Posts Tagged ‘novel’

Well, isn’t today full of editing pluses! I edited a chapter of my science-fiction novel Reborn City, and I just finished the second draft of my serial killer thriller Snake. I’m not going to go into word counts or anything, mostly because I’m waiting for a phrase or two to be translated into Russian so I can add it in before I add up the latest word counts. However, I will tell you that I took away a few words and I added some, and still I think this novel got a little longer!

Anyway, I’ll be calling my beta reader for Snake tomorrow, tell her that she’s got a new novel to put on her computer tomorrow. I hope she likes it. Wish me luck, and let’s hope she gets through it quick. Wish me luck and if there are any updates, I’ll let you know.

Merriam-Webster.com: expatriate–to leave one’s country to reside elsewhere

I’m about to edit another chapter of Reborn City (yes, I’m still editing, but my beta reader’s schedule has freed up a little, so the chapters are coming faster than before). Before that, I read a blog post (read here:http://stevenglassman.de/2013/03/11/grokking-expatriates-in-sci-fi/) about how certain characters in science-fiction are considered expatriates and what category of expatriates they are (yes, there are categories. Read the blog post if you doubt me). The post covered everything from Superman to Futurama to Star Wars to even Buffy the Vampire Slayer characters, and it got me thinking: Zahara Bakur, main character of my own science fiction novel, is an expatriate, or expat for short.

For those of you who haven’t read the novel–which is basically everybody but me and my beta reader and fellow author Matt Williams–Zahara was born and raised until her elementary years in Cairo, which in the RC universe is one of the last remnants of the Egyptian state (don’t ask me why, just read the book when it comes out). However Zahara’s father moves the family to New York City, which is now its own independent city-state, to attend NYU’s law school, and the poor girl has to adopt to a much more liberal and sometimes very Islamaphobic culture. Over the years she gets used to New York and finds friends that don’t judge based on a person’s religious affiliation, but things shake up horribly for Zahara when she’s fifteen.

What happens? Her father has to relocate to Reborn City, which is the Las Vegas of the strange world of RC. There Zahara has to adjust to living in a city that is worse than New York City in how Islamaphobic it can be. When Zahara finds herself coerced into gang life, she finds the whole gangster culture mind-boggling, especially the taken-for-granted hostility between the various gangs and the equating of surviving violence and conquering enemies as being tough and cool. Zahara has to live with this sort of culture and try her best to adjust to it while also integrating the gang culture with the culture of New York, her Muslim upbringing, and her naturally peaceful nature.

Even without all the science fiction elements in this story, you can see how much conflict Zahara has to go through.  But as the story progresses, I hope Zahara can find a new strength that she didn’t have before. I’ll see where the two sequels go with the story and hopefully things will get better for Zahara and her friends.

But before that, I have to see the first book out on the digital bookshelves. I’ll let you know how things go as I get updates. Blog on you later.

I had to rewrite most of Chapter 91 of Snake, which is a part of the climax of the story. Why, you ask? Because the original scenario for this chapter, and for most of the climax because of this chapter, didn’t make sense in my head when I thought about it during the three months between the first and second drafts. So I rewrote most of it while still making sure that the story ended up going where I wanted it to go, which would be a final battle on the beach near the boardwalk in one of the Russian sections of New York City.

How’s the chapter look now? Well, I added a smidge more Russian to this chapter, I managed to keep some of the elements of the story I really liked (including a chase with a produce truck), and there’s still some battle and some bloodshed. Overall, I like this chapter, though I may add some more fighting and punching and kicking and whatever when I get this chapter back from my beta reader.

Well, I’m almost done with the second draft. Perhaps tomorrow or the day after the whole second draft will be done. Oh, and before I forget, I want to tell you guys that a few posts ago I messed up on how many chapters I had left. Snake has 98 chapters, not 92. So when I said I had 27 to go, I should have said 33. My bad.

I’ll let you know when the second draft is over. Wish me luck and good night.

Suspension of disbelief is when we disregard the unreality of a story and dive into the story anyway. For example, we ignore the fact that you can’t bring a corpse back to life with lightning and funky-looking machines, or we let it by that animals don’t wear clothes when we’re forced to watch The Great Mouse Detective with our younger family members, or I ignore that there are so many people in the cult in The Following that there’s no way that sort of cult could exist in reality, no matter how charismatic a serial killer Joe Carroll may be.

So many sick people follow him, even he has trouble believing it sometimes.

We need suspension of disbelief to enjoy some of the more strange of fiction, and sometimes to even get through the craziness of life. We’re pretty good about this as kids, when most of the shows we watch are cartoons with all sorts of improbable things going on.

