m about 13,000 words into the current project and it’s finally catching its wind and moving under its own momentum. Which is actually kind of late, actually — things should probably get crackling way before that — but that’s what the first draft is for, innit?

You can always fix it in the edits.

1200 words. A solid workout. A trip to the pool with the kids. A storm that threatened but never materialized. None of the kids barfed or shat on me today. Stayed on top of the dirty dishes.

Sometimes, all you can hope for are the small things.

Happy Tuesday!

 

Early Progress


It’s hard to get any consistency about my schedule these days, but the words are flowing. I’ve made it easy on myself with my daily goal: I’m only asking myself for 500 words daily, 5 days a week.

But surprise surprise, I’m finding that the “goal” is more like a “limitation”. Just this week, I’ve done:

(Mon – 475 words)

(Tue – 537 words)

(Wed – 570 words)

(Thur – 623 words)

And that’s not trying to write more, that’s just writing where the writing takes me and stopping once I find a decent stopping point. Problem is, it’s getting harder to find good stopping points, because I’m enjoying myself so much.

But these are good problems to have.

Holy crap it’s so far past my bedtime.