Busy Doing Nothing

So I was going to start by answering all those emails requesting details of what I am working on at the moment, but then, upon realising that I had in fact received no emails requesting details of what I am working on at the moment, I figured the point was null and void.

But I’m joking with you. Of course I’m working on something. Actually it is something that I have lots of positive vibes about, I don’t mind saying. What I like about it is my approach to it, and how much freedom I have with it. With my other stories there is a formula, a rider list of essential ingedients. The mark must hits all the points along the route if the end destination is to make any sense. By that I mean plot points, those little subliminal markers where you know the beats of the plot. The whole beginning middle and end thing that everyone harps on about doesn’t exist for me. I know how the story MUST end – which is quite helpful when creating an interlocking ongoing series – and that is what fuels me on. I have this little GPS machine in my head. All the stuff in-between the markers, that’s the A to B, the patter, the character’s voices and intentions, bread and butter stuff. It’s the markers that they are leading up to.

The second Cornelius Quaint book handles the marker points exceptionally well. And for me it was a case of moving things along the road, and hitting each mark on cue. You’ll see it once the finished product is out in March 2010. It’s much more of a story, more of an adventure, as just as there are cues and marks to hit in the series, there were far more to hit when traipsing around fogbound Victorian London. As I’ve said in an interview recently, in order to sell Victorian London you need to reference key aspects of what is typically ‘Victorian’. I’m not a history writer, I’m a storyteller, and sometimes there are barriers that your very own story has presented you with. It’s like the story is struggling with you, tugging at you so that you’ve got no choice to amend what you’ve done, or work the story around it. I can’t tell you how many characters I have killed off early in a book only to realise that they are actually pretty crucial to the tale – or the one succeeding it. And so I keep them, stow them away and let them boil a bit longer.

What I am working on now has no plotpoints to hit, no cues or markers. It is simply a good old fashioned story of good against evil and then good betrays good so that he can eventually defeat evil all over again…you know the type. And let’s me tell you, the knowledge that in this story, anything can happen and I am in control (not the story).

You got to love that, right?
Anyways, cheers.


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