Remember Everyone If You Google [subject] Wiki And The Top Result Is From Fandom, Literally Scroll Down

Day Six of Writing my Novel again (follow up from last night because I forgot.)

I smashed past 8600 words in Part One last night, and if my novel has 4 parts like I plan for it to, then the total word count should be somewhere along the order of 60-75,000 words. Not a lot, but good enough for draft 1!

There's something about Wen Ning kneeling to apologize for everything that went wrong, and Wei Wuxian kneeling down with him as if to say nothing is your fault that isn't also my fault. Either we'll stand together or we'll kneel together.

They are the secret third thing.

The problem with april fool’s is that the majority of people aren’t very funny

it's the first draft it doesn't need to be perfect it's the first draft it doesn't need to be perfect it's the first draft it doesn't need to be perfect it's the first draft it doesn't need to be perfect it's the first draft it doesn't need to be perfect it's the first draft it doesn't need to be perfect it's the first draft it

Day 22 (31 in base 7) of rewriting my novel

Today I wrote some more and did some more plotting.

While we're on the topic of plotting, let's talk about the newest character (referenced yesterday) whose name is Mostijv in Ipol and Heja'umak (/hɛ.jə.u.mək/) in Odapir.

Her character has suddenly become very important for the fate of Odapir. She, along with local, lesbian, giant lava monster, Tev, are introduced by Dolgof. They both decide to team up to overthrow the tyrannical, Odapirian dictatorship, but it becomes a hard-fought, very long battle. One that extends past the novel's canon. (I.e. the "White Army" of Tev and Mostijv and the "Purple Army" of the Odapirian dictatorship are still fighting when the novel ends.)

Mostijv and Izi butt heads a lot, but they're fundamentally allies through mutual respect. Hota, since they're constantly trying to keep the peace, gets along fine with Mostijv.

Mostijv's magic is Doom, specifically some basic fire-making.

Day 35 (1:05) of rewriting my novel

Today was a "bridge the gaps" day.

Yesterday, I wrote about Vimir. The day before that, I wrote about Taguchif. In order to bridge those scenes with what I already had, I wrote for, like, 4 hours and about 2,100 words piecing it all together. Now, Part Three is like 12,000 words, and I'm probably just over 1/3 of the way there? I'm staring down the barrel of probably 40,000 words necessary for Part Three.

To be clear, in no way is Meiste meant to be consumed in four parts. Later, I plan to block off chunks as chapters. But not until after I've gotten all four parts to places where they can reasonably be split off into chapters.

Part of what I mean by that is this: Part One was really rushed, comparatively. My "alpha" reader pointed out that the pacing is really rushed in Part One, and that's been on my mind this whole time, but that was really so I could work up the motivation to get through Part Two.

Part One is even, comparatively, short compared to parts Two and Three: it stands at just 12,000 words. And mostly as an introduction to the other three parts. That was a critical flaw in choosing what has become, essentially, in media res to start a fantasy novel.

I plan on adding a scene at the end, once this is all said and done, where Izi, Vimir, and his boss are all at church. With that I can do several big things:

Lay out Zenestian religion. While the Constitution of Zeneste is inherently a religious document, Zenestian government has strayed so far from its original intents to suck power from its citizens that the religion has almost become a sort-of government worship. This was one of the big reasons my "alpha" reader was confused in the first chapter by everyone just accepting that "the Constitution said Izi is Emperor, so Izi is Emperor." It's a level of Orwellian brainwashing that is crazy deep.

Lay out what Izi's world even looks like. At this point in the story, he's just an eighteen-year-old worker in a rice farm taking a single evening of rest to go and worship with his community, including his best friend and most loyal ally.

Set up the windows scene in Part One. In Part One, Izi's astounded by the lack of designs in the Old Chapel of Zeneste, and when he finds the old windows in the attic, he hires somebody to come and replace the windows for him. Since the reader doesn't have context for this, it might make Lozerief's outburst even more confusing.

Foreshadow his mom being the Hero of Life. Like, the Hero of Life appears everywhere, and I don't wanna give away Izi's mom being the Hero of Life too early, but I can afford to drop more hints.

This, alone, would add probably 2,000-3,000 words.

In addition, she recommended changing the pacing so Izi has more like a month in the palace (instead of the 3 days that I wrote in originally.) I definitely could use this to illustrate what the Zenestian government is like: a bunch of corrupt politicians figuring out how they can get more power (Lozerief is an exception).

This has mostly become me ranting about novel plotting, and what I have to do later, but feel free to let me know your thoughts! I'm always open to hear other peoples' opinions (except when they necessitate the disenfranchisement of others.)

Enjoy the show

Hey! I'm David Peterson, and a few years ago, I wrote a book called Create Your Own Secret Language. It's a book that introduces middle grade readers to codes, ciphers, and elementary language creation. The age range is like 10-14, but skews a little bit older, as the work gets pretty complicated pretty quick. I think 12-13 is the best age range.

Anyway, I decided to look at the Amazon page for it a bit ago, and it's rated fairly well (4.5 at the moment), but there are some 1 star reviews, and I'm always curious about those. Usually they're way off, or thought the book was going to be something different (e.g. "This book doesn't teach you a thing about computer coding!"), but every so often there's some truth in there. (Oh, one not 1 star but lower rated review said they gave it to their 2nd grader, but they found it too complicated. I appreciate a review like that, because I am not at all surprised—I think it is too complicated for a 2nd grader—and I think a review like that is much more effective than a simple 10+ age range on the book.) The first 1 star rating I came to, though, was this:

Now calling a completely mild description of a teenage girl who has a crush on another girl controversial is something I take exception to, but I don't want to pile on this person. Instead I wanted to share how this section came to be in the book.

