A series of developments occurred over the weekend.
The Nethereal partial manuscript submission I sent to Tor back in December resulted in a form rejection.
The agent I'd queried most recently replied today with identical results. I'll be sending out another query to a new agent tomorrow.
It's startling to look back at that December update and see that I was only on chapter ten of the latest Souldancer revision. I'm now on chapter 46 and expect to finish the latest draft of the book this week.
End transmission.
Showing posts with label Nethereal. Show all posts
Showing posts with label Nethereal. Show all posts
Monday, July 8, 2013
Wednesday, June 5, 2013
Faustian Bargaining
"Magic"--like "love", "decimation", and "freedom"--is a term that popular use has greatly corrupted. Nowhere is the misapprehension of magic more prevalent than in contemporary speculative fiction. Many authors, without fear of contradiction or ridicule, slap the "magic" label onto any ability exceeding the norm. This practice is inaccurate and objectively misleading.
In their episode on magic systems, the Writing Excuses podcast filed everything from the Force to mutant powers under the aegis of "magic". Allowances must be made for the hosts' need of a convenient term to frame their discussion, not to mention their fifteen minute time limit. However, I found it interesting that they mentioned several species of fantastic power but not actual magic.
I'll stop begging the question and define actual magic, that is to say magic as it has been historically understood and practiced in western culture. Though western magical traditions differ, certain common threads run through all of them:
It could be argued that the usefulness of a general term describing the sundry paranormal goings-on in popular fantasy and science fiction trumps the importance of linguistic accuracy. In that respect, I don't begrudge such usage as long as the terms are defined beforehand. However, I find that a proper understanding of magic as it was known to our ancestors can add authenticity and depth to one's writing. John C. Wright makes a persuasive case for this approach.
Another question implied by this line of reasoning is, "How should the various "magic" systems used in contemporary fiction be classified?" I'll attempt an answer.
My own science fiction-fantasy novel Nethereal provides examples of each category. Jaren and Nakvin possess certain superior physical traits thanks to nonhuman parentage. These are superpowers. The Guild's Workings and glamers, Gennish Mysteries, and even the Malefactions of xanthotics are technologies that harness fictitious forms of energy. Only in the ancient schools of divination and necromancy--with their fool's bargains and horrific costs--do we find real magic.
The whole exercise in fantastical nit-picking aside, Sanderson and Wright are unarguably correct that a practical supernormal power system should adhere to rules; especially the rule that all power comes at a price. Mutants are feared and hated by those they fight to protect. Channelers risk madness and death to use their gift. Sorcerers barter their eternal souls for power and influence. As long as the cost fits the effect, it's not cheating.
In their episode on magic systems, the Writing Excuses podcast filed everything from the Force to mutant powers under the aegis of "magic". Allowances must be made for the hosts' need of a convenient term to frame their discussion, not to mention their fifteen minute time limit. However, I found it interesting that they mentioned several species of fantastic power but not actual magic.
I'll stop begging the question and define actual magic, that is to say magic as it has been historically understood and practiced in western culture. Though western magical traditions differ, certain common threads run through all of them:
- Magic is preternatural, i.e. not among the natural powers proper to humans.
- Magic does not involve the direct manipulation of cosmic or spiritual energies ("spiritual energy" being an oxymoron).
- Following from the first two points, the magician's role is to invoke the aid of spiritual beings, to whom levitating objects, forecasting future events, etc. comes naturally (thus magic can't be called supernatural either).
- These beings' services are never contracted without cost.
It could be argued that the usefulness of a general term describing the sundry paranormal goings-on in popular fantasy and science fiction trumps the importance of linguistic accuracy. In that respect, I don't begrudge such usage as long as the terms are defined beforehand. However, I find that a proper understanding of magic as it was known to our ancestors can add authenticity and depth to one's writing. John C. Wright makes a persuasive case for this approach.
Another question implied by this line of reasoning is, "How should the various "magic" systems used in contemporary fiction be classified?" I'll attempt an answer.
- Extranormal abilities arising from genetic mutation (natural or induced), alien ancestry, enhanced anatomy, or wonder drugs fit most comfortably into the category of superpowers.
- Effects that seem paranormal to readers, but which result from the conscious manipulation of ambient energy fields, chi, manna, etc. are really just technologies, although they draw on power sources that are unknown or disputed in the primary world.
- Techniques that exploit physical laws absent in the real world are likewise technologies.
- Combinations of the above, e.g. a gene that predisposes one to psychic powers.
My own science fiction-fantasy novel Nethereal provides examples of each category. Jaren and Nakvin possess certain superior physical traits thanks to nonhuman parentage. These are superpowers. The Guild's Workings and glamers, Gennish Mysteries, and even the Malefactions of xanthotics are technologies that harness fictitious forms of energy. Only in the ancient schools of divination and necromancy--with their fool's bargains and horrific costs--do we find real magic.
