Saturday, 28 February 2015

Ambition

It's been another week, and that makes it high time for another update.

School is going well, thank you for asking. It comes with its challenges, but for the most part has been rewarding and, without wanting to sound too up myself, quite a breeze. I expect that to change.

I have more important things to talk about, though. Or at least things that pertain more directly to my writing. I've come across the Writers of the Future competition, and have decided I want to enter. There's 4 'quarters' of it every year, with first, second and third receiving prizes in each of these quarters. There is also a grand winner every year, who receives $5,000. I can't say I feel good about my chances, but maybe I'll surprise myself. If nothing else, I'll get a chance to see how well I stand up to other as-of-yet unpublished authors.

The story I plan on submitting is a bit of an ambitious one. Divided into three parts, it tells a single story by telling the stories around it. Each part focuses on a different character or set of characters, which poses the greatest challenge to me as a writer. In each part, I need to get the reader invested in different people with very few words. I've always struggled writing short stories, which I feel comes from the fact that I struggle to read them, so creating these condensed expositions will be difficult, to say the least.

I won't leave you hanging altogether, so here's the opening of the first part of this currently unnamed entry. Keep in mind that this is simply the first draft, and will be changed and tighened many times before being entered.



PART 1

The Nature of Cities



There are two kinds of cities. Some start out small, a few huts around a coal seam, or a lone mill by a river powerful enough to turn a wheel. From there they grow, like any organism that finds a vital resource. The streets sprawl out like veins, spiderwebbing away from that mill or mine as more come to share in the wealth. Eventually they become thrumming and thriving centres of power. Empires spring up with those cities at their hearts, and they push the world forward through history.

The other kind spring up overnight. If the first kind of city is a railway station then the second kind is a crucial bridge along the line. They appear where they are needed, as struts to support a long road of wealth. The streets are straight and wide, and they span outward from a port or a market. The winding alleys and tumbling suburbs are kept to the outskirts, where the poor come in hoping to find themselves a slice of fortune. Moving inward these people pass through the strata of the city, first through the food markets where the farmers sell to the grocers, then through the lavish suburbs of the bankers and bureaucrats. At last they arrive at the bustling streets of their city's vital organ, where the merchants build their houses so the time spent between home and work is at a minimum.

Ambervale was the second kind, and it was the fifth city Jaxon had lived in. Despite his young age, Jaxon knew the ways of things. He knew how to sneak aboard a ship or caravan to move about the world, he knew the ways to get work in any city, and he knew who and what to avoid. At 14 years of age, Jaxon had long since decided that this knowledge was something he was born with. Every time he left a city, he left behind a dozen friends and two dozen enemies that didn't know these things as well as him.

The sun rose on his third day in Ambervale, and today was the day to make some money lest the soles of his shoes fall out from underneath him. This was only the second time he had been in a city like Ambervale, but he had learned well from his time in Hudson and knew there was only one place he needed to go today: the docks.

Ambervale was a special kind of city, and it was by no coincidence that Jaxon had travelled here. The second kind of city was always new, and Ambervale was the newest. The new flying ships had brought about a new kind of trade. These cities didn't appear down rivers or along coasts anymore, they appeared at the source of the rare and luxurious. If the wealthy were paying hundreds for silk, a city would appear by a silk weaver. If they craved a certain food, a city would be made by the only farm producing it. When they decided they wanted fleets of airships, someone built Ambervale.

The trees hung low over the boulevard as Jaxon made his way to the docks. Anywhere else red leaves would be found underfoot, but in Ambervale they stayed on the trees all year round, stirred loose only by the wind. These leaves let through small shards of sunlight, dappling the white stone streets as morning grew stronger. After the frozen deckplates of Champlain Falls, the warm sun was a welcome change for Jaxon. He ran a hand through his long black hair, sweeping it over his scalp so it hung around the back of his neck. It was the only way he could pass off as anything more than an urchin, and in his time on the streets of many a city he had learned how to play a dozen parts. Today, he was the son of a farmer out to make his own way in the world.

