The best part
It's odd how one gets reinvested.
I haven't written anything on YELLOW ROSES in at least a week. Of course, the whole "flying to Phoenix" thing didn't help, but the real reason was that I felt blocked. The JASPR scene was not to my liking. I still want JASPR in the story - I think it will help a lot with tone, pace flow and so on - but it wasn't funny. Or interesting. And I didn't know how to fix it. The scene needs to be there, it's important both for the storyline and for the pacing, but... meh.
It really kind of derailed me. And right after this is the flashback sequence that, to me, is the best part of the book. So I need to slam-dunk this scene.
The boy gets the benefit, I guess. I need several hours uninterrupted screen time. So unless he gets his little self in trouble today, he'll go to skate night and I'll hole up with the laptop at St. Louis Bread Company or Sacred Grounds. Maybe Sacred Grounds would be better. Nothing breaks up a block like a coffee shop with no internet and high atmosphere. There's a reason that place is in the thank-you notes for SETTING SUNS. John Scalzi tells us we're not fooling anyone when we take a laptop to a coffeeshop, but the writing I do there is ten times better than the writing I do at home. Maybe that says something about my home rather than the coffeeshop...
The 'reinvested' thing? Only one reader has so far emailed to say what she thinks of the new book, likely because it came out, um, YESTERDAY and most people don't read like mad demons and even if they do they've got families and lives and SMALLVILLE premieres and c'mon, Donald. Breathe. But it reminded me that the best part isn't the royalty check (though that's nice) and it isn't the fame and adoration of your screaming fans (insert laugh track). It's someone telling you, "Oh.... DAMN."
It's when they fell through the hole in the paper that you created. That's the good part. Otherwise, we're just talking to ourselves. And I want to do that again. And again. And again.
But first I gotta go to work.
I haven't written anything on YELLOW ROSES in at least a week. Of course, the whole "flying to Phoenix" thing didn't help, but the real reason was that I felt blocked. The JASPR scene was not to my liking. I still want JASPR in the story - I think it will help a lot with tone, pace flow and so on - but it wasn't funny. Or interesting. And I didn't know how to fix it. The scene needs to be there, it's important both for the storyline and for the pacing, but... meh.
It really kind of derailed me. And right after this is the flashback sequence that, to me, is the best part of the book. So I need to slam-dunk this scene.
The boy gets the benefit, I guess. I need several hours uninterrupted screen time. So unless he gets his little self in trouble today, he'll go to skate night and I'll hole up with the laptop at St. Louis Bread Company or Sacred Grounds. Maybe Sacred Grounds would be better. Nothing breaks up a block like a coffee shop with no internet and high atmosphere. There's a reason that place is in the thank-you notes for SETTING SUNS. John Scalzi tells us we're not fooling anyone when we take a laptop to a coffeeshop, but the writing I do there is ten times better than the writing I do at home. Maybe that says something about my home rather than the coffeeshop...
The 'reinvested' thing? Only one reader has so far emailed to say what she thinks of the new book, likely because it came out, um, YESTERDAY and most people don't read like mad demons and even if they do they've got families and lives and SMALLVILLE premieres and c'mon, Donald. Breathe. But it reminded me that the best part isn't the royalty check (though that's nice) and it isn't the fame and adoration of your screaming fans (insert laugh track). It's someone telling you, "Oh.... DAMN."
It's when they fell through the hole in the paper that you created. That's the good part. Otherwise, we're just talking to ourselves. And I want to do that again. And again. And again.
But first I gotta go to work.
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