The whole exercise in fantastical nit-picking aside, Sanderson and Wright are unarguably correct that a practical supernormal power system should adhere to rules; especially the rule that all power comes at a price. Mutants are feared and hated by those they fight to protect. Channelers risk madness and death to use their gift. Sorcerers barter their eternal souls for power and influence. As long as the cost fits the effect, it's not cheating.
Friday, May 17, 2013
Horseshoes and Hand Grenades
An agent I queried asked for the first five pages of the Nethereal manuscript last week. The pages were rejected in a frank and highly professional manner. The gesture is highly appreciated.
I went into Heinlein phase five bracing myself to face criticism. I conditioned myself as best I could to take negative comments with an open mind, revise the book if they made sense and ignore them if they didn't. Funny thing: There really hasn't been any criticism to speak of. The most common replies I've gotten have been: A) nothing and B) form letters. The two or three personalized responses all amount to, "Your premise and execution are fine, but it's not what we're looking for."
The dearth of feedback is something I didn't anticipate. I have plans in place to deal with, "Your work is bad, and here's why." Instead I'm left grappling with, "Your project is OK. For someone else. But I don't know who it is."
On further reflection, I believe I'm facing the following difficulties:
It's impossible to sell a manuscript unless the buyer reads the whole thing. Not only can't you judge a book by its cover; you really can't judge it till you've read the last paragraph. Readers may have that luxury, but not people whose jobs depend on acquiring new titles. And yet...
Agents and editors don't have enough time to read every manuscript submitted to them. It's a fact of the busy world we live in: more so for literary agents and acquisitions editors, who receive thousands of submissions a year. These conditions force them into the paradox of judging something piecemeal that can only be fairly evaluated within the context of the whole.
Faced with this Joseph Heller reference, most professional writers advise researching agents and editors' tastes before querying them. A common strategy is to look up agents' recent deals to find out what kind of books they represent. Mining the acknowledgements pages of novels in the same style and genre as yours is often recommended as a good way to find like-minded agents and editors.
I've been following that advice for years, but...
I haven't found anything close enough to my work to identify an agent/editor with similar sensibilities. From one perspective, the fact that I can't find other books like mine is good. Agents and editors often say that they're looking for fresh material. On the other hand, it's bad because people usually stick to what's worked before and don't go too far beyond their established tastes. I know I do that. There are sound logical reasons for playing to one's strengths.
Frankly, I don't want to work with an agent, editor, or publisher who isn't excited about my book. Agents are salespeople (so are writers), and the best salesmen are genuinely passionate about the product. A project has no better friend than an editor who's willing to champion it to the publisher, and a lukewarm publisher is apt to bury a book at the end of the list (or drop it altogether).
The way I see it, I have two options:
1. the Jim Butcher method: which ain't gonna happen, if only because I have too little charm and too great a fear of jail to crash invitation only industry lunches.
2. the black hole: wherein I keep throwing message-laden bottles into the ocean hoping that just the right alignment of circumstances prompts an agent to request a sample based on my query letter, that the partial reading elicits a request for the full manuscript, that the MS convinces the agent to approach an acquisitions editor on my behalf, and that the editor agrees to take on the project.
I might be a timid eccentric, but I'm a very patient timid eccentric.
Wednesday, May 8, 2013
Nethereal Update
It's been a while since I could report movement on the Nethereal project. All the while I've been busy doing my homework and sending out query letters to those literary agents whom I deem best able to represent the book.
All of my queries were met with form rejections or silence (except for one which offered some encouragement). This pattern of responses isn't unusual. Most folks in the publishing industry are so swamped that they don't have time for individualized feedback.
The pattern of rejection was interrupted yesterday when I got a request for sample pages of my manuscript. The agent asking for a look at my material was the first to receive a query letter I'd drafted using a new approach. Correlation isn't necessarily causality, but it's quite a coincidence. I'm inclined to think that my previous query letters didn't sufficiently entice agents to read the manuscript, but that's how we learn.
I'll keep you updated as new information becomes available.
And if the aforesaid agent pops in, thank you for giving me a chance. Thanks also to anyone who's read my work, even if you couldn't make it past page one.
All of my queries were met with form rejections or silence (except for one which offered some encouragement). This pattern of responses isn't unusual. Most folks in the publishing industry are so swamped that they don't have time for individualized feedback.
The pattern of rejection was interrupted yesterday when I got a request for sample pages of my manuscript. The agent asking for a look at my material was the first to receive a query letter I'd drafted using a new approach. Correlation isn't necessarily causality, but it's quite a coincidence. I'm inclined to think that my previous query letters didn't sufficiently entice agents to read the manuscript, but that's how we learn.
I'll keep you updated as new information becomes available.
And if the aforesaid agent pops in, thank you for giving me a chance. Thanks also to anyone who's read my work, even if you couldn't make it past page one.
