Novel Month 2017 – Day 4, early evening

Everybody’s working for the weekend, including me. I don’t mind, though. This isn’t just work. It’s my spare time, too.

Chapter 4 has now gone down to my authorial assault, and I have to say, this novel isn’t looking nearly as hard to write as I originally thought. That’s not to say that it’s easy, mind you, but I never expected to be this far through it after only 4 days. If nothing else, I’m building up a buffer.

This session’s word count: 4,768
Total word count: 20,661
Daily average: 5,165
Last year’s cumulative total: 14,669

Novel Month 2017 – Day 3, evening

Another day, another chapter. This one went on longer than I anticipated, but I finally got into a groove halfway through, and I didn’t want to stop.

Anyway, The Soulstone Sorcerer is starting to live up to its billing as sword-and-sorcery fiction. Rather, it’s almost like a satirical deconstruction of that subgenre, in that it centers on a group of gamers who accidentally find a way to travel to your “typical” RPG fantasy land. Lots of worldbuilding ahead, so expect me to slow down soon.

This session’s word count: 5,808 (seriously?)
Total word count: 15,893
Daily average: 5,297
Last year’s cumulative total: 10,945

Novel Month 2017 – Day 2, early evening

Another big writing day, as I finished Chapter 2 of The Soulstone Sorcerer. I’m planning on somewhere in the vicinity of 30 chapters for this one, about the same as Nocturne. Maybe a little longer, but we’ll see. Either way, we’re off to a fine start, I think.

This session’s word count: 4,710
Total word count: 10,085
Daily average: 5,042
Last year’s cumulative total: 6,160

Novel Month 2017 – Day 1, early evening

And we’re off!

I was really worried about this one. See, I have a tendency to start out slow when writing a new book, especially one where I haven’t done too much in the way of worldbuilding beforehand. I fully expected to put in about 2000 words and call it a day.

Well, that didn’t happen. Apparently, I was more mentally prepared for The Soulstone Sorcerer than I originally thought, because I finished all of Chapter 1 and the opening scene of Chapter 2 today. It’s pretty dull so far (I think that’s why it was easy), but that’ll pick up soon. I have not yet begun to write.

This session’s word count: 5,375
Total word count: 5,375
Last year’s cumulative total: 2,650

Novel month 2017: Prelude

November’s almost here again, and you know what that means. Yep, it’s time for another writing push. For me, though, this year is going to be a bit different. As you know, the goal is supposed to be a novel of 50,000 words or more in a month. Well, most of mine are a lot longer than that. (My shortest full novel, Before I Wake, was about 83,000 words long.) On the other hand, writing 50,000 words in November would make it my least productive month so far this year.

So here’s what I’m going to do. The 50,000 word mark is still on the table, but it’s definitely not the only objective. Rather, it’s the first order of business, and my goal with it is to reach it as quickly as possible, while still maintaining the level of quality I expect from myself.

The story I’m doing is called The Soulstone Sorcerer, and it’s my first attempt at more “traditional” sword-and-sorcery fiction. It’ll still have weirdness, humor, and a generally lighthearted feel to it, but it’s going to look a lot more…ordinary? I’m not sure of the best word to describe it. Maybe that can wait until I’ve actually written the thing.

Anyway, it’s looking in my head like it’ll be about 140-150K words, so at least as long as Nocturne. That’s not getting done in a month, even if I do nothing else with my life in that time. So completing the novel simply isn’t one of my goals. Instead, after I hit the 50K mark, the rest of the month will be the endurance round: max words written. Quality remains paramount, however. I’ll save the stream-of-consciousness verbiage for posts like these.

I will continue my tradition of daily (or close enough) posts. These won’t be too detailed, but more like status updates. As usual, those will replace the usual content for the month, and regular posts will resume on December 4, my next scheduled posting date.

This, I hope, will be my 6th consecutive “win”. Here’s the rest of the streak, for reference:

  • 2012: Heirs of Divinity
  • 2013: Out of the Past
  • 2014: Before I Wake
  • 2015: The City and the Hill
  • 2016: Nocturne

(Technically, Out of the Past wasn’t 50,000 words as a completed story, but I did consider it complete, thus fulfilling the second of the two criteria for the month. I’ll count it as a win for that reason.)

