Tuesday, November 19, 2013

Preview chapters

Ok, I don't have a title for this as of yet, but I thought I'd share a few chapters of the book I'm working on. Please don't steal my work.



CHAPTER I: STEALING FROM A GODDESS
1
The temple was silent as a crypt as the thief passed over the threshold. The monks had gone to their rest at sunset, perhaps an hour or so before, and hadn't bothered to post guards; the building was open for worship anytime, after all. Orion crept down the aisle, passing the pews like a solitary groom at a wedding. The Goddess gazed down on her wayward son with a look of anguish on her face, as if his choice of profession pained her more than any torture imaginable. His eyes jumped up to the massive ivory sculpture, painted in vivid color in the daytime, it was merely grey amidst black at this time of night. In truth, he was grateful that he couldn't see Alyssia's eyes staring down at him in judgment, because, although he wasn't exactly the most devout churchgoer, the eyes of the goddess of life still held the power to make him feel uneasy.
He was dressed in black from head to foot and swaddled in a thick, black cloak. Underneath the cloak was his satchel, a leather bag laced closed with rawhide and cinched tight to his back by a baldric slung over his shoulder. Along the baldric were several rows of throwing knives that glittered in the low light. On his sleeve, easily accessible, was a half diamond lock pick in a leather sheath as well as another knife. This one, however, had been modified using a hammer and anvil- he'd blunted the edges, turning the knife into a torsion wrench. On his hip was a short sword with a sweat-darkened leather grip; its sculpted pommel peeked out from beneath his cloak every now and then, throwing off flickers of moonlight.
As he strode past the altar a glint of gold caught his eye, coming from the shadows of a partially open cabinet. He knelt beside the altar, looking as if he were about to pray and slid his satchel down the baldric until it rested against his hip. With one yank, the laces opened, revealing the black maw of the vacant bag. He always emptied it before going on a job: it left more room for loot. The marble was hard on his knees, but he'd endured worse pain before. Pulling the cabinet open revealed the candle sticks that usually burned on the altar, flanking a bejeweled chalice. With a small smile, Orion loaded the sacred items into his satchel before standing and turning once again to his main goal.
2
The client had found him at The Drunken Unicorn, a tavern down the road from Orion's shop. He'd been sitting in the corner, drinking deeply from a mug of ale and staring dreamily at the tavern's owner, Rose, when a man dressed in white robes pulled out the chair across from him and seated himself. Perturbed at having his lecherous train of thought interrupted, Orion glared at the monk as he lowered the tankard.
"Pardon my interruption," the man said in a soft voice, "but I am in dire need of your services, master thief."
"Let's assume you're right about who I am. What does a white brother need with a thief?" His voice held a deadly edge and he discreetly loosened his sword in its sheath. His eyes flicked to the bar where Rose was looking over at him, concerned. A short shake of his head told her to stay put for now.
"We have a common friend, sir. Brandon Blackwald recommended you when I mentioned that I needed a certain book acquired...quietly. Call me Dirk."
Orion swore under his breath. Bran, one of the frequent customers at his shop, liked to send unsolicited jobs to him and Orion always hated that. It wasn't that he was averse to work, but he preferred to scout locations himself rather than having someone, whose only knowledge of the business was how to buy the spoils, try to spoon feed him. "Not your real name, I assume...But Bran's a loyal customer, Dirk; tell me what you need."
"There is an illuminated copy of Alyssia's Trials in Elyria's temple to the goddess, bound in leather covered in gold leaf. I would most dearly love to gaze upon it for myself; the bishops only quote from the book, brothers are never allowed to lay eyes upon it."
The thief traced a finger over the pitted and scarred surface of the table before taking another pull from his flagon. "You want me to steal a book? That's all?"
The monk looked around, alarmed, as if Orion had shouted at the top of his voice rather than murmuring. "It's the single most important book in our religion," he hissed at the thief. "If I can get my hands on it, I could discover for myself if what they preach is truth."
 "Yeah, I suppose. Or you might destroy it..."
"W-why would I do that?"
"You have that hood pulled down, but I can still see kohl around your eyes. Your face has obviously been powdered heavily. Monks of Alyssia don't do that. You're one of Nyx's followers in a white robe. So, now that I know what you are, why don't you tell me why you really want this book?"
With a growl, the monk pulled his hood back, revealing the skull-like visage that had been drawn on his face in makeup. "How did you know?"