Monday, March 25, 2013
Thrice-Told Tale
Since I've been focused on revising my work, I thought it would be helpful to compare multiple drafts of the same project to chart my progress. The results proved both edifying and embarrassing.
Here's an example: the same paragraph from Nethereal chapter 3 as it appears in the first, second, and third drafts.
First Draft:
The Enforcers conducted their search in shifts; none of them being able to tolerate prolonged exposure to the conditions inside—this despite the fact that the door had been off its hinges since early that afternoon. According to the householders, the temperature had not risen at all. Fortunately, they weren't made to investigate for long. Redrin Culvert's personal effects, including his identification, two changes of clothing, and a type of Worked pistol called a zephyr, were quickly discovered and noted. Of the man himself, there was no sign. A guilt-driven flight out of town was submitted in explanation, although the room was windowless, and the lock had been jammed from the inside—melted, in fact, by some unknown corrosive agent.
Second Draft:
Despite the fact that the door had been off its hinges since the early afternoon, conditions within had still been barely tolerable. Fortunately, the search hadn’t taken long. The Enforcers had quickly turned up Redrin Culvert's personal effects, including his identification and a zephyr model Worked pistol. Of the owner’s whereabouts, they’d found no sign. A guilt-driven flight out of town was submitted in explanation, though the room was windowless, and the lock had been jammed from the inside: melted, in fact, by some unknown corrosive agent.
Third Draft:
The vicious freeze had haunted the room for hours. Luckily, the search hadn’t taken long. The Enforcers had quickly turned up Redrin Culvert's personal effects, including his identification and a Worked zephyr pistol. There was no sign of the owner’s whereabouts. A midnight flight from justice was suspected, but the room was windowless; and the lock hadn’t simply been jammed from the inside. It had been melted by some unknown corrosive agent.
Don't know about you, but the third version is the only one I can read without flinching.
Here's an example: the same paragraph from Nethereal chapter 3 as it appears in the first, second, and third drafts.
First Draft:
The Enforcers conducted their search in shifts; none of them being able to tolerate prolonged exposure to the conditions inside—this despite the fact that the door had been off its hinges since early that afternoon. According to the householders, the temperature had not risen at all. Fortunately, they weren't made to investigate for long. Redrin Culvert's personal effects, including his identification, two changes of clothing, and a type of Worked pistol called a zephyr, were quickly discovered and noted. Of the man himself, there was no sign. A guilt-driven flight out of town was submitted in explanation, although the room was windowless, and the lock had been jammed from the inside—melted, in fact, by some unknown corrosive agent.
Second Draft:
Despite the fact that the door had been off its hinges since the early afternoon, conditions within had still been barely tolerable. Fortunately, the search hadn’t taken long. The Enforcers had quickly turned up Redrin Culvert's personal effects, including his identification and a zephyr model Worked pistol. Of the owner’s whereabouts, they’d found no sign. A guilt-driven flight out of town was submitted in explanation, though the room was windowless, and the lock had been jammed from the inside: melted, in fact, by some unknown corrosive agent.
Third Draft:
The vicious freeze had haunted the room for hours. Luckily, the search hadn’t taken long. The Enforcers had quickly turned up Redrin Culvert's personal effects, including his identification and a Worked zephyr pistol. There was no sign of the owner’s whereabouts. A midnight flight from justice was suspected, but the room was windowless; and the lock hadn’t simply been jammed from the inside. It had been melted by some unknown corrosive agent.
Don't know about you, but the third version is the only one I can read without flinching.
Friday, March 22, 2013
Racial Profile: The Gen
A hierarchy of being exists in the Soul Saga universe that spans from the simplest sub-atomic particle to the all-encompassing Nexus itself. Originally, no place in this grand continuum was left empty. The rise to dominance of humanity--which occupies the exact center of the cosmic hierarchy--also saw the decline of many lesser and greater races. Of these, the Gen suffered worst of all.
Standing one rung above man on the evolutionary ladder, the Gen closely resemble their human cousins. Physical differences between the two races are subtle. Unlike humans, Gen do not fail with advancing years. They slowly grow nobler (and ideally wiser) with age. Physical and mental defects are almost unknown among them.
The greatest difference between humans and Gen is that, barring disease, misadventure, or murder, a Gen will never die. As one would expect, immortality affects the Gen's outlook on life. They are great lovers of learning but approach new subjects methodically, exhausting a given field over decades or even centuries before tackling the next.
Though the Middle Stratum had no Fall event (physical and moral evil have another source), the Gen could be viewed as an unfallen--or rather, less fallen--version of humanity. They are smarter than men on average, and they more easily subject their appetites and passions to the rule of will.
The two preceding observations help to explain what humans consider an oddity of Gen behavior: their habit of attaining and then abandoning great technological achievements. Indeed, the elder race mastered space flight before men practiced agriculture. Not long after, the Gen returned to the safety of their home spheres and left their wondrous ships to rot.
