Category Archives: writing

The Werewolf Experiment Continues

My work in progress, an un-outlined novel about werewolves in the Rocky Mountains of Idaho has reached or nearly has reached the half-way point.

I am aiming for a novel from 80,000 to 90,000 words in length. Yesterday the total word count for the project passed 40,000 as I wrote the unfinished chapter 12.

As I have laid out in earlier posts, my approach to this novel is quite different, starting with a scene that I had no concept of where it might belong in the story and spinning out from there. While there is no formal outline and certainly nothing like the monstrous ones I have produced in the past for other novels, there is a single page document laying out the five acts and very rough plot points that might occur in each of those. But even that is subject to inspirational and sudden change. Last Friday as I reclined in the dentist’s chair while they implanted a socket in my skull for an implanted false tooth a new understanding of the story’s third act, the one I am currently in, came together in an epiphany.

I am unsure of the market for this piece. The genre I am aiming for is horror, modern, real-world set but with fantastic elements horror. Currently there are a lot of werewolf type stories out for people, but an awful lot of the prose ones are romances, with commanding ‘alphas’ as dominate, sexy leads and that is pretty much the opposite of what I am trying to craft.

This work is in theme much closer to the subtext of Siodmak’s The Wolf-Man with a commentary on fascism and how that brutal ideology can be seductive. My werewolves, discarding the discredited ‘alpha wolf’ theory for the junk science that it is, is focuses on wolf family dynamics, transforming these werewolves into ‘Family Value’ fascists. That’s a lot of political weight to carry in a horror novel but I firmly believe that stories have to be about something more than plot and horror needs more than gore.

Of Parallel And Duplicate Earths

For its season Finale Star Trek: Strange New Worlds revisited one of classic Trek’s most used budget cutting tropes, a world that looks exactly like out real world. This time instead of a parallel Earth that somehow evolved the exact same continents the justification was a settler colony obsessed with 20th century Earth cultures. (hmm, sound like my book. Same idea deployed for different reasons.) As ‘parallel’ Earths go this was a pretty decent justification and really just there to allow for backlot and location shooting instead of expansive and expensive set construction.

It did get me thinking about those old episodes where the Enterprise discovered a planet exactly like Earth but lightyears distant. It was while watching an old episode of classic Trek that I had one had the idea of writing my own parallel Earth short story.

The possibility of a star system evolving in a doppelganger version of out own is absurdly improbable and the answer to that ‘why is it there?’ question formed the central conceit of the story A Canvas Dark and Deep. Which sold to the fine internet magazine NewMyths.com. You can read it here in their archives.

A gentle reminder that I have my own SF novel available from any bookseller. Vulcan’s Forge is about the final human colony, one that attempt to live by the social standard of 1950s America and the sole surviving outpost following Earth’s destruction. Jason Kessler doesn’t fit into the repressive 50s social constraints, and he desire for a more libertine lifestyle leads him into conspiracies and crime.

More Thoughts on Star Trek Strange New Worlds

As I write this, we are one episode away from the conclusion of Season 2 of Star Tre: Strange New Worlds. This season has brought more episodes that swung at new things and new styles than season one, a crossover episode with an animated Trek Series, and the franchise’s first foray into musical territory, while also exploring the deep dark of some of their characters.

The series remains straddling the two worlds of television, being both episodic with each episode pretty much a self-contained story but also with one foot in the saga format as events

Credit: Paramount Pictures

from previous episodes reverberate both in plot and emotion for the characters.

The series is Canon breaking. The events and experiences of the characters cannot be reconciled with the depictions first aired more than 50 years ago. I am fine with that. The nature of televised story telling has changed dramatically over the last half century and what was acceptable writing and plotting in the middle of the 1960s would never fly for today’s audiences. I would rather the series creatives break Canon and continuity in the furtherance of good character development and story revelations that commit to slavish devotion to a Canon that wasn’t adhered to even during the original broadcasts. There are of course limits. A story that requires that James Kirk joined Starfleet because he was on the run as a serial killer would be a Canon breaking event far too great to accept but having original series characters meeting people that in the first broadcasts that they had no knowledge of. No big deal if the final effect is to tell a good story.