The book is essentially divided into four parts. The first three parts deal with different ciphers or codes that become more complicated, while the last part describes elementary language creation. The first three sections are each built around a message that the reader can decode, but with language creation, the possibilities are too numerous and too complicated, so there isn't an example to decode, or anything. It would've been too difficult.

For what the messages to decode are about, though, I could do, potentially, anything, so at first I thought to tie them into a world of anthropomorphic animals (an ongoing series of battles between cats and mice), with messages that are being intercepted and decoded. My editor rejected that. Then I redid it so that each section had an individual story that had to do with some famous work of literature. My editor rejected that as well. He explained that it needed to be something that was relevant to kids of the target age range. I was kind of at a loss, for a bit, but then I thought of a story of kids sending secret messages about their uncle who eats too many onions. I shared that, my editor loved it, and I was like, all right. I can do this.

The tough part for me in coming up with mini-stories to plan these coded messages around was coming up with a reason for them to be secret. That's the whole point of a code/cipher: A message you want to be sure no one else but the intended recipient can read in case the message is intercepted. With the first one, two kids are poking gentle fun at a family member, so they want to be sure no one else can read what they're writing. For the last one, a boy is confessing to a diary, because he feels bad that he allowed his cat to escape, but no one knows he did it (he does find the cat again). For the other, I was trying to think of plausible message-sending scenarios for a preteen/teen, and I thought of how we used to write notes in, honestly, 4th and 5th grade, but I aged it up a bit, and decided to have a story about a girl writing a note to her friend because she has a crush on another girl, and wants her friend's opinion/help.

Here's where the point of sharing this comes in. As I had originally written it, the girl's note to her friend was not just telling her friend about her crush, it was also a coming out note, and she was concerned what her parents would react poorly.

Anyway, I sent that off with the rest of my draft, and I got a bunch of comments back on the whole draft (as expected), but my editor also commented on that story, in particular. Specifically, he noted that not every LGBTQ+ story has to be a coming out story, the part about potential friction between her and her parents because of it was a little heavy for the book, and, in general, not every coming out story has to be traumatic.

That was all he said, but I immediately recognized the, in hindsight, obvious truth of all three points, and I was completely embarrassed. I changed it immediately, so that the story beats are that it's a crush, she's not sure if it'll be reciprocated, and she's also very busy with school and band and feels like this will be adding even more busy-ness to her daily life as a student/teen. Then I apologized for making such a blunder. My editor was very good about it—after all, that's what drafts and editors are for—and that was a relief, but I'm still embarrassed that I didn't think of it first.

But, of course, this is not my lived experience, not being a member of the LGBTQ+ community. This is the very reason why you have sensitivity readers—to provide a vantage point you're blind to. In this case, I was very fortunate to have an editor who was thinking ahead, and I'm very grateful that he was there to catch it. That editor, by the way, is Justin Krasner.

One reason I wanted to share this, though, is that while it always is a bit of a difficult thing to speak up, because there might be a negative reaction, sometimes there is no pushback at all. Indeed, sometimes the one being called out is grateful, because we all have blindspots due to our own lived experiences. You can't live every life. For that reason, your own experience will end up being valuable to someone at some point in time for no other reason than that you lived it and they didn't. And, by the by, this is also true for the present, because the lives we've lived cause us to see what's going on right before our eyes in different lights.

Anyway, this is a story that wouldn't have come out otherwise, so I wanted to be sure to let everyone know that Justin Krasner ensured that my book was a better book. An editor's job is often silent and thankless, so on Thanksgiving, I wanted to say thank you, Justin. <3

Y'know, it's weird how the Egbert house doesn't have a garage or a carport or anything. Surely a paragon of fatherly responsibility like Mr Egbert would know better than to simply leave his car exposed to the elements at all times.

Find the Words Tag Game

Thanks to @authorcoledipalo for the tag!

My words: ache, slash, bounce, wink

Your words:

Ache

Tears blurred my vision. My head raged with a headache like no other while I choked on my sobs. Mucus stained my tongue with salt while I struggled to keep my head up. He loved me. He loved me unconditionally, up until his dying breath. No, he still loved me. Even in death, his immortal love remained deep inside of me. My head finally fell.

Slash

"No," I decided. "It's-" A foul stench slashed at my nose, popping my eyes open. "What the hell?"

Bounce

I laughed, flying along the ceiling so that I could see the inside of the crystal chandelier. The crystals bounced light from electric bulbs around the center of the chandelier. I stuck my hand through it, seeing if my hand would glisten.

Wink

"The Emperor's request," chef Siz added, sending me a grin with a wink.

Paging @foxgloves-garden, @ominous-feychild, and @oldfashionedidiot, +open tag. Feel free to ignore as wanted.

Side note: Does anyone else use "bounce" as a transitive verb? I.e. "I bounce the ball" where "bounce" takes an object. (An intransitive verb is a verb which doesn't take an object: "I bounce." Is perfectly grammatical.) I feel like the transitive form feels... old? Archaic?