But why do I mention all this? Most of the people who read this blog are well aware of suspension of disbelief and what it is, especially the writers who read this blog. Well, sometimes our suspension of disbelief cannot help us with a story, especially when we become adults and sometimes prefer our entertainment a little closer to reality.

But even for those of us who are still able to do suspension of belief like when we were kids, we occasionally find a story that we can’t get past the craziness in. For example, one of the problems I had with Mockingjay, the final book in the Hunger Games trilogy, was that after Katniss (spoiler alert!) killed President Coin for the murder of Prim, she wasn’t prosecuted or killed or thrown in the loony bin or held up as a hero by those who opposed both Coin and Snow. No, she was held in a room for several days and then dumped in District 12 for the rest of her life, with the only punishment being that she have counseling sessions on the phone for the rest of her life. If this were Egypt, China, Venezuala, Ukraine, or the United States (especially the United States!), any of the stuff I listed except what actually happened to Katniss would’ve happened. What makes Panem so different that the murder of the national leader gets you dumped in a coal-mining town that’s literally rebuilding itself from the ashes? Explain it to me, please!

“My country? Well, we’re hungry…and once a year 23 people die on national tV…and…that’s it.”

Another problem I had with the whole trilogy is that Panem had no character besides that of the Games and a capitol that oppressed the districts. Seriously, was that all there was to Panem? We only got brief looks into any sort of a national culture, with some district culture mixed in. And yet most culture is centered around the Games and the Victory Tour during the off-season. Is there anything else to Panem? There is so many questions left unanswered. Plus, what about the economy? It seemed the economy all depended on the Games and the oppressed districts. And did anyone in the Capital actually work, or did they all just party and do things related to the Games? I only know Panem as a nation of oppression and murder, and for Collins’ purposes, that’s all she really needs. But I have trouble believing that Panem could actually exist, especially when most of the nation is defined by oppression and a sick obsession with reality TV and the television in general.

I also have problems with other stories. I have a lot of trouble believing that Superman’s biggest problem in life is his love triangle with Lois Lane and himself (thank God it looks like Man of Steel might deal with that), or that a biologist might shy away from some skeletons of dead Ubermen but be attracted to a strange-looking cobra-worm in Prometheus. I’ve grown disillusioned with some Bond films because the villain’s super evil plan involves flooding the Earth or using diamonds as a laser beam or living in a space-station that nobody noticed until Bond pointed it out (you know I’m right). Why does Anakin go to the Dark Side just because he’s in love? Shouldn’t there be more darkness in him besides a fear of loss? And why in some fantasy films they can only get rid of a monster by sealing it away but hundreds of years later the very same magic used to seal the monster is suddenly able to kill it without any major innovation being mentioned?

I know I seem to be tearing into some very beloved stories, but I have to say, some of this boggles my already messed-up mind. Is there something I’m missing here? Or maybe the story is missing something and I and some others are angry enough or nitpicky enough or something else enough to point it all out.

I bit that guy because he didn’t like the skeletons but for some reason wanted to pet me.

It’s probably why when I write a story and there’s a chance it may get crazy or overly complicated, I try and have something to make it easy to understand and believable. I dumped a whole idea for Reborn City‘s sequel just because I thought it might be disbelieved by more than a few readers. I went through a lot of parts of Snake before I wrote and even while I was writing it just to make sure there was nothing that could be too hard to believe. And with the bajillion stories in my head, I often tinker with them in my inmagination for years just to see if there’s something that could be pointed out as too weird to happen (believe me, even in speculative fiction that’s a lot).

What do you have trouble believing, even in beloved stories that everyone else is cool with? And do those things make you examine your work differently?

I think this might have been in Harry Potter. What do you think?

I always think the editing process is going to be longer than it actually is. And yet I’m already done with Part III of the thriller novel Snake, which means I’ve only got a small stretch of the novel left to edit. I could be done by the end of the weekend if I don’t let myself get too busy or too distracted (though my homework could lead to some busy-work or distraction, so that’s something to calculate in).

So far, most of the editing has been taking out unnecessary words or changing certain things grammatically so that the story flows better. Also, I’ve noticed sentences that made sense to me three months ago at the end of the first draft make no sense to me now, so I have to do a lot of rewriting when I encounter those sentences, occasionally adding to my word count.

But I’m enjoying rediscovering the story I wrote from June to Decenber 2012, and seeing how fast-paced and at certain times shocking the story can be. I’m going to try to keep this up, and rewrite the final battle scene to be more exciting and less unrealistic, at least to me. But first, I have to get through Part IV, which has sone of the longer chapters in the story (and that’s saying something, considering the longest chapters are between 8 and 10 pages).

I’ll have more updates as time goes on. Wish me luck.