This pursuit of knowledge for its own sake instead of some practical end likely saved humanity. Had the Gen been less reserved, they might have revived their ancient high technology to drive mankind back to the stone age at the first sign of persecution by humans. Instead they exercised their customary patience, hoping that their juniors would gain spiritual maturity. The result was the Gen's near extermination.
Standing one rung above man on the evolutionary ladder, the Gen closely resemble their human cousins. Physical differences between the two races are subtle. Unlike humans, Gen do not fail with advancing years. They slowly grow nobler (and ideally wiser) with age. Physical and mental defects are almost unknown among them.
The greatest difference between humans and Gen is that, barring disease, misadventure, or murder, a Gen will never die. As one would expect, immortality affects the Gen's outlook on life. They are great lovers of learning but approach new subjects methodically, exhausting a given field over decades or even centuries before tackling the next.
Though the Middle Stratum had no Fall event (physical and moral evil have another source), the Gen could be viewed as an unfallen--or rather, less fallen--version of humanity. They are smarter than men on average, and they more easily subject their appetites and passions to the rule of will.
The two preceding observations help to explain what humans consider an oddity of Gen behavior: their habit of attaining and then abandoning great technological achievements. Indeed, the elder race mastered space flight before men practiced agriculture. Not long after, the Gen returned to the safety of their home spheres and left their wondrous ships to rot.
This pursuit of knowledge for its own sake instead of some practical end likely saved humanity. Had the Gen been less reserved, they might have revived their ancient high technology to drive mankind back to the stone age at the first sign of persecution by humans. Instead they exercised their customary patience, hoping that their juniors would gain spiritual maturity. The result was the Gen's near extermination.
Wednesday, March 20, 2013
Souldancer Deleted Scene: The Taming of Hazeroth
In hell's Third Circle a motley crowd gathers beside a river of blood. No two hideous congregants are alike. Yet all share a bloodthirsty fascination for the spectacle playing out in their midst.
The demon mob encircles a single figure. He resembles a being of the Middle Stratum far more than any of the infernal denizens surrounding him. But his skin is sallow, and his eyes are the same sanguine hue as the tainted river. His hands grip the fossilized wings of some eons-old reptilian giant, joined end to end by a shaft of bone. Sometimes they seem to move by their own power.
At some imperceptible signal one of the monstrous onlookers enters the ring. The stone wings blur, and he is cut down. Undeterred, another demon lunges at the sallow man and meets the same end.
Like a dam bursting, the circle closes around the lone figure at its center, devolving into a mindless fray. The first charge ends poorly. None of the fiends get closer to their foe than the point of his blade. The demons close ranks and fall back, forming a wider circle than before.
The swordsman brushes black curled hair from his forehead. His bloody eyes betray his lust for more.
"Hazeroth," a deep clear voice resounds across the blood-soaked plain.
The demons cow as if struck. The circle parts, admitting a towering figure in lavish gold robes. An expressionless white mask with a ruby in its brow hides his face.
The swordsman turns at the sound of his name. "You disturb my sport."
"If I must. The word I bear to you takes precedence."
Hazeroth points a long-nailed finger at the masked messenger. "You will have to wait your turn."
"I am ill disposed to suffer delays."
The masked figure lifts his arms. Sickly yellow light bursts from beneath his golden robes, sweeping the demon mob away like a pile of burned leaves.
Hazeroth scowls. "Your aid was neither asked nor wanted. If you would treat with me, it will be on my terms."
In a motion that would bewilder the human eye, the swordsman covers the distance to his intended victim and shreds the golden robe with one swing of his double sword. Suddenly he no longer stands on the bloody river's bank, but on a broken sheet of coal-black rock. A golden glow limns the horizon, and a single white point glows faintly in the dark sky.
"Hazeroth!" the same booming voice cries again. This time, it seems to emanate from everywhere at once. "I am the Will of Shaiel. Here, in my seat of power, you shall heed me."
The swordsman tries to move, but the cold turns his muscles to dried wood.
"High honor is set before you," Shaiel's Will declares. "My lord would have you bear his blade. What say you?"
"I am a prince of hell," Hazeroth says through clenched teeth. "Others swear their blades to me!"
"And many more yet shall. Serve in Shaiel's kingdom, and he will restore your own. Yea, it shall have tenfold increase."
The demon prince tries to struggle; fights even to move. The cold is relentless: seeping into his bones; creeping toward his heart.
"I will serve," he groans at last.
The demon mob encircles a single figure. He resembles a being of the Middle Stratum far more than any of the infernal denizens surrounding him. But his skin is sallow, and his eyes are the same sanguine hue as the tainted river. His hands grip the fossilized wings of some eons-old reptilian giant, joined end to end by a shaft of bone. Sometimes they seem to move by their own power.