"If you're going to impersonate a white brother, have the sense to wash your face- there's makeup smudged on your sleeves and hood. Also, Bran's a follower of Nyx; draft horses couldn't drag him into the temple of Alyssia. Now answer my question before my lady-friend throws you out on your bony ass." The thief cocked his head at Rose, who had taken up a position at his elbow during their conversation. Orion swept the tavern with his eyes briefly and saw that the place had cleared out.
"What's she going to do to me?" The monk asked, half laughing.
Smiling, Rose traced a sign in the air. It glowed slightly and her eyes flashed as the candle flames dimmed. Dirk's eyes widened as the candles snuffed out completely and electricity crackled around the woman's head. She pointed at him with a shapely finger and a spark arced from her fingertip to his forehead. He jerked in his seat, feeling the shock rush through his body. He blinked and the candles were lit again. "That is but a taste, my friend," Rose said quietly. She placed her hand on Orion's shoulder, and he leaned toward the other man.
"A freak!" Dirk hissed. "You keep poor company, thief."
In a flash, Orion's sword was in his hand and the tip was pointed at Dirk's throat. "You want to watch your tongue, friend, before you lose your head. If you want to do business with me, then go ahead, but if you insult my friend again, you'll be wearing your tongue around your neck. Understand?"
The monk nodded, eyes not leaving Orion's sword.
"Very good," Orion said. "Now, how about you tell me why you really want this book?"
"The..." Dirk cleared his throat shakily. "Alyssia's Trials is sacred to Nyx as well; Alyssia is Nyx's sister, after all. No matter which god I worship, we both revere the same book. My goals are simply as I said."
"Rosie, your father was as devout a follower of the two gods as any man I've ever met...Is he telling the truth?"
 "Yes, Alyssia's Trials concludes with Nyx's Abyss, the black monks' holy book," she told him, still glaring at the monk. "As to whether he's truthful about his intentions, I can't say."
Orion nodded and turned back to Dirk. "What's in it for me?"
"I'll pay you six hundred gold arrows. You should also be able to acquire perhaps another four hundred in various goods from the temple."
"You say that I'll get four hundred more in loot, but you don't seem to know for sure. I think you should be paying a thousand, rather than expecting me to find half of it. It is the most important book in the country, after all. For one thousand arrows, you'll have it."
3
The monk had managed to pull together the money Orion asked for, but would only give six hundred up front. The rest would be his upon delivery of the book, a condition to which the thief agreed. Now, here he was, lying flat on the floor and peering under the door that opened on the rectory, hoping the black monk would be true to his word. He had no worries about running into monks of the light, Alyssia's followers; their goddess was of the daytime, and they were also. Devotion to her meant being abed as long as the sky was dark, and Orion knew dawn wasn't for awhile.
The rectory door was locked, of course, but that posed no problem to him. With a speed that was more practice than inborn skill, the thief plucked his home-made torsion wrench from its sheath and tested the lock. It was a pin and tumbler lock; that was good. He'd worried the monastery was so old that everything would be protected by ward locks and he would have to strong arm his way in. Holding the wrench with his left hand, he pulled his half diamond pick out of its place on his sleeve and slid it gently into the lock above the wrench. It was a four pin tumbler and with a series of taps from the pick, Orion had it unlocked and was entering the rectory.
This section of the temple was larger than a few of the noble houses he had robbed. Room after room opened off the main hallway, all of them beckoning him, calling him to explore them for treasure. He stood in the corridor for several minutes, listening to the normal building noises that formed a steady current of clicks and rustlings beneath the snores of the monks. That cacophonous symphony was coming from somewhere up above him, suggesting one of the myriad chambers before him contained a staircase. He found it hard to believe that the portly monks climbed a ladder every morning and night. Moving slowly to deaden the sounds of his footfalls, Orion began to open doors.
Room after room disappointed him. One was nothing but row upon row of the white monk robes, freshly cleaned judging by the smell. In another, he came upon the same sight, but the robes in it were used: dirty, reeking, and worn through and ripped in several places. The stench made his stomach roll and he closed the door as quickly as he'd opened it. Other rooms contained food, each seemingly devoted to one particular item: salted meat, smoked fish, turnips, carrots...He'd found enough food in this chapel to feed the destitute of Elyria for weeks.