As his steps carried him further down the main street, more people began to join him. At first, it was a few early risers. Real farmers who were coming to town to buy things like new trucks or another acre of land. After them came the crews-for-hire, spilling out of the taverns and inns that lay down side streets. The buzz of business reached his ears, beckoning him toward the end of the road. Docks for airships lacked the smells of those by the water, but they sounded almost exactly the same. All they lacked was the slap of lanyards against masts and the groaning of ropes being strained. Instead was the hum of idling engines, punctuated by the clunk of clamps locking as ships touched down. There was no rhythm or rhyme to it, but to Jaxon's ears it was music. It was the glorious song of a city's heart beating.

He carried on walking until the noise of it surrounded him like a mother embracing a child. In a strange way, this place was safety for him. Nowhere else did he feel more confident that he would end the day with money in his pocket and a warm meal in his belly. Jaxon pricked up his ears, scanning for the crucial words that signalled work. As he listened, he idled his way down the rows of airships. When he saw one approaching, he'd hurry toward the docking bay it was about to land in. Each time he hoped there would be some cargo they'd want unloading, but each time he was too late or just plain unlucky. Still, the day was long and Jaxon was, if nothing else, persistent.

He carried on this way for a good many hours, eventually finding the odd job unloading a box or sending a message to a merchant somewhere. It wasn't enough to make his purse heavy, but by noon he'd earned enough pennies for the night's meal and bed. Not wanting to spend any of it, he pressed on through the encroaching lunchtime hunger. The docks quietened ever so slightly for the hour, but his hard work paid off and he added another two pennies to his stash. When the men came back from lunch he found a few more jobs, earning him another 4 pennies. At 3, a ship came in with passengers. Ferrying someone's luggage uptown to a lavish inn earned Jaxon a further 3 pennies, bringing his total up to 17.

With his luck fully turned, Jaxon afforded himself the luxury of an afternoon off. Instead of scurrying about, hoping to be in the right place when someone yelled 'you boy, come grab this crate', he changed his tactics. Now, he hung back against the stalls on the far side of the docks. It was risky, but if it paid at all it would pay big. You see, from here Jaxon could spot out the traders who came to speak with the shop owners in low, hushed voices. These traders had something important on them, and wanted as few people as possible to know about it. If you could get in the know, you gave them no choice but to include you in their business dealings. The cut might be small, but 8 pennies for one job was still a lot to someone like Jaxon.

With his eyes scanning the long row of stalls, he tuned his ears in to a different kind of conversation. If a trader wandered up to a stall, Jaxon would slink over and slip into the shadows between stalls to eavesdrop. In a few hours the traders would be turning in for the night, waiting till morning to carry on their business. Jaxon's time was short. But he was smart, he knew who might be having a clandestine conversation. Maybe they carried a dagger just under their shirt, or maybe their trousers were just a little too big. Something always gave away who was in for some shady dealing.

Again Jaxon's persistence paid off when he saw a man with a blue band of fabric tied around his cuff. You see, every city has its underbelly, and every underbelly has its factions all vying for control of whatever illegal goods are in demand. These factions didn't like treading on each other's toes, so they marked themselves. Jaxon was too new to Ambervale to know who wore what, but that tiny scrap of blue in that peculiar location marked this trader clearer than if he wore a sign on his front. Whatever this man was here for, it wasn't the selling of fur.

Jaxon slipped through the shadows, ducking through the thinning crowd as he made his way to what he hoped was the trader's destination. At one point, a large greengrocer stumbled into Jaxon's way knocking him over and causing him to lose sight of his mark. After a few panicked moments and an exchange of passing apologies, Jaxon caught the flash of blue in the crowd again. He hurried toward it, seeing the man head for a jeweller's stall a few metres away.

All of a sudden, the man stopped, looking as though he was searching for a friend that wasn't where he was supposed to be. Jaxon stopped, hesitated. Was the man here to meet someone? Perhaps it was wise to back away. Pre-arranged meetings meant crime of a deeper sort, and Jaxon had no wish to get tangled in anything dangerous...

Saturday, 21 February 2015

...So What Now?

Excellent question, my dear non-existent reader. The answer is an interesting one, because there's just so much to talk about...

...Okay there's only about two or three things to talk about.

First up, what are you doing personally?

This year, having left university a few years ago and working in the interim, I have enrolled in South Seas Film and Television School. I'm currently in my 3rd week of the course and am learning the basics of each aspect of the industry. Everything from using a camera to knowing the health and safety laws is being covered, and I'm loving every part of it.

...Okay, I'm not loving Production Management so much.

Well then, what are you doing professionally?