At some imperceptible signal one of the monstrous onlookers enters the ring. The stone wings blur, and he is cut down. Undeterred, another demon lunges at the sallow man and meets the same end.
Like a dam bursting, the circle closes around the lone figure at its center, devolving into a mindless fray. The first charge ends poorly. None of the fiends get closer to their foe than the point of his blade. The demons close ranks and fall back, forming a wider circle than before.
The swordsman brushes black curled hair from his forehead. His bloody eyes betray his lust for more.
"Hazeroth," a deep clear voice resounds across the blood-soaked plain.
The demons cow as if struck. The circle parts, admitting a towering figure in lavish gold robes. An expressionless white mask with a ruby in its brow hides his face.
The swordsman turns at the sound of his name. "You disturb my sport."
"If I must. The word I bear to you takes precedence."
Hazeroth points a long-nailed finger at the masked messenger. "You will have to wait your turn."
"I am ill disposed to suffer delays."
The masked figure lifts his arms. Sickly yellow light bursts from beneath his golden robes, sweeping the demon mob away like a pile of burned leaves.
Hazeroth scowls. "Your aid was neither asked nor wanted. If you would treat with me, it will be on my terms."
In a motion that would bewilder the human eye, the swordsman covers the distance to his intended victim and shreds the golden robe with one swing of his double sword. Suddenly he no longer stands on the bloody river's bank, but on a broken sheet of coal-black rock. A golden glow limns the horizon, and a single white point glows faintly in the dark sky.
"Hazeroth!" the same booming voice cries again. This time, it seems to emanate from everywhere at once. "I am the Will of Shaiel. Here, in my seat of power, you shall heed me."
The swordsman tries to move, but the cold turns his muscles to dried wood.
"High honor is set before you," Shaiel's Will declares. "My lord would have you bear his blade. What say you?"
"I am a prince of hell," Hazeroth says through clenched teeth. "Others swear their blades to me!"
"And many more yet shall. Serve in Shaiel's kingdom, and he will restore your own. Yea, it shall have tenfold increase."
The demon prince tries to struggle; fights even to move. The cold is relentless: seeping into his bones; creeping toward his heart.
"I will serve," he groans at last.
Tuesday, March 5, 2013
Nethereal Progress Report 3/6/2013
Most agents and editors are too busy to send anything but form rejections these days. I've sent out other queries that were answered with rejections, but all of them have either been form letters or polite but vague rejections. None of them gave direct criticism of my work.
I queried literary agent Russell Galen about Nethereal back in November. He was recently kind enough to give me my first piece of personalized feedback. It wasn't even that much: just a single sentence declaring that my book sounded "fine" to him. However, the slot on his dance card reserved for a sci fi-fantasy author is full.
After months of wondering if my story is irredeemable schlock, someone in the industry has confirmed that it has a modicum of literary (or at least commercial) merit. Again, I know full well how busy the agents who didn't give feedback are. No hard feelings.
I continue the agent search armed with Mr. Galen's encouragement.
Monday, February 11, 2013
Nethereal Character Interview: Elena Braun
I was reading Michael Hyatt's suggested blog topics for novelists and came upon the fascinating notion of posting interviews with characters from my novels. Why the hell not? Let's try this.
The interviewer scans his notes one more time before setting the smoked crystal tablet back on the desk. Straightening the cuffs of his dark grey uniform jacket, he sits back to wait.
His subject enters: a willowy girl with rose-colored eyes set in a pale face framed by wavy, light brown hair. The single overhead light leaves the entrance bathed in shadow, but the interviewer could swear that the door never opened.
The girl stands halfway between the closed door and the desk: stock still and silent; possibly not breathing.
Interviewer: You can have a seat.
The girl, still in her middle teens by the look of her, promptly seats herself in the only other chair.
I: Thank you. Let's start with the basic facts. Please state your name.
Subject: Which one?
The interviewer pinches the bridge of his nose and sighs, eager to put this formality behind him and return to more serious business.
I: The one the station staff call you by.
Subject: Elena Braun
I: Good morning, Elena.
Elena: Saying that won't make it true.
I: Are you feeling alright?
E: shrugs
I: Not sleeping well?
E: It's not the sleep. It's the dreams.
I: You're having nightmares?
E: Saying "nightmares" implies that they're not true.
I: Fidgeting with his notes. Moving on, please give your age.
E: Be more specific.
I: I don't...how old are you?
E: It depends on what you mean by "me". In a sense, I'm primordial. In another, I'm as old as all of the people who've had pieces of me inside them. The soul in the vas was reconstituted 150 years ago.
I: Sighs. What is your physical age?
E: Sixteen.
I: Now we're making progress. You've been briefed on the upcoming mission?
E: Yes.
I: How do you feel about it?
E: About what?
I: The Exodus Project.
E: What about it?
I: Well for one thing, are you confident of a successful outcome?