Finally, he came to the room he was looking for: the bishop's chambers. Orion knew the man didn't sleep here; his spies had told him that the bishop wished to appear humble and so slept with the other brothers in the barracks above, but the previous bishops hadn't been so pious. Another lock barred the thief's way, this one more complex, but also more worn; he barely had to prod the pins before they fell in line. In less than a minute, the picks were tucked back in place on his sleeve and he'd slipped inside the magnificent room.
It made him more than a little sick to know that the work his mother had done gathering tithes had gone to pay for all the extravagance before him. Gold and silver trinkets were present everywhere: candlesticks, urns, ink pots, even plates...far more than the thief could ever carry. Setting his mouth in a grim line, Orion began walking about the room, determined to bring out as much as he could. His first stop was the previous bishop's bed. It was richly hung in velvet and dusty from disuse, but he wasn't concerned about that. Stripping the silk covers off the goose down pillows gave him a few extra bags to carry treasure in.
In a matter of minutes, two silk pillow covers were filled to bulging and tied off with strips Orion cut from the curtains. The only piece of furniture in the room he hadn't tossed for valuables was the writing desk that held pride of place in front of the large window that looked out on the apple orchard the brothers tended. Seating himself in the plush chair, the thief scanned the top of the desk. The piece he'd been sent here to steal was open in front of him, and he immediately understood why the black monks were willing to pay a thousand arrows for the book. It appeared to be bound in gold and the script was written in golden-hued ink. Using gold ink was absurd, but it did bump up the price of the piece, and the utter beauty of the book would make it hard to doubt the divinity of the author.
Gingerly, he closed and slid the precious tome into an empty pillow cover and walked it over to the bed, then returned to the desk. Sitting back in the bishop's chair as if he belonged there, the thief began opening drawers and pulling out potential valuables and piling them where the book had been. When the desk was tossed, he stood up and surveyed the take. The black monk who'd hired him had said he may find perhaps four hundred arrows in treasure in the church. Looking at the pile, the thief surmised that he'd found four hundred's worth in the desk alone. Quickly, he started tucking the treasures into the final pillow cover, when something else caught his eye.
A storage cupboard stood near at hand, the door slightly ajar revealing a scrap of cloth that stuck out of the crack. After stuffing the last of his loot into the sack and tying it closed, Orion stalked over to the door and pulled it open. Three rolled tapestries stood against the closet's back panel. They were obviously very old, but at the same time exquisitely preserved. Carefully, he picked one up and unrolled it on the top of the bishop's desk. Enough light from the moon drifted through the window for him to see what was woven into the large bolt of cloth.
It was a battle; men in armor, some on foot, some mounted, stood lined up across a field from another group of men and women, this group half naked. It seemed to be a battle he recognized from history lessons, but he couldn't quite place it. Rolling the tapestry back up, he decided to take all three with him and inspect them further. Carefully, he walked them over to the bed and placed them next to his four impromptu sacks. Nodding in satisfaction, he gazed down at the bed, seeing perhaps three months worth of not working laid out in front of him. Perhaps enough that he could research the tapestries, which intrigued him.
Altogether, he'd taken far more than he could ever hope to carry out in one trip, but he'd come prepared. Just outside the temple district his horse waited patiently, hitched to a small wagon. It took him nearly an hour to load all of it into the wagon, making seven trips to the cart and back, one for each of the clanking, jingling sacks from the bishop's office, and another for each of the tapestries. Each time he returned to the cart, his horse, Ebony, snorted at him and pawed the ground with a hoof, as if anxious to leave. In truth, he was as nervous as she seemed to be: already the eastern sky was lightening and the monks would be awake soon.
His suspicions proved true on his last trip: he could hear the thud and scuff of feet swinging out of bed above him. With his heart in his throat, Orion scrambled, throwing the last sack, containing the book he'd come for, over his shoulder and running for the door. It may not have been necessary, but he felt that the only thing worse than killing someone on the job was being seen. As he left the tree shaded grounds of the temples behind and approached Ebony for the last time, the mare whickered and swished her tail. He dropped the last sack in the cart and patted the nervous animal's neck as he trotted around the cart to the driver's seat. Taking up the reins, Orion snapped them and urged Ebony forward. Casting a look over his shoulder at the temple of Alyssia, he saw that the sun was just peeking over the horizon and turning the white marble a delicate pink. He smiled at the beauty of both the dawn and his timing as he steered the cart and mare toward his shop.