The entire cast continues to deliver stellar performances. (Pun intended, fully and without regret.) The storylines give most of them more to do than any series airing in the 60s would have dared. This season’s treatment of Jim Kirk has felt more in keeping with the original character than his guest appearance in season one. It is quite pleasant to see some of the more supporting characters from the original series getting a deeper backstory and more emotional exploration than they received originally. Spock’s stories seem to create the greatest conflict with ‘Canon,’ but I remind you that even the original series couldn’t make-up its mind on what exactly was the truth. In the episode Where No Man Has Gone Before he refers to an ‘ancestor’ that one married an Earth woman and later this is simply ignored to make his mother human. Having Spock explore and experiment with allowing his human side to be expressed more freely may be a Canon violation, but I find it fascinating.

The characters I am most interested in and have the greatest emotional attachment to are Dr M’Benga, La’an Noonian Singh, and most of all Christine Chapel.

La’an, torn between her nature, button-downed and controlled, and her desire to be more open, expressed in her solo in the musical episode but contained within Christina Chong’s performance well before that is emotionally powerful.

M’Benga and Chapel’s traumatic war wounds are touching and heart rending giving each of them far deep characterizations that the original series ever allowed. While the war itself was explored in the series Star Trek: Discovery, which didn’t quite work for me, I am thoroughly enjoying the exploration of war’s lasting effect on the people forced to endure it. Like Frodo they carry wounds that will never fully heal.

One more episode to go but since this is a not a season long story but a series of interconnected ones, I do not feel that the finale is as critical to the whole season as it would be for another series. So, I can render a judgement without episode 10 and I am enjoying the series even more than I had during season one. In my opinion the best Trek since the original.

July Was Not Productive Month

Writing-wise I could have had a better month. It fell off the cliff with the flu that struck me down July 6 and remained as a powerful and painful cough through the 21st. In addition to the days spent at home sweating and coughing the illness robbed me of all opportunity and motivation to sit at the keyboard and keep working on this strange non-outlined werewolf novel.

Then once the flue had departed and the cough subsided to a mere annoyance, dental issues raised their troublesome head. Some of these had started in June, a need to remove a bridge, extract a tooth and cap another one had at first seemed fairly straight forward. However, the temporary crown kept falling off, making eating a challenge, and when it came time to affix the permanent crown, that failed a new crown needed to be fashioned, setting me back two more weeks. That would have been trouble enough but new jaw/tooth pain on the other side of the mouth caused additional worries and examinations which luckily concluded yesterday with a clean prognosis.

All in all, July saw little progress on the novel with the working title The Wolves of Wallace Point but there was some.

The manuscript currently stands at 32,000 words of a projected 90,000. The second act is about to close with the showdown between a gang of neo-Nazi bikers and the pack of werewolves that lord over this small, isolated Idaho mountain town.

The Deep Background of Vulcan’s Forge

My SF/Noir novel Vulcan’s Forge, published March 2020 by Flametree Press, is set on the distant

Flame Tree Publishing

and isolated human colony of Nocturnia, but the events of the story takes place centuries and centuries after the destruction of the Earth.

In the early 22nd century, after fusion power plants had become common, Artificial intelligences practical, and humanity has settlements, some quite large, throughout the inner solar system, a rouge brown dwarf is discovered with an orbit that will take through the solar system, disrupting and destroying the rocky inner planets.

Face with extinction humanity designs, constructs, and launches hundreds of automated solar sail arks. These arks do not carry crew or people but rather the egg and sperm of animals and people along with sophisticated A.I.s and the equipment to construct human colonies. Once an ark has reached its target system, should it have survived the centuries long voyage still functional, and provided there is a planet suitable for terrestrial life, the A.I. build the colony and its required infrastructure, and then utilizing artificial wombs, birth the first generation of human born on alien worlds, preserving humanity and numerous other Earth species.