E: That's a relative concept.
I: Forgive me for saying that you seem generally pessimistic.
E: It's a bad time for long-term planning.
I: Switches off his tablet and folds his hands on the desk. I think we're done here.
E: Rises quietly and leaves.
He didn't get much out of her. Perhaps he asked the wrong questions. Anybody else care to ask?
The interviewer scans his notes one more time before setting the smoked crystal tablet back on the desk. Straightening the cuffs of his dark grey uniform jacket, he sits back to wait.
His subject enters: a willowy girl with rose-colored eyes set in a pale face framed by wavy, light brown hair. The single overhead light leaves the entrance bathed in shadow, but the interviewer could swear that the door never opened.
The girl stands halfway between the closed door and the desk: stock still and silent; possibly not breathing.
Interviewer: You can have a seat.
The girl, still in her middle teens by the look of her, promptly seats herself in the only other chair.
I: Thank you. Let's start with the basic facts. Please state your name.
Subject: Which one?
The interviewer pinches the bridge of his nose and sighs, eager to put this formality behind him and return to more serious business.
I: The one the station staff call you by.
Subject: Elena Braun
I: Good morning, Elena.
Elena: Saying that won't make it true.
I: Are you feeling alright?
E: shrugs
I: Not sleeping well?
E: It's not the sleep. It's the dreams.
I: You're having nightmares?
E: Saying "nightmares" implies that they're not true.
I: Fidgeting with his notes. Moving on, please give your age.
E: Be more specific.
I: I don't...how old are you?
E: It depends on what you mean by "me". In a sense, I'm primordial. In another, I'm as old as all of the people who've had pieces of me inside them. The soul in the vas was reconstituted 150 years ago.
I: Sighs. What is your physical age?
E: Sixteen.
I: Now we're making progress. You've been briefed on the upcoming mission?
E: Yes.
I: How do you feel about it?
E: About what?
I: The Exodus Project.
E: What about it?
I: Well for one thing, are you confident of a successful outcome?
E: That's a relative concept.
I: Forgive me for saying that you seem generally pessimistic.
E: It's a bad time for long-term planning.
I: Switches off his tablet and folds his hands on the desk. I think we're done here.
E: Rises quietly and leaves.
He didn't get much out of her. Perhaps he asked the wrong questions. Anybody else care to ask?
Sunday, December 16, 2012
December Update
Just a bit of necessary blog maintenance:
-Agents queried: 4
-Replies to queries: 2
-Rejected queries: 2
-Form rejections: 2
Also, I've submitted a pitch/synopsis/first 40 pages to Tor. With any luck, my submission packet is in their slush pile as I write this sentence.
This week the agent hunt continues, as does my ongoing revision of Souldancer. As of this writing, I'm on chapter ten.
In closing, here is sage advice from John C. Wright.
-Agents queried: 4
-Replies to queries: 2
-Rejected queries: 2
-Form rejections: 2
Also, I've submitted a pitch/synopsis/first 40 pages to Tor. With any luck, my submission packet is in their slush pile as I write this sentence.
This week the agent hunt continues, as does my ongoing revision of Souldancer. As of this writing, I'm on chapter ten.
In closing, here is sage advice from John C. Wright.
Sunday, November 11, 2012
Nethereal Final
I'm pleased to say that the final version of my Nethereal manuscript is done. The final draft is far leaner and smoother than the others, weighing in at 541 pages (compare that figure to 720 for the original). That's without deleting any chapters or scenes; just making smarter word choices and using more concise phrasing. The shift to third person variable perspective also helped to weed out excessive description and exposition while adding dialogue.
I don't plan on making any further changes unless a professional editor orders them, so the next step is to start querying agents. I'll keep everyone apprised of how my search goes.
I don't plan on making any further changes unless a professional editor orders them, so the next step is to start querying agents. I'll keep everyone apprised of how my search goes.
Saturday, September 1, 2012
Submission Update
I just heard back from Pyr, who have opted to pass on the Nethereal manuscript. I was hoping for a little feedback, but as mentioned on their submissions page they didn't have time to give details.
Still, the turnaround time of only six weeks for a slush pile submission is pretty impressive. I'd prepared myself to wait for months. Now I can safely shop the book around without fear of simultaneous submissions.
The latest revision has reached chapter 28. It shouldn't be long before the manuscript is ready to be sent out again. I'll keep you posted as always.
Still, the turnaround time of only six weeks for a slush pile submission is pretty impressive. I'd prepared myself to wait for months. Now I can safely shop the book around without fear of simultaneous submissions.
The latest revision has reached chapter 28. It shouldn't be long before the manuscript is ready to be sent out again. I'll keep you posted as always.