Friday, October 11, 2013

Diarrhea of the Word Processor

Writer's Digest is currently running a number of contests, looking for short stories. All fo the prizes from first to fourth place are awesome, and I though "Cool, I've got at least one shortie done; I can edit it and submit, right?" Wrong. Turns out, Writer's Digest upper limit on word count for short stories is drastically lower than what one would think.

To me, anything under circa 25,000 words is a short story. Under 5,000 is a short-short. The contest for short-shorts for WD has a limit of 1,500 words, while the others have an upper limit of 4,000. This seems unreal to me; a complete, coherent, publishable story in 1,500 or 4,000 words. It baffles me. Perhaps it has something to do with how quickly I type. When I know what I'm typing or when the fit takes me, I can bust out 10 - 15 pages of manuscript in an hour, somewhere in the area of 3,000 words.

Admittedly, I suffer from the same ailment as Stephen King: diarrhea of the word processor. Currently, I'm working on the second draft of my first novel and I've expanded the first draft by perhaps 10,000 words, maybe more. Partly by learning who my characters are, partly from fleshing out the country's history and mostly from running at the mouth, or fingers, if you prefer.

I personally don't see this as a problem; as a visual reader, the more detail the writer provides, the happier I am. I don't care if the book runs into the thousands of pages, that just means it'll take me longer to finish and I'll avoid the post-book depression to which I'm prone.

I think that's why I'm such a mark for Stephen King's books, because he writes the way I like to read. As a result of reading so much of his work, though, I've found that I tend to write like him as well. I write in the seat-of-the-pants method; I've tried outlining, and I just can't do it. Every time I try, I just end up asking myself why I'm writing about my story instead of just just writing the damned story. I constantly agonize over details, so much so that I've got detailed character bios written out in the form of interviews. I haven't written out the history of my world, but I have it planned and mapped out in my head.

I guess I figure that the more detail I put into my novel and its world, the more likely I will be to attract the kind of people who read like I do, assuming I get published. Ultimately all of the things I've listed here kills my chances to enter any of Writer's Digest's contests. There's no way that I'll be able to tell a story in so few words that will be satisfactory to me.

Sunday, September 1, 2013

Genre decisions

How do you decide on what genre to write in? It should be a genre you can stand to read, first of all. You're going to be spending a lot of time reading what you've written, simply from rewriting and editing, and if you can't stand to read it, how the hell are you going to be able to slog your way through that, right?

Having said that, if you read as omnivorously as I do, you may run into the same problem I have: OK, I read several different genres and can see myself writing in any number of them, which do I pick? I'm perfectly comfortable writing horror, psychological thrillers, fantasy, spy stories and I've even been kicking around a western in my mind for the past couple of days.

Every book I've read seems to suggest picking one and sticking with it, to which I ask Why?! Why should I restrict myself to just one genre when I feel comfortable writing multiple? I see authors that jump genres all the time; some going from suspense/thriller to YA in the blink of an eye.