I'm glad you asked, because god do I love bragging about this. I've just been picked up as a freelancer by Riot Games to write some articles about eSports in Oceania. I love eSports, and I love writing. I couldn't think of a better way to earn money.

I'm also getting some smaller pieces of mine published on websites, apps and online magazines. This is all in the interest of generating publicity and, with any luck, building a bit of a following before my novel comes out. These pieces are small things of anywhere between 500 and 2,000 words (shorter than a short story) that I have accumulated over time. Given that this is often too short to enter into competitions, I struggle to gain exposure through these pieces. I'm working very hard to change that.

What about The New Age of Steam?

The sequel to Maiden Voyage has been started. It is currently titled 'Beyond the Horizon', and I am about 10,000 words deep. That is all I will say about that.

Further books are planned. The world is one I spent years building before Maiden Voyage was even started. I plan on exploring other parts of it, and already there are a host of plans for stories to take place around this world. Some are more serious than others, and some are more developed than others. Only one is fleshed out enough to make it on to my hard drive, and it concerns the city of Aveiro.

When will Maiden Voyage be published?

In short, I don't know. In long, I'm having it checked for spelling and grammar, gathering one or two more opinions, then sending it off to publishers. It will likely be rejected from some, and others may feel it needs some changes first. Maybe no-one will want it. Who knows? What I can say, though, is that as soon as it is published, you'll be the first to know.

Saturday, 14 February 2015

And Done

Yep, that's it. All done. Finished. Woohoo.

In longer words, I've finished editing my first book in 'The New Age of Steam' series, 'Maiden Voyage'. Or at least I feel there is no more to be gained from editing. Is it perfect? No. Is it good? I think so. Is it readable? I don't know, you buy it and decide.

Why would I not think my own book is perfect? The answer is simple: I'm a better writer now than I was when I started. There's no two ways about it, I've just improved. The end of the novel is better than the start. All the editing I've done has been centered around bringing those opening chapters up to that same standard as the end, and for the most part they are, but there is still something about them that just isn't as good as the ones toward the end of the book.

Could I have fully brought them in-line with the rest of the book? Yes, I absolutely could have. I even started doing exactly that at one point. What I realised, though, was I would lose something integral to the book if I altered those chapters too much. I could improve the prose, but I couldn't keep everything else the way it needs to be. I opted to finish my novel with what I felt was the best story, even if it meant the prose wasn't as strong in the start.

Now, this isn't to say the prose at the beginning of the book is bad. In fact, I'd say it's actually not far off the standard of the rest of the book. Still, it's not quite as good as what you'll read across the bulk of the book. Simple as that.

For those that like numbers (yeah ok, I mean me) here's what the book finished up at:
82,360 words
375 pages
33 chapters

It's nearly 20,000 words longer than the end of the first draft. I cut out huge chunks of text, and still the thing ended up longer. How?

Well, the chunks that were cut ended up being re-written. They were always shorter in their new forms, but other things needed to be embellished, so as much as I took away I would end up adding somewhere else. There's also 3 new chapters in the 2nd act, so that was another few thousand words.

The pacing is smoother, the text is richer, and the story is better. Maiden Voyage, after two and a half years, is done.

Now to find a publisher...

Monday, 30 June 2014

Progress

I've felt a compulsion to include the reader in this journey of writing a novel, but so far I don't feel there's been much inclusion. I've posted excerpts (which are now out-of-date) and a few general, sweeping thoughts on writing, but I've realised anyone wondering when they can read this thing is completely in the dark. He's the cold, hard facts.

I have 72,759 words written, almost 8,000 more than I had at the end of the first draft. Interestingly enough, this is the opposite of what I expected to happen as I edited. I anticipated wanting to cut away big sections, as that's what I'd been led to believe editing was. In reality, I was happy with the general structure of the story and the gist of my passages was spot on. What I needed was clarity and embellishment, and that's ended up increasing my wordcount.

The raw numbers are as such:
72,759 words
334 pages
30 chapters

3 of those chapters didn't exist in the first draft, and 2 of those are right at the end. The ending was something I initially wanted to change completely, feeling I had totally failed to capture what I had intended. Again, the reality was that the ending was close to spot-on and what I needed was to build the tension around the ending, to raise the stakes one last time. I feel I've done that now.