Wednesday, July 18, 2012
First Novel Submission
After 18 months and three full revisions, I decided that it was finally time to market Nethereal. Following careful research, I chose to send my first submission to Pyr. They're a subsidiary of Prometheus Books who've got a pretty robust presence in the industry. Most importantly, many of the titles in their catalog come close to the tone and genre of my book. Even better, they accept unagented electronic submissions of the whole manuscript--not just a query or a sample.
We'll see what happens in the coming months. I can tell you that my search for an agent will continue in earnest.
Having submitted my manuscript is no excuse to slack off, which is why I'm glad that Nick Enlowe has agreed to work with me on polishing the narrative structure and general presentation of the book. As stated above, the text has been through several revisions; but the results have been clearer, tighter, and just plain better every time.
I keep putting myself through the wringer because I believe in this story. It took some convincing, especially after the somewhat ambiguous initial feedback. But the test readers (to whom I am deeply grateful) all report that basic plot and theme is solid. I can work with that, if nothing else, and I've got a feeling that my esteemed colleague's help will draw out a great deal more.
We'll see what happens in the coming months. I can tell you that my search for an agent will continue in earnest.
Having submitted my manuscript is no excuse to slack off, which is why I'm glad that Nick Enlowe has agreed to work with me on polishing the narrative structure and general presentation of the book. As stated above, the text has been through several revisions; but the results have been clearer, tighter, and just plain better every time.
I keep putting myself through the wringer because I believe in this story. It took some convincing, especially after the somewhat ambiguous initial feedback. But the test readers (to whom I am deeply grateful) all report that basic plot and theme is solid. I can work with that, if nothing else, and I've got a feeling that my esteemed colleague's help will draw out a great deal more.
Saturday, March 10, 2012
March Update
Since last time, I've been diligently continuing with my novel's final revision, doing a lot of fine-tuning on the related RPG system, and working with Mick on a new music project.
Perhaps the most interesting news is the module I've been helping Ian with for Pathfinder. His first supplement being a big success, I'm very excited that he invited me to collaborate on the followup adventure. Whereas his solo effort was a fairly traditional if fanciful dungeon crawl, the latest product of our combined wordsmithing features a nightmarish, Lovecraftian tone.
Perhaps the most interesting news is the module I've been helping Ian with for Pathfinder. His first supplement being a big success, I'm very excited that he invited me to collaborate on the followup adventure. Whereas his solo effort was a fairly traditional if fanciful dungeon crawl, the latest product of our combined wordsmithing features a nightmarish, Lovecraftian tone.
Monday, November 7, 2011
Nethereal Third Draft
I finally finished the third draft of my novel yesterday. I ended up trimming the final page count by about a hundred pages, just from tightening up dialogue and reducing unnecessary exposition. It should now be far easier for a reader to forget about the book and get lost in the story.
Finishing this project doesn't mean I'm done. Not remotely. Next on the agenda is revising and resubmitting my first short story. I'll let you know how it goes.
Finishing this project doesn't mean I'm done. Not remotely. Next on the agenda is revising and resubmitting my first short story. I'll let you know how it goes.
Friday, October 7, 2011
NPI: Conclusion
Well, the Novel Push Initiative over at 5-Rings is over. I put in a decent second place showing, but my hat's off to everyone who participated, especially Ryan G. Sanders, who blew me away. He is not unlike some kind of machine that writes.
Nick said that I can keep going if I want. Since I'd been writing every day for nine months before NPI started, I see no reason not to continue.So I will.
Update: the latest revision of Nethereal is up to page 385, and the total page count is currently 659 down from 737. I've noticed that I reduce the page count by one every day from removing unnecessary dialogue and exposition alone. If this trend continues, I should be done in six weeks. Then it's on to polishing up "Beta Geminorum" for resubmission.
Nick said that I can keep going if I want. Since I'd been writing every day for nine months before NPI started, I see no reason not to continue.So I will.
Update: the latest revision of Nethereal is up to page 385, and the total page count is currently 659 down from 737. I've noticed that I reduce the page count by one every day from removing unnecessary dialogue and exposition alone. If this trend continues, I should be done in six weeks. Then it's on to polishing up "Beta Geminorum" for resubmission.
Monday, July 25, 2011
No Rest for the Wicked
As everyone who's been following this blog knows, I've been slogging through the process of revising Souldancer. In the meantime, additional feedback has been coming in on Nethereal. These comments have been very helpful, and have pointed out to me that there are still plenty of ways for the manuscript to be improved.
Because I want to submit the strongest manuscript possible, I've decided to put SD on the back burner and concentrate on re-editing the first book. The aim is to further streamline the descriptions, trim superfluous expository text, and make the whole narrative more accessible.
I'm setting a daily goal of ten pages. At that rate, the revisions should only take about ten weeks.
Because I want to submit the strongest manuscript possible, I've decided to put SD on the back burner and concentrate on re-editing the first book. The aim is to further streamline the descriptions, trim superfluous expository text, and make the whole narrative more accessible.
I'm setting a daily goal of ten pages. At that rate, the revisions should only take about ten weeks.