Now, to be honest, I can see the appeal of sticking to one genre, at least at first: you don't have to force your mind into another track with each story. Let me give a for instance. At this moment, I have 9 stories going, spanning 4 different genres. Each time I go to work on one of the stories, I have to force my mind into the track of the genre and story.

It's kind of like a train switching rails, or perhaps more appropriately, jumping from one set of tracks to another. It's difficult but if you can do it, more power to you.

Sunday, August 25, 2013

Why do men have issues writing female characters?

I am a guy. I'm just going to say that right now, in case it weren't obvious. And, because I'm a guy, I think I have issues writing convincing female characters. I'm not saying that this problem is unique to me, I think a lot of male authors have the same issue, especially screenwriters. Articles I've read recently complain about "strong female characters" and I personally don't like that label. Characters shouldn't be able to fall into a simple one word description. Even labeling them "male" or "female" is kind of stupid. I'm not saying all characters should be asexual, but I think gender should be incidental, not a defining characteristic.

If you seem to be struggling with writing female (or male for lady writers) characters, the best thing I can recommend is to forget gender altogether. You shouldn't be defining your characters by what's in their pants, unless you're writing sex stories.

Let me give a for instance. My current novel project involves a thief who gets into some kind of trouble and is helped out by a bar-owning friend who also happens to wield magic. Now, look at that sentence and judge the genders of those two characters. Judging by just that sentence, bearing in mind cultural bias, one would assume that both are male, with a token female supporting character somewhere in the story, right?

That's a perfectly acceptable assumption, right? One doesn't typically think of lady thieves or even lady business owners, no matter how often we see such in reality. In truth, the thief is indeed a male while the bar owner is a woman. Surprising? No, not really, when you think of how many TV shows or screenplays or whatever have been altered to include female mains. In truth, I never gave much consideration as to Rose's gender; while I was writing, the name Rose came out and I rolled with it.

But, here recently, I've been toying with the idea of completely reversing the roles, making Rose my main, the thief, and Orion the barkeep. Would that make any difference at all? No, I don't really think it would. It would take minimal rewriting to alter the story in such an earth-shattering way, because I don't write Rose as a woman, not completely. I write her as a person first, and as a woman second. She has all the strengths and weaknesses, in fact probably more strengths that Orion, my main. Quite frankly, there are times I find her a more compelling character than the thief.

So what's my point? When asked how he manages to write such convincing female characters, George RR Martin replied "You know, I've always considered women to be people." Ultimately, that's the secret that writers, and especially screenwriters, need to realize: women are people. The best way to write convincing women is to write them as people, rather than women. And, on that note, write men as people too, not the testosterone fueled Duke Nukem type men. Not all guys feel the need to solve problems by punching them in the face. Speaking, or writing, as one of the nerdy, social butterfly types, I can say it's not only women being misrepresented in media, it's just worse with women.

Saturday, August 24, 2013

The Original Premise and Evolution of my Novel

  Ok, I'm here to procrastinate writing again, mostly because I feel oddly motivated to do precisely dick. So I decided to come on here and babble about my novel- its initial premise, what inspired me and most likely a summary of the story as I see it in my head.

The story goes like this: I work in retail and they make me take breaks, and during those breaks I tend to read. Anyway, while my store was moving to its new location, I got an idea for a story. This blew my fucking mind, as I'd not had a viable story idea in perhaps 20 years. See, I'd just finished Brent Weeks's Night Angel Trilogy for like the third time and the idea of immortality struck something in my subconscious. As I walked to the mall for lunch, I started thinking about thieves in a medieval fantasy world. The two ideas melded and I began thinking of how a thief who'd practiced his craft in medieval times and who was cursed with immortality would have to adapt to modern technology.

I almost immediately dumped the immortality conceit, mostly because I didn't want him to come across as a vampire, as vampires are extremely overused in pop literature. So I just began to focus on the thief; who was he, where did he live, etc. The same day as the idea struck me, I went to the mall and bought a notebook and I began writing. In hindsight, I probably should have let the story stew in my mind before writing, but I was so excited that I'd finally had an idea that I had to get it onto paper.

