Monday, August 14, 2017

An olio portfolio

Notwithstanding -- and more likely related to --  my most recent post (Weird process, this writing), the writing has been progressing smoothly over the past week. Lots of deeper back story worked out and retrofit, where appropriate, into the novel presently under construction. Lots of new text added. (We won't, however, speak of the single paragraph in the original, high-level outline that has transmogrified in my latest plans into five future chapters. Those wounds are too fresh.)

A veritable cornucopia
Amid the progress, my willpower on occasion did slip, leaving me to lapse into some of my customary surfing. And so, herewith, I shall bring to your attention several eclectic -- and relevant -- observations of the sort visitors here seem to find of interest.

SF is about world-building, with "world" loosely defined. Something about an SFnal story setting(s), whether in time or place, dimension or natural law or the state of technology, is different. One peril of the process is describing a world that's too uniform (e.g., "the desert planet" or "the ocean planet"), because we tend to find those unbelievable. The single world any of us know is, after all, rich with plains, forests, deserts, mountains, oceans, glaciers .... And neither are natural resources uniformly distributed, available at the convenience of our characters. A recent real-world reminder of that inhomogeneity involves helium:

... the element is needed to use or make all sorts of things: semiconductors, rocket fuel, computer hard drives, the Large Hadron Collider, magnets in MRI machines, airships, scuba tanks, arc welding, anything that needs to be super cold, and of course, balloons.

See "How the Qatar Crisis Shook Up the World's Supply of Helium."

Monday, August 7, 2017

Weird process, this writing

A couple weeks back, I reported being in fast-and-furious writing mode. More recently, the work has continued fast and furious ... but I've been cranking away for more than a week without adding, or even changing, a word in the novel in progress. (The first draft is at about 70K words, so more than half complete. The book's working title is Déjà Doomed.) 

For anything beyond a short story -- and often for those -- I write from an outline. After dozens of novels, novellas, and novelettes, I've learned a thing or two. One lesson is: don't make the initial outline too detailed, because late story elements developed early on will often require rework. Hence, my original, full-story outlines tend to be no longer than a handful of pages. Section by section, as I come to it, I develop a more detailed partial outline. Often I do an outline for each chapter within a section as I come to it. And almost always there is a need to iterate, as the details of Chapter X or Section Y ripple forward or backward through the overall story.

So there's another lesson: The outline(s) works for me, and for the story, not the other way around.