Since Saturday night I’ve been working on editing Snake, my serial killer thriller that I wrote over a period of six months last year. I took a break from it after I finished the last chapter in December and worked on several other projects, including The Quiet Game, in order so that when I returned to Snake again to edit it, I could look at it with fresh eyes.

So far I’ve been happy with the eyes I’m looking at it. For example, I”m seeing some things I wrote last time that I’m not too satisfied with, particularly in terms of phrasing. I’ve had to rewrite a few sections just to make it sound right in my head. I’ve also realized how disturbing I’ve made that novel, as last night’s post proved. And I also learned how fast-paced my novel is. I mean, the novel takes palce over several weeks, but it seems to be going so fast, going from event to event to event with a rabbit-like swiftness. If you have the free time, you could probably get through Snake in a couple of days.

So far I’ve gotten through thirty-five chapters, and I’m onto Part III, which is the longest part of Snake with twenty-nine chapters. If I can get through it in the same amount of time as I did with the first thirty-five chapters, I might be done with the second draft by the end of spring break, give or take a day or two. After that, I’ll hand Snake off to my beta reader, who’ll hopefully have the time to get through all the chapters in a timely fashion.

I hope.

I’ll let you guys know as things develop. Wish me luck.

I was editing a chapter of Snake this evening, when the Snake is torturing his third victim for information (on what, you ask? Read the book when it comes out). At some point during this chapter, the Snake becomes incensed by something his victim says to him and retaliates in a most gruesome manner. The thing is, I didn’t remember that I’d written that part the way I’d written it, which was fast, unforeseen, and totally horrifying in its inhumanity. It disturbed me a little, and I wrote the bloody scene over the summer! (By the way, no pun intended when I say “bloody”)

This is pretty ironic, seeing as I pride myself on being immune to most scenes of horror and death in fiction. But it also points out something: if I can be disturbed by a scene I created in a story I wrote, even just a little, and I knew that scene was coming, then what would the reaction be of someone who didn’t see it coming, and isn’t as desensitized to these sort of things as I am? I get a little excited just thinking about it.

It makes me wonder if I’ll be disturbed by any other scenes I’ve written in this thriller novel of mine. There are quite a few more murder and torture scenes to go through, so the likelihood is high that I might see something and feel a little twinge of horror, disgust, or queasiness. But if I do, that’s not necessarily a bad thing. After all, I write horror stories primarily, so if even I feel a little reaction from going over and editing a scene, I think that means I’m doing something right.

It can also point to how disturbed I am as a writer and possibly as a person, the way I have a character killed or how I describe the monsters in the story or how I build up to a terrifying conclusion in a certain scene. Critics will definitely wonder if I’m depraved (always possible), if I was traumatized as a child (yes I was, I wrote a post on it last year) or if I’m trying to corrupt my readers with this vile stuff I write (objection! I seek only to share and entertain while making a little money where I can).  But hey, if Stephen King and Anne Rice and Edgar Allen Poe can write some of the same stuff and survive the scathing criticism, why can’t I?

Besides, there are certain things those same writers above wrote that I do not plan to write (if you haven’t read Stephen King’s IT, please go to the Wikipedia page and read the last sentence of the second-to-last paragraph of the section titled 1957-1958 under Plot. You’ll understand what I mean). Even I have lines I won’t cross, though sometimes they don’t seem obvious to others.

Well, I’ll continue editing Snake and seeing what I find. Hopefully I’ll be able to find some more scenes, be disturbed when it’s necessary, and touch up some scenes to be more disturbing if I think it’s needed. Hopefully I’ll be able to create a novel that will catch on and cause a wave and be praised for its disturbing/thrilling/insert-advective-here aspects. That’s the dream, at least.

In the meantime though, I have to get ready for bed. I’ve got Abnomal Pyschology class in the morning, definitely one of my favorites, and I want to be awake when we discuss treating bipolar disorder. Good night, everybody.

Well, it’s been a while since I’ve written about my serial killer thriller Snake, which is about a serial killer hunting down the members of a mafia family in New York City. But yes, as you can tell from the title, I’m working on the second draft. I’m happy to say, I’m getting through it rather speedily, clearing through fourteen chapters in a little less than twenty-four hours. Then again, most of the chapters are less than ten pages, so the fact that I’ve only cleared fourteen chapters in a single day may earn me some accusations of laziness.

Moving on.

So, I’ve gone through fourteen chapters, and so far it’s mostly been polishing up phrasing and grammar. Yes, there have been entire sections of the story that have been rewritten so far, but only one or two, and those entire sections have been small. I’ve also noticed some inconsistencies in what I’ve written at certain points and what I’ve written at certain other points, so I’ve been correcting that when I’ve seen it.