Wish me luck!

Otherworld talk 6

The latest part of Chronicles of the Otherworld came out the other day over at my Patreon. For those who are counting, that’s Episode 6, Situational Awareness, and it’s probably my overall favorite. For once, I felt like everything just…clicked. The two main plots meshed well, the characters all had a role to play, the overall story advanced, and I even had some good action scenes buried in there. I won’t say it’s perfect (nothing I write ever is), but I do believe this is the jewel of the series.

Relationships are a big part of Chronicles, and I’m not just talking about romantic and sexual relationships. No, the primary focus of the entire series is how the expedition members react with each other and the natives of the Otherworld. It may have started out as nothing more than a worldbuilding playground, but this story very quickly became a character drama. So let’s talk about that today.

Friends and enemies

Living among a people for two and a half months (it’s not quite that far yet, but it soon will be), it’s only natural that a group of intelligent, outgoing—except for Alex—and open young people are going to make friends. In the beginning, that was impossible, thanks to the language barrier, but now, later in the story, they have grown more comfortable in the Otherworld. Every one of the primary characters has at least one friend from the natives. Some, like Ashley and Ryan, have many more.

The indigenous people of the Otherworld are, well, people, so that’s why this is possible. It’s only natural. Indeed, I intended it that way from the start. Maybe not the exact faces that would fill the “friend” roles, but they were supposed to be making friends all along.

Their existing friendships also strengthen due to their shared experience. Ryan and Ramón, for instance, got to know each other in the original dig, and they only grow closer as the weeks progress. By the end of it, there is some strain starting to show, but they’re such good friends that at least one native sees them as like brothers. Amy and Sara are another example, as they were best friends before they left home; eighty days of living and working together, of relying almost wholly on one another, will leave them in much the same situation. (Although they do have one glaring difference, as you’ll come to learn.)

On the other side of the coin, not everybody is always friendly. Few are outright hostile from the start, a situation I feel is realistic. Yes, the Otherworld has its malcontents, and even racists, but the members of the expedition need time to earn even their ire. The Kaldea (Episode 5) have cultural reasons to be unfriendly; we’ll see more about that later on. This episode’s bandit leader Olof is a special case even for them, though.

Mostly, the reason there aren’t more enemies is simple expedience on my part. The main conflicts are environmental and personal in nature. There simply isn’t that much room for eleven (or more) enemies. Jenn has a nemesis now, and Lee is in the process of picking one up. Alex and Ayla hate each other…for the most part. And who knows what Damonte will get into in his solo adventure.

Natural urges

So that’s it for friends, but some characters have become somewhat more than friends. That was nowhere near part of the original plan, I’ll admit. At the start, I never intended the series to become so sexualized, but there it is. I justify this by saying that these are college students, young adults, and they’ve been placed in a stressful situation where they completely lack adult supervision. It’s only natural that some of them will give in to their baser instincts.

Ayla does it as stress relief; as we’ll see later on, she figures that, hey, nothing else works, so why not give it a shot? Lee was basically tricked into it, but it turns out that he doesn’t really mind. Jeff essentially thinks he’s won the lottery, and Amy—well, we’ll get to that soon enough.

In sharp contrast, Ryan turns down all such offers (mostly off-screen). Jenn, as you saw in this episode, is happy being friends with Bryn instead. Alex assumes his first time with Ayla is also his last (he’s wrong), and Ramón holds up his Catholic upbringing as a shield. It’s not that they aren’t tempted. They certainly are, as the culture they find themselves in simply doesn’t have the same sorts of taboos as ours. It’s a lot more open, a lot less restrained. But they refuse to indulge for their own reasons.

The natives pick up on all of this. After all, they’re not stupid. But they also see these newcomers (with a few exceptions) as the semi-mythical Altea. As Ashley explains in this past week’s episode: what poor, lonely woman wouldn’t want to improve her lot by getting together with what she sees as a demigod? It’s much different for the native men, a topic we’ll see picked up in Season 2, but many of the relationships that spring up stem from this.

And that was something I intended. Maybe I didn’t expect to take things this far, but…they did, and it works. Especially in this part. Next up is Episode 7, a case where I think much the opposite. I’ll see you then.

