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Snowy, slushy, cold here in Providence. Presently, 30˚F, with an expected low tonight of 21˚F, so yeah, we're sort of having a heatwave. More snow on the way tonight.

Day before yesterday, we spoke with my doctor. Dosages have been increased. There is hope the storm inside my skull may soon subside, and I can go back to looking the other way.

Tuesday I wrote 1,152 words on Chapter 5 of The Drowning Girl: A Memoir. Yesterday, I wrote not a single word. The whole day was spent, instead, talking about what I wasn't writing. I've been lucky. Yesterday was the first significant wall the book's hit since I began it in earnest back in November.

Lee Moyer's cover for Two Worlds and In Between is coming along very well. He's at the mock-up stage, but I'm loving it. Right now, it's been the bright spot amid all the sticky black clouds.

The current eBay auctions continue (and are going well).

I didn't leave the house yesterday. Or the day before that. But I'm going out this evening, weather permitting.

I feel bad for not having mentioned the 202nd anniversary of Edgar Allan's Poe's birth, but I didn't make an entry yesterday. So, there you go.

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Books and movies. Night before last, we streamed two of the latter, fashioning an inexplicable sort of double feature. First, I wanted to see Mike Figgis' Leaving Las Vegas (1995) again, and Spooky had never seen it. Nicolas Cage films tend to fall into one of two categories. Those in which he acts, and those in which he can't be bothered to act. Happily, Leaving Las Vegas is one of the good ones. More on one of the not-so-good ones in a second. We followed Leaving Las Vegas with Michael Dougherty's Trick 'r Treat (2007), which would have be a wonderful pairing with, oh, say Fright Night. Plus, Anna Paquin as a hot werewolf. It was actually very enjoyable, which surprised me, as I tend to hate "anthology" films (Creepshow [1982], Twilight Zone: The Movie [1983], Cat's Eye [1985], and so on and so forth). Then, last night, we watched Jon Turteltaub's The Sorcerer's Apprentice (2010), a big, steaming mess of stupid. This movie is so bad that even though it's not one of the movie's in which Nicolas Cage can be bothered to act, everyone else— except Alice Krige —is so bad, it seems like he's acting. In fact, Nicolas Cage's not-acting was about the only thing that made the movie bearable. The leather duster he was wearing also gave a nice performance. And Alice Krige is cool no matter what manner of mouse-eared shit she's stuck in. I'm sure she was paid well, which is really more than I can claim for my own forays into prostitution. I think the best thing I can say about The Sorcerer's Apprentice is this: If you're sick in bed, and there's nothing to do except watch this movie, it probably won't make you feel any worse than you already do.

And I read [livejournal.com profile] blackholly and Ted Naifeh's Kin, Kith, and Kind. Very good. I was especially pleased with the ending. And we're still reading Kit Whitfield's In Great Waters.

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Anyway, wrapping this up. I need to call Lee, and email my agent, and get back to the novel. Comments especially welcome today. It's going to be a long one.
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In a somewhat dark place this morning. It's cloudy and cold and windy, the Outside reflecting my internal weather, or, to be more precise (and less egocentric), my mood reflecting the dismal weather Outside my office window.

Yesterday was one of the frustrating sorts of writing days. I spent over an hour searching for a title. I read through T. S. Eliot's "Four Quartets" for about the hundred billionth time. I found a very appropriate epigraph in an Oscar Wilde essay, and then I realized the vignette's title was "At the Reef." I read long passages of Joseph Campbell, Jung, and a book on Byron and Romanticism. It was after four p.m. before I finally started writing, and I got only 502 words done. Today, I have to hope I wrote well yesterday. My plan had been to finish this piece today (yes, two vignettes in four days), but now I see it's time to revise the plan. I'll push forward with "On the Reef" today, finish a long interview tomorrow, then finish "On the Reef" on Saturday, which will take care of most of Sirenia Digest #59. Maybe take Sunday off. Then, next week, try to get back to The Drowning Girl, as the novel has sat neglected since August (and even with the second deadline extension, it's expected in March). But November will be spent on a short story and the contents of Sirenia Digest #59.

The truth is, if I had about a hundred more subscribers to Sirenia Digest, and believed that the subscriber base was reasonably stable, I'd stop trying to write novels. I'd write my vignettes and short stories and maybe the occasional novella, and that would be just fine.

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For a sobering look at what's being done to the planet, have a look at the NASA/JPL/Cal Tech Climate Time Machine. Just don't tell the teabaggers. They're pretty sure all this talk of global warming is really a communist/Islamic plot to deprive them of Wal-Mart and the NFL.

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I've grown very accustomed, thanks to the Lamictal...a wondrous, merciful drug I wished I'd had twenty years ago...to not having to cope with Angry Caitlín. But, even now there are rare days, like today, when she finds her way out into the world.

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Thanks to everyone who's voted in the podcast poll (if you haven't, please do). Speaking to those who have expressed concerns that, were I to do this, I would only be adding one more thing to a plate that is far too full, that it would give me yet another deadline to worry over, here's my reply. No, it won't. For one, as it's free, I'd plan it once a month, but if I miss a month, whatever. No big deal. For another, my end of the thing would consist of me sitting at my desk reading a vignette or short story into the tiny little microphone (DO NOT DARE SAY "MIC" WHEN YOU MEAN "MIKE," thank you), and then emailing it to the person who would a) turn the sound file into something that could be downloaded and b) post it to be downloaded. So, each reading would require about an hour of my time. As for copyright issues, the audio files would be released under Creative Commons, though I would reserve all other rights on the stories. So, that's not an issue, either.

The only real concern is the one I've already stated, my own dislike of my voice. And that's something only I can overcome (or not).