Cut to about six months later and I had a rough draft typed out. From beginning to end, the document was about 36,000 words. I initially was writing this with Fantasy & Sci Fi magazine in mind, but their upper limit for novellas is 26,000 words. So I was left with the prospect of cutting 10,000 words, or soldiering on and lengthening the book to full-on novel size.

While struggling to lengthen the languishing book, I moved on to other stories; it seems that this one story broke the dam as it were and story ideas were coming to me left and right. I conceived of a sequel or two to my original story, as well as a prequel. I came up with several other stories, and as they were fresh and on my mind a the time, I spent more time working on those. Eventually, I stopped writing altogether for perhaps two months, spending the time reading George R.R. Martin's A Song of Ice and Fire.

It wasn't until I purchased Telling Lies for Fun and Profit, which I mentioned in my earlier post, that I began to re-examine my thief novel. On my computer, I opened a new file and began rewriting. Before, I'd been just going through the rough draft document and trying to add one word at a time. By rewriting, I was able to lengthen more naturally, to get rid of the parts I didn't think worked and to add things that I wanted added. As of this writing, I'm approximately halfway through the story and I've added close to 5,000 words at last counting.

Ultimately, the story is coming along, and while I don't expect I'll finish within the year, I do believe I will finish it at some point.

Thursday, August 22, 2013

Really, the title of the blog says it all.


  So as a way to get myself motivated to write more, I've goaded myself into starting a new blog, partly as a writer's journal, a place to put down ideas and as a place to bemoan my shitty writing. Currently, I have anywhere from 8 to 10 stories going all at once, one of them possibly spawning a sequel or two.

  A little background: I've been writing off and on since I learned how. One of my stories was entered into a contest when I was in first grade and I actually won and award. To be honest, the story wasn't that good; in fact, I doubt very much I could rewrite it now to make it any better, but for a five year old, it was pretty damn good. Since then, though, I haven't done much writing because I felt that I had no ideas. In reality, I just hadn't read enough.

  The most important thing, I believe, to being a writer, aside from a good grasp of your chosen language, is having read a good deal. Not necessarily in any one genre, although if you tend to prefer just one, that's OK. I tend to read omnivorously, from almost any genre from sci fi to fantasy, spy capers, westerns and horror of both psychological and supernatural. As such, I find myself writing just as omnivorously. Indeed, I have a story from almost every one of those genres in the works right now.

  I've read a couple of books on the craft of writing and they've inspired me to get going again on the novel that I've been chipping away on since March of 2012. I highly recommend the book Telling Lies for Fun and Profit if you're interested in the craft of writing. Everybody at work seems to think I'm crazy for writing, and they also think that I'll get published and get rich, etc...

  I won't lie, publication has been in the back of my mind since I finished roughing out the plot of my novel, but the more I think about it, the less I like the idea of publication simply for the sake of seeing my name on a book on shelves, although that would be absolutely orgasmic. I write for relaxation, for the enjoyment of creation, the same reason I like making armor and jewelry. What I write may not be good, but it's not about quality, it's about creation.

  Lawrence Block wonders in Telling Lies why amateur painters don't consider themselves failures because they're not in art expos or why amateur musicians aren't failures for not playing Carnegie Hall while amateur writers will invariably consider themselves failures for not being published. It's true; there is a certain pressure on the amateur writer to get published even though the real trial is getting the idea written and that's the crux of the situation. Writers should be satisfied simply by getting the words on the page, or in the word processor. Once that's accomplished, you can call yourself a writer, no matter what. You are a writer, you've written something. Sure it may be derivative, it may be boring, it may suck harder than a hooker on payday, but who cares, you've accomplished the hard part.

  My point is, publication doesn't really matter, unless you've quit your real job to attempt to write full time, in which case, more power to you. I personally don't have the cojones to do that, but whatever works for you. You should feel satisfied simply by getting words onto pages. And so, here I am, avoiding putting words into my word processor by putting other words on the internet. Is that ironic? And if it is, do I care?