When I sat down to write this post, it occurred to me that I’d written Faces of Gemini after I started blogging, so I went digging in my old Livejournal entries and found this:
Sept 16, 2003 … the current story, provisionally entitled “Shards.” It’s completed–the first draft was 3,400 words and now after a couple revisions it’s up to 51K. By the time I’ve fleshed out the setting and converted some of the dialogue to narrative (it’s a bit too talky) it’ll probably hit 6K.
Do I care how long it ends up being? No, not really. But I’m interested in the way that my last two drafts have been extremely spare, with much adding in subsequent drafts. It’s a technique I want to play with. Where’s the line between spare draft and ornate outline? Can I find it? Do I want to?
And then on September 29th – I got a story off to market today. It’s called “Faces of Gemini,” it’s 7K words long, and it was originally drafted only two and a half weeks ago.
What I remember about this story is that it was one of two that came up suddenly, under almost exactly the same circumstances. Emily Pohl-Weary was working on the book that became Girls Who Bite Back: Witches, Mutants, Slayers and Freaks, and she had heard that I was a feminist comics nerd (though she put it more tactfully than that) and asked if I wanted in.
I love writing for theme anthologies. For me, a bit of a restriction on what I can write poses a fundamentally sexy challenge. I start with ‘what would fit here?’ and usually slide pretty quickly into ‘what can I get away with?”*
The idea I came up with in this case was very much a prose version of a four-color hero team comic, your X-Men, Justice League of America type of book, one whose founders were falling apart. I remember outlining it in detail, really planning every little shift and revelation. Time was short, and I didn’t want to find myself wandering down any interesting ten thousand word side streets. The outline developed from a group of sticky notes on a wall into a series of twenty sentences, each of which laid out what I wanted to achieve. I then fleshed them out, in record time.
I did almost exactly the same thing with Origin of Species, but I haven’t pulled it off in quite the same way since, despite some attempts. The particular mixture: short deadline, limited space, specific antho requirements, had some kind of alchemical effect that hasn’t come together again. The crucible may have been stress: I wrote both stories at an emotionally challenging point in the life of me.
*Walter Jon Williams, I’ve heard, works from the proposition: What will everyone else do, and how can I go 180 degrees in the other direction?