But I’m happy with what I have so far. The entire novel is ninety-something chapters, but I think if I work hard and don’t get too distracted, I should be done in a week or two (thank goodness spring break is coming up). Wish me luck, and I’ll keep you posted on my progress.

Well, it’s been a while since I’ve written anything about my serial killer novel Snake, but I’m happy to announce I finally got around to doing something I’ve been meaning to do for a while now: add in the Russian.

For those of you who weren’t around during the six months from June-December 2012, Snake follows the Snake, a serial killer that goes after members of a Mafia family for reasons mentioned only in the novel (and not on this blog; that’d give away the whole darn plot). The Snake also speaks Russian, a language I have no heads or tails for, comrades. So I asked a friend of mine I know through OSU’s organization for Jewish students, OSU Hillel, to help me because he’s a native Russian speaker.

Yesterday, my friend sent me some translations and transliterations of the English phrases I sent him, showing me what the phrases I’d written in English looked like in Russian with English characters. I inserted them into the story, and now I don’t have to do anything till I actually start the second draft of Snake next month. I’ll probably add some more Russian in then, but until then, I don’t think I’ll bother my friend.

In hte meantime, I have to go out for a few minutes and take a photo that I’ll use and modify to create the cover for my upcoming collection of short stories, The Quiet Game: Five Tales To Chill Your Bones. Sure it’s cold and it’s late, but this photo needs to be taken at night, I only just got done with everything else, and I have an hour until SNL, so I’m good. Time to take some photos.

Do svidanya until I write next. Have a good night.

As many of you know, the Chinese New Year was celebrated recently, ushering in the Year of the Snake. As many of you also know, I recently wrote and completed a thriller novel called Snake, which is about a serial killer hunting mafioso. Since Snake will probably be published sometime before this time next year (hopefully), I thought it was a pretty strange but otherwise wonderful coincidence. Of course, the serial killer whom the novel is named after, the Snake, was probably born in the Year of the Rooster like myself, but still it’s a pretty cool coincidence.

And since it’s the Year of the Snake, I thought I’d give you a small sample of Snake, something to let you get a sense of one of my best written works to date (at least in my opinion). It’s from the first chapter, when one of the Snake’s first victims makes contact with the Snake over the phone. It’s creepy and I love it. Enjoy:

            Paul felt a buzz in his pocket and looked down. Through the fabric in his pants Paul could see the light from his phone shining through. Paul reached into his pocket, pulled out his phone, and dove into a little alcove where he could take the call in peace. Without checking the number he pressed the talk button and brought the phone to his ear.

            “Hello?” said Paul; on the other end all he could hear was a deep breathing. Paul raised his eyebrows suspiciously. “Who is this?” He checked the caller ID, and saw only UNKNOWN NUMBER.

            Suddenly the person at the other end of the phone spoke. “Men in your line of business have no right to be in a church, Mr. Sanonia.”

            Paul stared at the phone, surprised. Glancing quickly around the church, he saw only three people, and none of them were on their phones. How did this person know where he was and how did he get his number? He looked back at the phone and spoke into the mouthpiece. “Who the fuck is this?”

            The man on the other end laughed, a rich, hearty laugh that for some reason chilled Paul’s skin. “When your cousin James Sanonia died, he was shot in the head.” said the man, his voice deep and affected with a heavy Russian accent. “Then several bones were broken all over his body. He was then taken from wherever he was killed and thrown in the Hudson. Dockworkers saw his body floating and pulled him up out of the water. By the time they got him though, there was nothing to identify your cousin’s murderer. Except for one interesting detail, that is.”

            Paul froze, his heart beating loudly in his chest. Who was this guy? How did he know all that? “And what was that detail?” he asked through gritted teeth.

            The man spoke, and Paul froze. “You killed my cousin.” he hissed angrily. “You killed Jamie.”

            “Horrible thing, wasn’t it?” said the Russian man. “I couldn’t get what I wanted out of your cousin. But I’m sure you’ll be much more helpful.”

            Paul was only half-listening; he was looking around the church, trying to find someone—anyone!—on a phone. One of the other worshippers, a teenage girl with a skirt too short for the cold February weather, walked out of the church while texting. Besides her, no one else seemed to have a phone.

            “Where the fuck are you, you crazy shit!” Paul whispered into the phone. “Come on out and face me like a man!”

            “But there is no fun in that.” replied the Russian man. “Besides, you’re so much more amusing to watch.”

            Paul stepped out of the alcove, looking around the church. “Watch?” he repeated.

            “Oh, didn’t I mention it?” asked the Russian man. “I’m right in the church with you.”