I've completely finished the main editing pass up to chapter 11, which interestingly enough makes for 111 edited pages. The last two chapters have by far and wide been the hardest to clean up and fix so far. From here on out, I expect the work to get easier and easier. It's been interesting, I must say, that in re-reading the piece I've been able to see how I improved as a writer as my manuscript went on.

How long until I'm done? I don't know. I really don't. I would like to say just a few months, but it took me 2 months to finish up chapter 10 and I have no idea if that will happen again. I want to have it finished before the year is out, and everything I do will be with that goal in mind.

Wish me luck.

Or don't, whatever.

Thursday, 26 June 2014

Raising the Dead

It's been a long, long time since I've posted here, and I daresay I've had good reason to stay quiet. I've been a busy man, and busy men don't blog. Why write a post now then? Well, I felt like shouting into the void again. Whereas before my posts here were a self-deprecating croon, this time it's a fanfare of achievement. I may be tooting my own horn here, but there's traffic and no-one else around to toot for me.

'So what's been happening, Pixie?' I hear you cry with anticipation. I'm teasing you, drawing it out. All you want is the sweet release of information. Well, let me slake your thirst ever so slightly. I finished the first draft of Maiden Voyage a few months back. 'Aww, is that all?' you whine. Now now, I can't have you fully quenched just 2 paragraphs in. The first draft of Maiden Voyage was completed late last year, clocking in at 65,000 words and just over 300 pages. The first editing pass included some sparing structural shifts and 2 shiny new chapters, bringing it to just over 70,000 words.

Where am I now then? Well after finishing the draft I spent a long time avoiding the piece entirely. Perhaps I needed to step away from my fictional world and look at it again as a reader. Whatever it was, I was eventually able to return to Maiden Voyage and fix a series of errors with layout and grammar. 'But Pixie', you whinge, 'that's not where you are now, that's were you were a few months ago.' Shut the fuck up, reader, I'm getting there. If I gave you the whole story in the first sentence I wouldn't be a very good author would I?

Around the beginning of the year I signed up to a frankly excellent writing course. I had already taken the introductory course, which spanned 8 weeks in the latter half of 2013, and had learned little. Why take the follow-up course then? Well, when you're around writers and talk for 3 hours on a Thursday night about writing, you tend to go home and write. Did I pay $5,000 to stay motivated to write? Of course not, I paid to learn from the best. Writing was a side-effect.

As a part of this course I was paired up with a mentor. I was lucky enough to be placed under the temporary tutelage of Fiona Kidman, possibly the country's most prolific author. It is with some shame that I admit I had to google her when I first read the name, totally oblivious of her laudable works. With the help of Fiona, I was steered in the right direction for the remainder of my editing work.

So that's where I am now, a third of the way through completing Maiden Voyage. The piece currently stands at just under 73,000 words and fills 334 pages. I have a sequel planned, and others within the same world idly being cooked up in my mind as the days go by. When I finish this editing pass, I'll likely sweep once more for grammar's sake and start shipping copies off to publishers. Have I written a bestseller? Probably not. But fuck you, I wrote a book, what the fuck did you do with your year?


Monday, 19 August 2013

A Bite-Sized Story: Suitcase

This blog has been dead for a little while. This is mainly due to very little happening in my life in relation to writing. I have had a few things happen more recently, though, and will be talking about them here later in the week. For now, here's another bit-sized story.

Suitcase

All at once I found myself single, equal parts freed and now shackled to a new whipping post of emotion. Though I could not have been surer of my feelings and ultimate decision, I still found myself consumed with a feeling of missing something. I explored this feeling and found I did not miss her, for I knew I had never felt encapsulated by her presence with force enough to warrant such post-entwinement grief. I missed something else entirely, something I was still so deeply in love with yet was heart-wrenchingly unable to define. It was the lights in her high-rise apartment at 3 in the morning, the way the glasswork turned pointless sky into glitter on oil. It was the tired morning that felt so fresh and open. It was the quietest room in the loudest house and the echo of tears on concrete.

In the months that washed over my now mundane self I found that despite the heavy longing that pinned me to the seabed of time I could not bring myself to search for these moments. I instead resigned myself, in my mind so starved of the oxygen of feeling, to a fate of mediocrity. A few good beers and a few bad ones, a late train but getting to work 5 minutes early, a cycle funerals and weddings. My world was an unremarkable oscillation from high to low and I withdrew my heart from my sleeve so as to dampen the force of the water.

