First: a duality Haiku
I and me agree,
there can be no difference,
between I and me.
That came to me yesterday while I was writing Verilog (its a hardware language DGMS).
That Haiku is true on many levels and the more I study it, the more depth it takes on. Sometimes I think it would be truly fun to be able to write Haiku in Sanskrit. But alas, I am a moron verbally speaking.
Today's topic (now that that darn presidential election is out of the way, btw: WOOHOO!) is back on subject. Its about writing and the many ways which people write.
I suspect there are verbal geniuses. I know my friend Ken Milner was a verbal genius. He wrote much of an epic poem before he died directly out of his head. No editing at all. And yet, his only novel was terrible. I mean it just reeked, just like all first novels do. So I guess genius doesn't help in the novel department.
So there must be writers who equate to Mozart. Guys who get it perfect as soon as pen meets paper or finger touches keyboard.
I'm not one of those. I'm a wanna be Beethoven.
You see, Beethoven struggled with every piece of music he wrote. It had to be perfect and he had to work really hard to make it perfect. Thus in his long life he only wrote nine symphonies (wow, nine as a small number, think about that for a second). Where as Mozart in his short life wrote forty one.
I wrote some more of my blogged story on Sunday. I haven't titled it yet for the sake of this post lets call it: "Nanny Proxima Four." It took forever to bang out those few paragraphs. The funny thing is: it didn't seem like hours, because time flew, but that entry was a whole lot shorter than previous bits of the story that have flown off my fingertips in far less time.
I think its because the story line is getting very complicated. There are many many characters and I have to follow them along the story to document what they are doing, trying to stick to the important ones while ignoring the unimportant, while still making sure the reader knows they are marching along with the central characters.
Lets see, who do we have?
The story starts in a cave in the Himalayan Mountains and has only three characters: The old man, the young man named Rishi and the cave in which they live. The cave is a character as it is the antagonist.
At this point in the story there are: Seven synthetic copies of a woman called Terrie (who is Rishi's wife), two children named Red and Ted who are dying of the same terminal disease that should have killed Terrie. Paul, the CEO of the company that he and Rishi Started oh so many decades ago. There's a new character who is the acting president of the Proxima Centuri system named Coren. There's the rather droll personalities of the "cubes" which are mechanical translators that move people from place to place on the synthetic world of Proxima Centuri Four.
Paul and Terrie's son: Jonny and two synthetic life forms named Sherrie and Mary are stuck on Mars in the main antagonist's home.
And then there's President Rubinic, the man who's pulling all the levers trying to gain power over the hundreds of trillion of humans located throughout the galaxy.
There are many other players as well, but they've all been secondary rolls.
That's a lot to keep track of, huh? Perhaps that's why I'm having trouble writing at speed.
My previous books have never been this complicated. It's a fun learning process.
Of course the story is very rough as it is. Not worthy of publishing. It will need massive revising and editing, but I can do that some other day. Write now I'm having too much fun righting. *grin*
So the question for you guys is: are there magic techniques to keep track of characters and their development? Do you plan your 1D, 2D and 3D characters or do they just come about?
And do you notice that your writing is affected by your mood or is it not affected by mood?
Have you ever designed a character from the ground up before writing? Did that help or hinder?
Thanks for reading! And thanks in advance for replying.
Causes Brian McKee Supports
I support the cause of peace via peaceful means.