On rhythm and flow

What makes good prose? I wish I knew, because then I’d be rich. But I think it’s largely one of those subjective things, something different for different people. Still, I believe there are some constants. We can easily point to something and say, “That’s bad.” In most cases, what’s “bad” won’t even be up for debate. Defining “good”, on the other hand, is tricky, but let’s see what we can do.

Setup work

I don’t claim to be a great writer. I’m good at best, probably closer to mediocre. I do, however, think I write above-average prose. By that, I mean the actual words themselves, the sentence and paragraph structure. The skeletal structure of a book, if you will, where the story itself is the meat and flesh.

Good prose is in the eye of the beholder, so it may sound a bit biased for me to say that my prose is good. It’s a bit of the Dunning-Kruger effect: people tend to see themselves as better than they really are. But hear me out.

I recently read The Bands of Mourning by Brandon Sanderson. Now, Sanderson is one of my favorite authors, and he’s practically a legend when it comes to writing quantity, but this book really left something to be desired in the prose department. It’s a great story, although it comes off the rails a bit towards the end, and the worldbuilding is (as always for this author) top-notch.

Yet as I read it, I found myself wincing more than once at the prose. It’s clunky, jarring, and I can’t blame that all on necessity. See, I believe there is a time and place even for poor grammar. (Usually, that works best in dialogue, and I’m not afraid to write, for example, “me and him” when that’s what a character would likely say.) But this went beyond that. For a fairly long stretch in the prologue, it was like the author forgot how to use pronouns. Sentences were written in such a way as to be confusing, ambiguous. The whole thing read like something I would have written in school.

For the first time in the five years I’ve been serious about my writing, I couldn’t not compare a professional creation to my own, and I found the pro wanting. It was an odd feeling, though not one of pride. I’m most certainly not saying I’m a better writer than Brandon Sanderson. But I do find it strange how big this particular difference in quality was. Remember, I’m a self-published author. I can’t afford a dedicated editor. And yet I couldn’t help but think I was doing better.

Like a river

It took some time, but I finally figured out where this all came from. And that goes back to what I feel is one of the hallmarks of my writing style. I don’t go in for convoluted phrasing, a vast vocabulary, or anything like that. No, I place the greatest emphasis on flow.

Flow, as I define it (I’m not even sure it’s a real thing, much less something with an actual definition), is a kind of phrase-level rhythm. Writing flows if one phrase or sentence leads naturally and seamlessly into the next. For me, good flow realizes as an almost hypnotic quality. If I lose track of time while reading, then here’s a story with good flow. Story, characters, and worldbuilding all matter more, of course, but I find it easier to lose myself in a river of prose than jagged phrasal peaks.

Part of good flow is about making connections. That’s why I use a lot of compound and complex sentences for exposition, with dependent clauses and conjunctions everywhere. I also tend to digress, resulting in probably too many dashes, but even those fit in the flow, and I think a dashed-off (or parenthesized) phrase is better than an extra sentence that distracts from the main point I’m making.

Literary devices like alliteration and parallelism, both of which I use heavily, fit into the flow almost without even trying. Alliteration and assonance, for example, are like a pounding beat. Done properly, they don’t interrupt the flow, but enhance it. Similarly, parallelism has its own repetition, which I find to work a bit like a feedback loop: the flow only grows stronger until it’s finally released.

Changing the beat

Once I’ve set the flow for a story, changing up the rhythm has an immediate effect. The desired effect, at that. Short, clipped sentences indicate action, tension. Long, meandering thoughts are for introspection and reflection. And so on from there. That’s more of a general thing, but it’s a more noticeable shift when I’ve spent so long working on a flowing narrative.

But I still keep the elements of the flow, even when the beat changes. A key to good writing, I think, is nailing down when to change your narrator’s “voice”. It’s like when I write child characters, or the native characters in my Otherworld setting. There, although the flow itself remains, its nature changes. That provides a dramatic shift purely out of contrast, so you know that this character has a different way of thinking, of looking at the world. Maybe a child won’t go in for long stretches of pure thought—they’d get distracted halfway through—but they’ll have other ways of keeping this virtual beat.

