Hidden progress, boring progress… but progress, nevertheless

naked-male-101Thanks to the blizzard (that never really came) and Mercury Retrograde, I’ve been able to review and rewrite all of the book and episode synopses for Adam’s Fall, and all of the scene synopses for Book 1. Adam’s Temptation. Progress, but not the flashy kind. Progress of the sort I need to do more of.

Jeff Goins talks about “The Totally Boring Process of Writing a Book,” where, if we keep plugging away at the boring tasks of writing, we can create a very rewarding outcome. But there are parts of the writing that is just solo writing. No fascinating research, no delving into the psychology of this character’s parents or that. Just writing. And rewriting.

So why the step back? I’ve been away from Adam’s Fall for a while. Of course, in my journals and in my mind, Adam’s Fall is very active, but in terms of producing “product” for others to experience and enjoy I’ve been rather lax. Now I recommit to re-beginning. And to do that effectively I need to look back.

This exercise over the past three days has allowed me to reconnect with the story in a fresh way that clears up a lot of stumbling blocks and hurdles that I have had while not being engaged with the plot so far. Even though I’ve come to realize that Book 3 is a big, gaping void I need to fill in, I finally realize how I’m going to approach it and blend it in with the rest of the tale. Book 3 is all about Adam’s recreation and initiation into the world of mature spirituality, one which takes the incarnate nature of spirit seriously and follows that realization to its logical conclusions. More on that, later, as I put together the scenes and synopses for those episodes. But what I have discovered is that I already have good stuff, good material plotted out, sketched out, and what I need to do to move forward is write setting descriptions, character notes and scene treatments. Before, I was trying to leapfrog ahead to writing script in an attempt to produce product for my readers to consume. Then I ran out of steam and realized that I was cheating myself of both the hard work and the necessary work of completely visioning what a scene is about before writing witty banter that wasn’t leading the story where it needed to go.

According to Robert McKee (in Story), Alfred Hitchcock considered the dialogue to be the icing on the cake, with the cake being the vast grounding of motivation and plot and subtext over which the dialogue floats. I need to go back and bake that cake before I offer up icing with nothing underneath.

Bear with me. My apologies for what I think might be a boring slog through the actual work of writing, but it’s what I need to do to do this story justice–and have something really great to share with the world. So hold on, and stay tuned!

But what’s that gorgeous man in the corner about? That’s David James Gandy, a new, potential fantasy casting for Adam! Not that I’m ready to kick my old heartthrob, Clive Owen to the curb just yet, but Adam is going to end up being an amalgam of people and moods. He can’t really be any one person; he is a citizen of my mind to be realized by some other artist as he comes to her mind. Mr. Gandy, here, and Mr. Owen are muses, beautiful inspirations for an even more beautiful soul yet to be incarnated and born.


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