Surprisingly cheap, due to plentiful fusion power, the resources of the solar system, and artificial intelligence each ark cost in today’s dollars about half a billion to build, equip, and launch. With the arks so affordable they are not the sole domain of governments and numerous cultures, religions, sub-cultures, and even a few individuals commission arks in a bid to save and ensure to continuity of their ways of life. There is even a couple of arks dedicated to making sure that out there among the star Texas continues to survive and thrive.

The colony of Nocturnia was settled by an ark commission by a group who fetishized Urban Americana of the 1950s. Believing that mid-twentieth century America represented some sort of ideal culture they programed the A.I.s of the ark to disseminate this as the colony’s sole culture. Naturally their ideas of what comprised an ‘ideal’ culture from one which more than a century and a half separated them were based more of myth and misunderstanding.

The novel picks up on Nocturnia as the third generation has come into its own and Jason Kessler, a man ill-suited to the social conformity of the 50s discovers that the colony harbors a deep and deadly secret.

As a traditionally published novel Vulcan’s Forge can be ordered from wherever books are sold. I am including links to San Diego premier specialty bookstore Mysterious Galaxy along with links to Amazon.

Mysterious Galaxy Paperback

Mysterious Galaxy eBook

Amazon Paperback

Amazon eBook

Productive Again

I was quite fearful that this damned flu was going to derail my work-in-progress novel. Knocked out of commission for nearly two weeks as I hacked and wheezed and barely maintained any coherent thought my book languished without any active editing or composing.

Normally if something derails my writing and editing after the interruption, I return to work by re-reading the outline. This returns me to the mindset of the novel, puts the characters back into my head, primes the pump for more creativity. Writing this beast without an outline meant I couldn’t do that this time.

Instead of an outline I re-read the chapter that was in progress and either by luck or due to a story that was still going strong in my subconscious I fell right back into the world or Wallace Point and it’s terrifying secret. (Well, at least I hope it’s terrifying. That’s for the readers to determine.)

I know that I have fully gotten back into the flow of the novel because for the last couple of nights as I lay in bed waiting for blissful sleep to arrive my brain has exploded with solutions to vexing plot problems.

The evening have also seen the return of my editing as I have now edited the first five chapters of the work and been pleasantly surprised that this rudderless approach hasn’t yielded a meandering aimless story.

Pantsing a Novel: What I Have Learned So Far

“Pantsing” is writing a novel by the seat of your pants, without an outline. Until this novel, currently codenames The Colors of Their Trade I have also worked from detailed outlines. My most intensive outline was more than 80 pages with the story broken down to almost each and every scene.

Trade started with just a vague odea of exploring the subtextual themes in Kurt Siodak’s 1941 screenplay for The Wolf-Man. Then a single scene occurred to me, I wrote it and my fellow scribes in our writing group seemed to enjoy it. Now I am 17,000 words into a novel that IO hope lands between 80,000 and 100,00 words and I have learned a bit about what it is like in world of pantsers.

First off, in addition to the document I am writing I need to have a companion document open at the same time where I can keep a list of the characters and their traits. Instead of having worked them out ahead of time and usually documented in a database of sorts, I need to make these notes as they appear because in four or five chapters I may not remember their details if I do not.

Second, I am not flying entirely blind into the dark night of the plot. As a proponent of the 5-act structure, I have in my mind a mental map of how the story should be shaped. I may not have an outline for each act with every major twist and turn laid out as map, but I do have destinations in sight and those, hopefully, will be enough to keep me on course.

Third, trust my instincts. Major characters have appeared in scenes where I had not expected any characters to make an entrance. Intuition inspired a chance meeting and that intuition has been cultivated by decades of writing and analyzing stories and their structures. So, when Tony Packard appears and steps forward as the pastor of the new church with its twisted Christian ideology, I have learned to let him.