By doing things this way, I’ve even made some parts of the editing process easier. I know when to rewrite a phrase, sentence, paragraph, or utterance if it stands out by virtue of its lack of flow. Like a wrong note or botched line, poor prose becomes obvious by its poor fit. Smoothing out those rough edges leaves me with something coherent, connected. Maybe not good, but I didn’t claim I was that.

Opinions

All this is my own opinion. It’s not even an educated opinion, either, as I’ve never taken a formal writing class. Instead, I come by my opinions through thought, reasoning, and study. I can point to a work I’ve read and tell you how I feel about its prose, even if I may not use proper terminology to do so.

Of course, my opinion may not be the right one. It probably isn’t the right one for you. Still, I encourage you to consider what I’m saying. Think about how your own writing flows. Good prose, I have found, feels like floating down a river, or drifting at sea, or even just falling asleep. On the other hand, poor prose constantly jerks me awake, out of the moment and into reality. Maybe your feelings are different, but you won’t know until you find them.

Release: Situational Awareness (Chronicles of the Otherworld 6)

Six down, two to go. With the release of Episode 6, Situational Awareness, the long-running saga is nearing its inevitable conclusion.

In another world, the strangest thing to discover might be oneself.

Whether caught in the standoff, fleeing the scene, or hiding away in a distant village, the members of the expedition are forced into an uncomfortable situation. The outlaws are not going away. No, they are seeking something, someone, and they have the force necessary to take what they want.

Miles away, down the river, new discoveries are being made. Archaeology it is not, but the research is no less difficult, no less vital to their ultimate goal of returning to their home planet. Yet the ancient writings are not the only object of interest. As ever, the most impact is made by the people of this land.

Not a lot to say that hasn’t been said already, so head on over to my Patreon for more information. A small donation of $3 gets you this episode and the previous five; keep it for the rest of the year, and you’ll have the remaining two parts to go with them.

Episode 7, A Peace Shattered, will come out November 21, so make plans to ignore your turkey and your shopping while you immerse yourself in the Otherworld.

Release: The Shape of Things

Thanks to my aunt (who gave me the idea for this one), I’ve got a new novel to get you in the Halloween spirit. It’s called The Shape of Things, and it’s a paranormal mystery with urban fantasy elements. But don’t think it’s something way “out there”. You know I don’t write that. Anyway, here’s the blurb for it:

The world is stranger than you know.

Cameron Weir hunts the paranormal. It’s a hobby, a second job, a nice diversion from the rigors of life. Whether it’s ghosts or monsters or aliens, he’ll be there to find the answer. And that answer is never any of those things, because he well knows that monsters don’t exist.

But something is out there. Something lurks in the night. What started as a simple call with a mundane explanation turns out to lead to a much deeper mystery. Glowing eyes in the dark. Strange, animal-like sounds echoing through the night. And then the most monstrous of all: a dead body. In the midst of such weirdness, Cameron questions his own rationality, and that leads him on a trail that will take him to the most fabled monster of all: Bigfoot.

For now, it’s only on my Patreon. Later on, I’ll look into putting it on the Kindle store or elsewhere. If I do, I’ll write up a longer post describing it. Until then, the description above and the post over on Patreon should suffice.

Borrowing from natural languages

One of the hardest parts about creating a language has to be the vocabulary. At least, that’s always the hardest for me. Maybe you’re different, but I doubt it’s easy for anybody, unless you’re doing one of those “engineered” languages where an algorithm does all the work for you.

Anyway, since creating words is so difficult, and since we do have to have them to, well, make a language, it’s only natural that we look for shortcuts. One of those is the random word generator, as you know, and I’ve spoken on that subject before. Today, however, we’ll look at a different method: borrowing. Specifically, I’m talking about borrowing from an existing language, a real language.

Can it work?

Borrowing from natural languages is fairly straightforward, but it’s easy to go wrong. Obviously, if you just take a bunch of English words wholesale, then you’re not making a separate language. You’ll end up with something closer to a pidgin instead: English words stuffed into foreign grammar. And that’s probably not what you want.