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Too much time has been going to MMORPGs lately. But...how is that any worse than watching television or hanging out in bars or playing endless rounds of Scrabble? True, I ought to be spending all that time reading. I know that. But, at the end of the day, I'm usually too tired from writing to read.

Anyway, still having a lot of fun with WoW, and eagerly awaiting the Cataclysm expansion. But most of my gaming time the last couple of weeks has gone into City of Heroes and Villains. It's kind of funny, because I've never cared for superhero comics. Last night, though, I pretty much resolved to stop playing CoX as a game, and just go to it for rp. The game's engine is just too clunky and the game architecture too cryptic and tedious. Plus, my 2007 iMac's not quite up to Cox and I get serious latency issues. Load screens take for fucking ever. And I've never played a game with so many load screens. Add to this the impossibility of soloing (i.e., enforced socialization), and also my being blind in one eye, which makes it pretty much impossible for me to track the insane rate of combat in the missions, and I'd just rather stick with WoW as for as actual gaming goes. I've leveled my villain to 25, but can't seem to find any interest in leveling her farther. So, I'll rp in CoX, which is really what I need from it anyway, because I can't get good rp anywhere else (though, I very much look forward to the release of CCP Games' World of Darkness MMORPG, which has the potential to be exactly what I've been looking for since, well, forever).

Meanwhile, Kathryn's been playing a lot of Middle Earth Online. While I still think the avatars look like action figures circa 1976, she's enjoying it a great deal. And, I will admit, the environments are pretty amazing (just don't get me started on the horses). I geeked out over seeing the Party Tree in Hobbiton. From what I can see, Middle Earth Online takes it's basic design from WoW, but I am disposed to look upon it a bit more kindly now, if only because Spooky's enjoying it so much.

And the Platypus is cutting me off....
greygirlbeast: (Default)
Cooler and, more importantly, less humid, here in Providence. I actually had to put on a sweater this morning. We had several days of hot, spectacularly humid weather, so this comes as a relief.

Today, I very much need reader comments, if only to help me stay grounded. Thank you.

Not a lot of progress on the book though. On Thursday, I wrote 1,081 words, about normal for me, for any given day. But then yesterday, a combination of self doubt and misbehaving blood pressure (thank you, meds) left me such a mess that I only wrote 14 words (I shit you not). Today, I'll try to do better.

But the truth is, almost a year after conceiving of the story that has, eventually, become The Drowning Girl, and just a couple of months shy of the two-year anniversary of having finished The Red Tree, it isn't going well. It's hardly going at all. Do I know why? I have a bucketful of conjecture, but no, I don't know for sure. I only know it's put me in a truly terrifying place.

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Lots of thoughts yesterday on convention in novels. Conventions in first-person narratives. Such as, how so few readers pause to consider the existence and motivations of the "interauthor." When you're reading a first-person narration, you're reading a story that's being told by a fictional author, and that fictional author— or interauthor —is, essentially, the central character. Their motivations are extremely important to the story. The simple fact that they are telling the story, in some fictional universe, raises questions that I believe have to be addressed by first-person narratives. Why is the interauthor writing all this down? How long is it taking her or him? Do they intend it to be read by others? Is it a confessional? Reflection? A warning? Also (and this is a BIG one), what happens to the interauthor while the story is being written, especially if it's a novel-length work of fiction?

In my case, it takes anywhere from a few months (The Red Tree, Low Red Moon) to years (my other novels) to write a novel. I assume this is the case for most people who sit down to write something that's seventy- to one-hundred-thousand words long. These are not campfire tales. These are major undertakings by their interauthors. So, the narrators stop and start writing the documents over and over and over while it's being written. But rarely are we shown what happens to her or him while the story is being told (Mark Z. Danielewski's House of Leaves is a brilliant exception, and sure there are other exceptions). Some things will almost certainly occur that are important enough that they will intrude upon the narrative.

A first-person narrative occurs in a minimum of two time frames: the present (when the story is being written down) and the past (when the story occurred).

And it baffles me that so few readers or writers pause to consider these facts, and that so few authors address these problems in the text. A first-person narrative is, by definition, an artifact, and should be treated as such. Rarely do I use the word "should" when discussing fiction writing.

The other thing I thought about a lot yesterday was the convention of chapters, especially as it applies to first person and the interauthor. Does the interauthor actually bother dividing her story into chapters, especially if she's only writing for herself? If so, why? It seems patently absurd to me. She might date each section of her manuscript. She might divide sections with hash tags or asterisks. But chapters? No. That's absurd.

If I can ever get The Drowning Girl written, it may have no chapter divisions. To use them would be a ridiculous adherence to convention that makes no sense within the context of the artifact of the story.

One more thing: Most readers do not want to read books that are, to put it bluntly, smarter than they are. Such readers get very pissed, and resentful, and interpret their emotional reactions as a mistake or shortcoming on the part of the author (transference). This phenomenon will never cease to amaze and confound me.

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Last night, we watched Sam Raimi's Drag Me To Hell (2009). It was appropriate to kid night: over-the-top goofy camp. Not sure if I liked it or not. It was fun, I suppose. Spooky probably liked it better than I did. For me, it was the sort of film I mostly enjoy while I'm watching it, but pretty much forget as soon as it's over. We also watched another episode of Nip/Tuck. We finished Season Two on Thursday night. And I have to say, the last episode of Season Two is one of the best, most-harrowing hours of television I have ever seen. I'm very glad I didn't give up on this show halfway through Season One, as I almost did.

Not much reading. It's almost impossible for me to read fiction while trying to write a novel.

And now...another fucking day...

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Caitlín R. Kiernan

February 2012

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