After a long and tiresome hiatus, I have returned to the creative keyboard (unlike the mundane one at the office). Since last autumn, some beta-readers have given me a lot of constructive feedback on the Dusk and Dawn MS, a steam(ish)-punk adventure in the Patchwork World setting. So I have started doing a thorough revision, starting from chapter one. I will do a complete overhaul of the final third of the story after realizing what will be the “hero’s journey” for protagonist Fennec. I will insert an ancient human archetype in a science fiction context, emphasizing growth and responsibility. It feels so good to return to that alien multi-faceted world, the home of so many of my dreams.
In the spring, after delivering a sea-faring campaign book for the latest version of the Swedish fantasy RPG Drakar och Demoner, I made a nice schedule for fiction-writing in my spare time till the end of 2016: publishing Dusk and Dawn, starting the sequel to The Ice War, and making a few RPG articles for the Fenix magazine.
However, mundane life intervened and disrupted all planning: this autumn I have had to spend all available energy on my children’s schooling and on earning my paychecks while suspending the fiction projects. But there is at least one piece of silver lining on the involuntary writing hiatus: my buddy Carolina Gomez-Lagerlöf got time to read the completed MS of the Dusk and Dawn novella and she found a serious flaw in a major turn of events. Her verdict is justified, so I now will have to rewrite several chapters to improve the story’s pacing. However, being somewhat wiser than nine months ago, I won’t make a prediction about when it will be completed.
Yesterday I typed the final paragraph of the Dusk and Dawn novella (a stand-alone sequel to the short-stories “Dust” and “The Road” — link >>> ). I started writing it in early 2014, but in the summer of 2015 a cluster of tough life events derailed my schedule. Almost twelve months passed before I was able to resume writing and complete its final chapter.
Now I feel sad and joyful because the likeable protagonist Fennec’s journey has reached its end. In 2014 author Jo Walton taught me a trick of the trade: a story’s ending must carry its weight. I think I have created a satisfactorily closure, but now I must wait for the test readers’ verdicts.
Next step will be editing. Ten percent of the initial text is superfluous according to my rule-of-thumb. The story will now rest for a while before I proceed with that. Meanwhile, I will start writing the next Patchwork World story: The Forest.
During spring I was busy writing an ocean-faring campaign book, Skymningshavets gåtor (“Mysteries of the Sunset Ocean”), for a new edition of the Swedish fantasy RPG Drakar och Demoner.
After completing it, I returned to Dusk and Dawn, a Patchwork World novella that is a stand-alone sequel to the short-stories “Dust” and “The Road” (link >>> ). I had not touched the story for a year because I have been wrestling with the final chapter, but now some troublesome plot pieces have fallen into place and only three or four concluding scenes remain unwritten. Let’s hope that I soon will get time and energy to do that.
I have drawn a lot of inspiration from Jared Diamond’s Guns, Germs and Steel, a book that attempts to explain why certain pre-industrial societies “did better” than others; the author argues that a culture’s ability to progress is mainly determined by its basic productive resources, such as available crops and domesticable animals.
These ideas were hardly present when I started writing Dusk and Dawn in 2014, but the protagonist Fennec kept on making “Diamondian” observations during a journey through her desolate homeworld. I hope that Dr Diamond, would he ever read my story, will nod approvingly at Fennec’s deductions and outside-the-box conclusions.
I am currently working on the final chapter of the adventure novella Dusk and Dawn, a story from the retrotech Patchwork World setting, which so far also encompasses my shortstories “Dust” and “The Road” (link >>> ).
Three ancient cities serve as important venues for the novella’s plot. Here is what its protagonist Fennec has to say about one of them:
Sirak Thod lies where the Flatlands touch the World’s Brim. Millennia ago the canal builders founded the city on a hillside next to a deep lake, which they connected to the canal network through feeder gates that regulate the water flow into the Flatlands according to seasonal needs.
Similar cities dot the inner edge of the World’s Brim. Every time our ancestors came down from the mountains to reclaim the Flatlands, they started by repopulating those places. Then they pressed on, city by city, into the desolation. They dredged waterways, cleared and irrigated farmland, and rebuilt bridges and locks. All rulers know that the bountiful Flatland grain is indispensable for advanced societies; the meager crops of fruits and tubers in the mountain valleys cannot feed a teeming population.
Artist: DrawingNightmare at DeviantArt.
Today I continue with the Patchwork World theme that started in the previous post, but now we go elsewhere in that multifaceted setting.
I am currently in the final stages of writing Dusk and Dawn novella, the third Patchwork World story. It is a stand-alone sequel to the published short-stories “Dust” and “The Road” (link >>> ). Much of its action occurs in the arid Flatlands, a region that has been inspired by the Martian deserts portrayed in many of Leigh Brackett’s stories.
Here is a place that could be a fortified oasis settlement in the Flatlands, located at an ancient dead canal. Click on the picture for a larger version.
Artist: Adam Kuczek on DeviantArt