So we need a better strategy, but which one you want to use depends on your goal. Which words you want to borrow will go a long way towards defining the “feel” of your conlang. If you’re taking a bunch of old Anglo-Saxon roots, that’s going to create something that looks much different from a language that only borrows modern technical terms like “internet” or “photovoltaic”.

Also, remember that languages don’t always borrow a whole linguistic paradigm. They’ll tend to take only a root (which might not be the actual root) and derive native terms from there. So even if you borrow “computer”, that’s no guarantee that you’ll be borrowing “computers”, “computing”, and “computation”, too. If you do, it’ll look less natural, because that doesn’t often happen in the real world. And you do want this to look realistic, don’t you?

Details

Clearly, the absolute best way of borrowing from natural languages would be to let your conlang stay in contact with the “source” language (e.g., English) for generations, allowing the loans to build up organically. But we don’t have that kind of time. How can we simulate that evolutionary process in a hurry?

Well, there are a lot of ways. For the modest goal of creating a natural-looking conlang backed by a plausible culture, following the guidelines I’ve mentioned in my “Let’s Make a Language” series will help. Rather than send you to read all of those, though, I’ll boil them down to their essence right here.

First, think about how existing languages borrow words. It’s not at random. It’s usually to fill a need, such as an imported food or a new invention. It could be political or religious in nature, as well, as the large number of Latin and Greek borrowings related to Christianity will attest. But it’s not often for things we already have words for. You don’t see common, basic vocabulary items like “sea” or “dog” being borrowed, because there was never any need. Yes, some specific subsets might come from loans (e.g., “maritime”, “canine”), but these are the exception, not the rule.

Second, languages are only going to borrow from those they have contact with. English today is everywhere, but that wasn’t always so. Japanese got most of its loans from Chinese to start, while Quechua (in South America) took mostly from Spanish. Borrowings, especially in pre-modern times, are going to come first from neighbors, second from conquering or conquered peoples, and last from a “lingua franca”. That does require you to locate your conlang in the real world, but it allows for greater verisimilitude, which is why you’re reading this post in the first place.

Finally, the culture of the conlang itself will determine what it borrows. Initially, it will move to fill gaps in its lexicon, and what those gaps are can create a different feel for the language. To create one contrived example, imagine a small culture undergoing a push for equal rights for women. It’s been mostly male-dominated up to now, and the vocabulary reflects that. But it has contact with French, which has gendered occupational titles. So it might borrow a few feminine forms here and there, or maybe even the -eur/-euse distinction as a whole. If the movement goes far enough, the existing (native) masculine words may be reinterpreted as gender-neutral forms, giving rise to a new dichotomy. Then, as more modern occupations become available (to men and women alike), the language would borrow terms for them, then modifying them to fit the new standard.

The same principle works pretty much everywhere. A perceived need is filled by taking from a nearby or well-known language that has already filled them. It works in all fields, under any circumstances. You can even see it at work today, among smaller natural languages. Look around, and you’ll see how many have borrowed, in some form, “telephone”, “television”, “automobile”, and a whole host of others. Of course, they wouldn’t need those words if they didn’t have those concepts, but that’s neither here nor there.

In other wor(l)ds

The same principle works in non-modern settings. You’d have to do a lot more work to come up with plausible borrowings from, say, Sumerian or Etruscan, but we know they provided loanwords to their neighbors. Remember, though, that older times imply less connectivity, less globalism. (Not always, as the Roman Empire proves, but it’s a good rule of thumb.) That also means more dialects, which can provide a bit more variety in your loans.

You can even generalize this to other worlds, though this one’s a lot more difficult. At some point, you’re making a whole “conworld”, rather than just a conlang, and that’s a different article for a different time. Still, the basic principle of “borrowing to fill in the gaps” works anywhere.

For a conlang intended to be spoken by a hypothesized real-world people, take from those languages that are supposed to be their neighbors. A culture hidden in an inaccessible corner of the Amazon isn’t going to start getting European loans until 1492, at the earliest. More likely, it’ll take some time for influence to diffuse that far, possibly even centuries. Likewise, central Africa isn’t going to get much Chinese influence until almost right now.

In a way, this whole process is reminiscent of the creation of an auxiliary language. But it still retains the artistic style, the creative flair of an a priori conlang. It’s almost like an intermediate form, you might say. A happy medium.