A singular question tugged at my consciousness, and I found it was the one thing time did not free me from. What happens when we reach for each other? I had known what happened when I last reached, and the result was unsatisfying. So why did I feel so implored to reach again for what would only be a scientific purpose? Following due process I first searched for a meaning to the experiment my anchored brain begged to be untethered for. I did not desire a more spectacular result, feeling that spectacularity would reach for me if it would ever feature in the years to come. Researching one's own mind is a terrifying task filled with bias and pain, so despite my better judgement I chose to forego that second step.

The hypothesis kept me locked for months in the quagmire of shifting sand on the ocean floor where my head's heart still lay, and by the time I had established one I found I was able to pass the experiment by. My mind asked me what happened when we reach for each other, and of course it already knew the answer. The fundamental issue was 'why do we reach?'. I had never loved that for which I had cast myself out, adrift on the tide. I reached not because I loved what reached back, but because I loved the act of reaching out. I did not want to meet someone and hear a chorus of angels signalling I had found the one, I wanted to fall madly in love with one of the transient angels.


In this endless sky, where we reach out by the billions and still feel like the world is empty, we find ourselves forced upon vessels of our own creation that are somehow alien to us. We fly these kites and sail these ships, hoping to catch someone else's line, or spot another brig on the horizon. We reach so that we might find someone who reaches the same way we do. It is with this person that we will settle down and understand that fundamentally we see the world through the same pair of eyes. It matters not that we found each other, but that we reached out in our personal way and found someone who loved that same brand of reaching. It is not the destination, it is not the journey, it is the suitcase stapled to our hands full of everything we are.

Thursday, 13 June 2013

Am I Small?

Today I had a phone conversation with a publishing company which claimed it was in the self-publishing business, which is an entirely oxymoronic statement. I was sat on the receiving end of a long spiel that told me absolutely nothing of legitimate use (such as who I'd need to send things to, how they market their books, where they would be sold) and in the end I terminated the call (politely) knowing nothing more than what I knew from looking at their website except for one crucial thing. I learned that they were under the parent company Author Solutions Incorporated.

Author Solutions was recently acquired by Penguin Publishing, which makes them seem very attractive. They are also being sued by three separate clients for fraudulent activities. Suddenly they don't seem so attractive anymore. The company I talked to, Xlibris, are essentially the modern equivalent of a vanity publisher. I would be able to say 'Yay I got published', but I would have nothing to show for it except for maybe a hole in my bank account.

I have no intention of continuing discussions with these sorts of people, and Xlibris aren't the only ones out there like this. I've come to the conclusion that I would ideally like to be working with a literary agent. This seems like it might be the harder option, but look at me, I'm 18 years old, I'm only just finishing my first novel, I have no experience in the publishing industry and I am terribly vulnerable to companies like Xlibris who won't actually do my novel any good (aside from turn it from a word document into a physical book). What I need is someone who has the know-how, the connections and a legitimate desire to see me get published and maybe even become successful. What I need is a literary agent.

Yes, I am small. I am very small. I am tiny. There are thousands like me, who want to get published. That's why there are dozens of companies like Xlibris who will publish your book for you in a way that satisfies only your sense of achievement. Don't get me wrong, I want that sense of achievement, I just also want a paycheck.

I am also big. I am very big. No matter how many companies like Xlibris there are out there, I am the one that gets to say 'no'. I am the one that decides who publishes my book. I absolutely run the risk of never getting published by holding this mentality, but I would rather hold on to what little power I have at this point so I can leverage it into a substantial amount of power. That's what I'd be losing if I went ahead with something with Xlibris. The money is something I could earn back, the power isn't. I'd be banking on having some literary agent notice my book on a shelf and I don't even know where that shelf would be. That's like paying someone to go catch a fish for you so you can eat dinner when for all you know they're trying to fish in the kitchen sink.

Am I wrong to want some level of assurance before I move into publishing? I'll find out. If I am wrong for wanting that then I wouldn't be able to help but wonder why anyone would bother with trying to publish in the first place. A few months from now I will have had some conversations with some hopefully knowledgeable people and frankly I've never been so excited in my life. I'm at 60,000 words and for the first time I actually feel just a little bit like an author.