Friday, June 17, 2011
First Playtest
Thanks to everyone who helped test the first version of my Soul Saga RPG. I am diligently implementing most of the suggestions I received, including streamlining combat while retaining the damage system's sense of realism.
In addition to revisions, I'll also be adding myriad game elements, including alternate "magic" systems, Worked items, new races, and more character traits. There will also be plenty of flavor text to flesh out the setting.
Thanks again for the excellent feedback.
In addition to revisions, I'll also be adding myriad game elements, including alternate "magic" systems, Worked items, new races, and more character traits. There will also be plenty of flavor text to flesh out the setting.
Thanks again for the excellent feedback.
Monday, May 23, 2011
Souldancer 3.0
Having gotten the manuscript for Nethereal in satisfactory form, I've started work on a new revision of the old version of Souldancer. Reading the second (chronological) book now, I can't believe I ever deemed it ready for print.
I don't know whether it was grad school, the number of books I've read between "finishing" SD v2 and now, or both; but my awareness of flaws in the execution of version two is now glaring. My main issue was having too many descriptive clauses modifying any one object. The book as it stands reads as if I couldn't decide between descriptors and chose to include them all. The result was very cluttered, as you can imagine.
Presently, I'm going back through Souldancer, intent on giving it a total overhaul. The text will be fully streamlined and revised while being brought up to spec with Nethereal. That means shoring up continuity between the two books, harmonizing established nomenclature, and almost certainly cutting a few scenes that no longer fit the narrative.
To those who might object to an abridged version, consider that rendering both manuscripts in double-spaced, twelve point text, Nethereal tops out at a respectable 780 pages, while Souldancer currently bursts its binding at 1340. Simply reining in my exposition should help make the page count more manageable.
In case you're wondering why I'm going to the trouble of revisiting a five year-old manuscript that took me two years to write in the first place, not including original revisions, the answer is that there's nothing else I'd rather do. The reason I started with the second book in the cycle is because I feel very strongly that Souldancer is the heart of the saga; the philosophical and emotional axis around which the whole thing turns.
Don't get me wrong. Nethereal isn't a throwaway piece at all. I wouldn't market a story I didn't believe in. I purposefully wrote the tale to be fully self-contained if needed. However, the fact remains that the first novel's primary job is to rack up the pins so the larger game can commence.
Having gotten the introductory story on paper (rather, on file via word processor) has greatly aided my improvement of Souldancer, providing the firm foundation lacking during my first go-round. Using Nethereal as a reference point, I have no doubt that SD v3 will proceed more naturally; the two texts forming a complementary and fully coherent narrative.
I'm not turning the second book into a clone of the first, either. The scope of Souldancer is still far broader, numerous new characters are introduced, and the stakes are raised compared to the conflict that drove the cast of Nethereal. How can a threat of already universal scale be surpassed?
Rest assured, I've got it covered.
I don't know whether it was grad school, the number of books I've read between "finishing" SD v2 and now, or both; but my awareness of flaws in the execution of version two is now glaring. My main issue was having too many descriptive clauses modifying any one object. The book as it stands reads as if I couldn't decide between descriptors and chose to include them all. The result was very cluttered, as you can imagine.
Presently, I'm going back through Souldancer, intent on giving it a total overhaul. The text will be fully streamlined and revised while being brought up to spec with Nethereal. That means shoring up continuity between the two books, harmonizing established nomenclature, and almost certainly cutting a few scenes that no longer fit the narrative.
To those who might object to an abridged version, consider that rendering both manuscripts in double-spaced, twelve point text, Nethereal tops out at a respectable 780 pages, while Souldancer currently bursts its binding at 1340. Simply reining in my exposition should help make the page count more manageable.
In case you're wondering why I'm going to the trouble of revisiting a five year-old manuscript that took me two years to write in the first place, not including original revisions, the answer is that there's nothing else I'd rather do. The reason I started with the second book in the cycle is because I feel very strongly that Souldancer is the heart of the saga; the philosophical and emotional axis around which the whole thing turns.
Don't get me wrong. Nethereal isn't a throwaway piece at all. I wouldn't market a story I didn't believe in. I purposefully wrote the tale to be fully self-contained if needed. However, the fact remains that the first novel's primary job is to rack up the pins so the larger game can commence.
Having gotten the introductory story on paper (rather, on file via word processor) has greatly aided my improvement of Souldancer, providing the firm foundation lacking during my first go-round. Using Nethereal as a reference point, I have no doubt that SD v3 will proceed more naturally; the two texts forming a complementary and fully coherent narrative.
I'm not turning the second book into a clone of the first, either. The scope of Souldancer is still far broader, numerous new characters are introduced, and the stakes are raised compared to the conflict that drove the cast of Nethereal. How can a threat of already universal scale be surpassed?
Rest assured, I've got it covered.
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