Writing Update – 2/24/2017 (New purchases & interviews, and New projects)

First off, I want to thank recent (and semi-recent) purchasers of In the Land of God. I also want to thank whomever left the recent five-star review on Amazon. I don’t know what is more affirming, seeing a new sale (hurray, people were willing to pay for my work!) or seeing a positive review of something I wrote (hurray, strangers don’t think my work sucks!)

I also want to thank Grand Valley TV for a chance to be interviewed by Kyle Bindas (which should be ready to watch in the near future), and the Grand Valley State University Book Club for the chance to speak at their meeting on the 16th. I honestly can’t decide whether the speaking event was exciting, or nerve-wracking. Maybe a little bit of both? Exciting-wracking? Nerve-exciting? I don’t know. You’d think a writer would be better at concision and precision.

Anyway…

Now that the Oscar-style thank you speech is out of the way, on to new business.

For those of you that don’t know, I wrote a post a while back about my next novel and an upcoming anthology of horror stories. To elaborate, the next novel that I’m working on (sort of) is a tragic romance set during a future global conflict. It is set over the course of a summer and consists of three, interconnected plot lines. One plot focuses on a soldier caught up in the war, a priest who is confronted with the reality of his nationalism, and a young couple fresh out of high school grappling with the harshness of their coming-of-age. I’m sure it sounds all very pretentious and gloomy, but hey, it’s a story I’ve been kicking around in my head since high school and I figure there’s no time like the present to write it.

The other project, the anthology of horror stories, will come from myself and the cover artist for In the Land of God, Micah Chapin. To give an idea of what it will be like, the plan is to have stories that range from Weird Fiction (a la H.P. Lovecraft sans overt racism), to existentialist horror, to apocalyptic horror reminiscent of the 1950s and 1960s. I’ve written a few of the stories, and truth be told I haven’t talked with Micah about that project in a minute, but there’s more headway with that project than with the second novel.

Part of it is good old procrastination, and part of it is just…life getting in the way. Wrapping up my college career, work, and just living tend to be pretty big obstacles to getting writing done (not that I would trade any of them for more time to write. Although a Faustian deal for better time management skills would be alright. I kid.)

Perhaps the biggest reason those projects have gotten neglected is because I just banged out the rough draft of something I’ve never done before, and no, it is not fan fiction. After being inspired by Hamilton (it’s so damn good) and current events, I decided to try my hand at writing a play. Why a play? Well, why not? That’s not much of an explanation, though. Here’s a better one. I want my writing to have a cinematic feel, I think cinematic writing is easier for modern audiences to digest. That’s not a dig, the reality is we live in an extremely visual society, and we have for the better part of a hundred years. Why not make your writing accessible for your audience? Now, that doesn’t mean I won’t take a paragraph or two to wax philosophic, but the majority of the story should create a vivid film in a reader’s head. Plus, if I’m being honest, it’s more fun to write that way. Where were we? Oh, right, writing a play. Anyway, my takeaway from the rough draft is that it’s a completely different animal. The formatting is different, the conventions are different, even the process of getting the final product in the open is a different beast. I self-published In the Land of God not only because of principle, but because it was feasible to self-publish. You can’t really self-publish a play. I mean, you totally can, but the real name of the game is getting the play produced. That’s easier said than done, and it means either throwing my hat into the ring for a contest, or finding a theatre willing to produce the play. The other difference is that getting a play produced is different than getting a novel published. Sure, a novel relies on a lot of moving parts (an editor, possibly an agent, a publishing platform, people to get the novel into the hands of readers, readers in general), but a play, right out of the starting gate requires more people to make it a reality. It sounds like I’m pulling a 180 in terms of my philosophy, but in all honesty it doesn’t feel that way. I still love the independence of writing, but I also realize that it’s a different situation because it’s a different genre. Apples and oranges, spaghetti and pizza.

Anyway…

My point is, I wrote a play, and it feels pretty good to have done something and done it so quickly. It still needs work, and it needs to be expanded (it’s only about 61 pages long at the time of my writing this), but it feels like I have something. Part of me wants to embark on writing a musical, but at the same time I feel like a toddler that took his first steps and got so excited he signed up for a marathon.

If you have any comments, leave ‘em below, and you can follow me on Twitter by clicking the link up top. Also, if you have any tips when it comes to getting a play produced, feel free to leave them below (trust me, any help is greatly appreciated).

Thanks for reading.

A luta continua

In the Land of God is available on Amazon as an eBook and paperback.

 

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