Fourth, don’t sweat solutions to problems that haven’t yet appeared in the text. I knew that certain world-building and supernatural processes needed to be crafted for this modern horror novel. When I worked by outline, I would have stopped and solved those issues before committing to composing the outline, here I have not. I have trusted that I will be able to solve the puzzle when the time arrives, and I have already. last night as sleep snuck into my brain an answer, consistent with the characters, the theme, and the tone burst from my synapses.

So, with the novel about 1/5 drafted I am surprisingly confident I might make this work. Certainly, the years of writing and critiquing has helped, but so have decades of running Role Play Games where plot and story are often hastily laid down just ahead of the player’s speed locomotive have also contributed to this book.

The Experiment So Far

Just over two weeks ago, May 3rd, I posted about an experiment in my writing as I began a novel without a written outline. My normal process for writing a novel involves extensive notes, outlining, and breaking out all the acts, before I tackle the actual drafting of the book. With this book, working title which is very likely to change The Colors of Their Trade, I have no notes save the once I make as I write, no outline, and a bullet point of six or seven elements to break down the 5-act structure.

As of yesterday, May 18th, I had nearly 10,000 words written for Trade, major characters and relations defined in the text, and narrative momentum that so far has not abandoned me. I believe, perhaps in error, that if I can get the entire 1st act drafted, about 15,000 to 16,000 words then the project will have survived its most critical phase.

Mind you, I am not flying completely by the seat of my pants with this. I have a clear understanding of the five-act structure, 1) establishment, 2) disruption, 3) point of no return, 4) chaos and collapse, and resolution, and what elements are critical this this story’s various acts, that for each act I have a clear destination and goal. That said, while the goal is visible for each act the path to it is not.

This is an experiment in another matter as well. It is a horror novel and I have never written long form prose horror. All of my horror to date has been short fiction and one feature film screenplay that is utter garbage.

I am considering but not yet committed to the idea that when I get act 1 completed that I might show it to a few people and see if it is working as well as it appears to me.

Still, the process continues and only the future knows what it will hold.

Well, This Blows

I had been scheduled to participate in the programming for this year’s WesterCon, a science fiction convention that moves about the American West from city to city each year.

Yesterday, I got an email from the con committee that the convention has been canceled. It was of course written in a passive voice, so it was impossible to determine what had happened behind the scenes to destroy this year’s event, but WesterCon number 75 is not going to happen.

In addition to the fun of panel pontification this was going to be my chance to see an old friend, Gail Carriger, who had been named the convention’s Guest of Honor, and perhaps even share a panel or two with her.

At least the news came down before I had ordered copies of my novel, Vulcan’s Forge to hand sell at the convention.

Still, this is a bummer.

A New Experiment In Writing

For a week or so a very vague idea has been knocking around my cranium. Mostly themes and conceptual elements with very little in the plot of character save for what arises naturally from theme and conceit.

Normally, this is the part where I just let the ideas free form in the back of my thoughts, make occasional notes here and there, until a character a resolution present an ending to me that is strong enough to build an outline on.

However, by Monday one scene, not particularly dramatic, had floated to the front of my thoughts and with a writer’s group meeting on that night I decided the go ahead and compose this disconnected scene.

By the end of lunch, I had 1400 words about a character visiting an isolated bar in the mountains of Idaho, returning to the tiny town from which he had escape decades earlier. It was an experiment in tone and setting with perhaps just 300 words devoted to any real conflict when a Nazi biker attempted to drink at this local watering hole. Surprisingly it was well received by my writer’s group with some member expressing interest in where the tale was going.

As I said earlier, this point in my process is normally one of thinking and outlining. Plotting the critical elements, reveals, and reversals that will drive the story, not actual writing of scenes and characters.

But that is what I am doing. Yesterday at lunch I continued the scene and will do so again today. Flying by the seat of my pants I am going to drive for what would be the end of act one for the story that doesn’t have an ending, yet.

In all likelihood this will crash and burn shortly after takeoff, but for now it’s intriguing me enough that I simply cannot walk away.

Robert Mitchell Evans

Literary Saboteur