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Writing Process

Blog entry

Except for the book release re-boot series, I haven't been blogging as regularly as I like to. May has been a bit crazy in terms of travel/conventions and work pressures (you know, the job that pays my bills). I've had enough LHMP posts in the can to carry my through (though I need to record a podcast tonight that I haven't finished writing yet! The Civil War diaries have been a dropped ball for the last couple weeks. But I keep plugging away at the first draft of Floodtide, day by day.

Have I done a writing blog lately? I've gotten so random with everything except the LHMP and the LaForge diaries that I'd have to look in the blog roll to see.

My day-to-day writing project is still Floodtide. I'm continuing with the tradition that every book has a slightly different writing process. This one feels a bit like I've circled around back to my process for Daughter of Mystery in that I'm just sort of spilling story onto the page as it comes to me with only a bare outline to guide me.

One of my readers (a fellow writer) gave me a topic that could easily turn into a book rather than just a blog, but I’ll try to keep it concise. They asked if I could talk about techniques I use for implying/showing the development or existence of a romantic relationship between characters without simply having the characters state it outright (perhaps because the characters are still working their heads around it) and without using sexual intimacy/desire (whether because the relationship is non-sexual or simply because that isn’t how I choose to depict it).

I've discused previously how the way that Alpennian characters talk to and about each other, and even what terms the use to think about each other, provides a constant commentary on their relationships and attitudes, whether it's of status, intimacy, or affection. But in some ways, I always had an out in that I was writing in the third person. A very tight third person, to be sure, but if Barbara thought something about the princess and called her simply "Annek" in the privacy of her thoughts, that could be chalked up to shorthand.

In writing the first draft of Floodtide, I sometimes feel like I'm back in the same process as for Daughter of Mystery. I have a general idea of what's going to happen (though not always a clear notion of what order all the events will come in) and I'm just laying down text to see what happens. If I stop to think too much about structure, I get this sneaking suspicion that it's all a horrible mess. So I try to avoid thinking about it at this point.

Given the amount of thought and effort I've put into creating aspects of the Alpennian language, it might seem strange that so little of it appears in the books themselves. Other than proper names, most of what readers have seen have been the occasional technical terms that don't have a simple English equivalent (armin, markein, vizeino). I'm not counting all the Latin terms used for mysteries, of course.

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