I realize I haven't written a post since the new book was released. It's time to update things. The upside of not having blogged, though, is that I'm now five chapters into Part II of "Triptych" and will be sending those chapters off to my editors here soon. So far I'm pretty psyched about the story. It continues from the point that Part I left off and will go through the end of the school year. It is possible that it'll be very long, but I'm planning on about the same length as Part I.
Sales are slow, but that is a combination of timing, retailers, and getting the word out. I'm looking for a good fall season. That's the curse of publishing. What's surprised me a little is the fall off in sales of Mural and Rhapsody Suite this month. Guess no one is reading that, either!
I've made an interesting discovery in writing the first five chapters of "Triptych" Part II. There's a lot of racquetball in these chapters (they go to Opens) and it takes me a couple of hours to write a pretty exciting scene of a couple thousand words describing a match or tournament. On the other hand, it takes me about two or three days to write a good love scene of about 2000 words. Here's what I've decided:
If I draw out the writing of the scene, then the characters get to savor the experience a little longer. I really pause to think about what each character would like to--not happen--experience in the next few words. How would they want to be touched? What do they want to feel?
I'm sorry that I leave you all out of that. I never think, "What does the reader want to happen next?" I let the characters take control of the scene and relish it.
Since I write from a single POV (Tony's), I can't write the words, "Allison thought that was sexy." After all, Tony has no way of knowing what Allison thought unless and until she tells him. But Tony, being extremely observant, can describe Allison's response in actions. "Ally caught her breath in little gasps and pushed her nipple further into my mouth."
The other thing that I'm always conscious of is something that irritates me when I discover I'm doing it. It's another hazard of writing from a single, first person POV. Tony would become an absolute boor if everything was "I"-centered. I did this to her, I did that, I thought such and such. Tony, as my stand-in, has to describe things without having all the focus be on himself.
Well, that's enough of the rambling for now. Just thought I'd stop in and tell you I haven't forgotten you and that I am working hard to bring you a story that you'll love.