William Gibson once said to me, you don’t learn how to write a book so much as you learn how to write the book you’re writing. Or something like that.
Not visualised in GUN MACHINE novel progress Death Bar: all the words I tossed out as I was trying to get back into the flow and learning how to write the book I’m writing. And this one’s going in layers. Get 2K down, then go back to the first 1K, whittle at it, brush in more colour. Which is, at this stage, a bit painful. But it seems to be how this book wants to be written. Every thousand words seems to be the block of clay that four hundred words are waiting to emerge from. Right now, I have a spread of pages marked up with the word “insert”: there are interstitial scenes waiting to be chipped out from the spaces between the sequences I already have.
I will eventually get up to speed with this. I have, I think, a clear run this week.
Film Project INVISIBLE ZATOICHI has a spine – a sort of rickety, horribly curved one, with a bifurcation and some fused bones, but it’s there. I’m letting it lay fallow in my head for a few days, until enough stuff springs from the ground for me to gather up and paste to the spine all at once.
And I think we just firmed up the one print project I’m going to do with Avatar this year. Oh, and putting the conclusion of the troubled ANNA MERCURY 2 back on a schedule. (After that, DOKTOR SLEEPLESS.)
I’m halfway through my projected run on SECRET AVENGERS for Marvel, now, and casting around for what the last three issues will be about. And I have a shitload of chickenscratch in a notebook that’ll turn into FELL #11 this month.
And that’s all I’ve got today. Back to work. In the meantime, here’s a photo of me being unpleased at being awake and working this afternoon.
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