September 13, 2015

Novel: Untitled Project Redraft

As part of re-evaluating the things I've written over the years, I decided to rewrite this story completely from scratch.  I originally entitled it Pada Jai, but I'd like to call it something else when it eventually reaches its finalized form.

Originally, this was conceived as Star Wars fan fiction - I was contemplating the moral roles of the films (the Jedi and the Sith) and wanted to present a middle ground or grey area in between the two.  I came up with Pada Jai as a fictitious faction that uses the Force with no concern over good or evil, and could possibly use evil powers for good or vice-versa.  The point was, I wanted a type of Force use that was unrestricted, so a person could perform even crazier stunts and powerful moves that others in the universe couldn't even dream of.

Eventually, this idea evolved into its own bizarre universe.  I took a sociology class a while back, for college credit.  Part of it talked about corporate accountability, and part of that lesson regarded pollution and the environment.  Somehow, it spurred me into taking the Pada Jai concept and centering it on a disgruntled company employee in some distant future.  Somehow, this all evolved into what it is now:  a dark, brutal tale of a man betrayed by his friend, who unleashed a parasite that attaches to the brain and grants superhuman strength and power, but at the cost of his consciousness.  Freed from the confines of being a Star Wars story, I found that I could accomplish much more and be more original.

In its original draft, I split this up into three stories, about 40,000 words each (which is agonizingly short, in retrospect).  I was generally copying the plot structures of popular movie trilogies at the time (Star Wars and The Matrix), so I ended each story with some kind of cliffhanger, until it all built up to an all-out battle.

I think I always knew that there was something wonky and flaky with these books, but now that I look back on them, I realize they're downright terrible.  The prose is weird and the dialogue is stupid.  There is action galore - in one scene I actually had a 1-vs-100 man fight and I counted all the deaths to make sure they added up - but none of these scenes are really that great, because there's no attachment to the characters during these parts.  Some of my creative decisions were dumb.  Worst of all, I tried so hard to make this crass and pulpy, I wound up expending tons of swearing, vulgarity, blood, gore, and sex, but with no real finesse.  It comes off as trashy and puerile.

Obviously, I still see value and potential to the story - otherwise, I wouldn't bother revisiting it.  Is is all intended to be a tale about the abuse of power, of vengeance, and the inner struggle between savagery and civility.  I have a cast of characters that could be filled with life, and a whole universe to play with that you've probably never seen before.

To illustrate how much things have changed, I thought I'd post the past and present iterations of the opening sections of this story.

The original draft from 2005 appears below.  It's a pretty weak opening that tells more than it shows, and feels way too detached to work. 

Old Draft:

Chapter One:  New Arrivals at the Corjo Labor Camp

            Life on planet Corjo was truly miserable.  It was a hot, humid jungle world teaming with alien life.  Two blazing suns beamed heat down on the green world, drenching the laboring prisoners in sweat.  Now and then, prisoners were known to die from the heat exhaustion.
The prisoners’ work added to the misery; they were forced to unearth the ruins of an ancient alien civilization.  The expedition was long and hard, and the Corjan city was immense.  The ruins sprawled out for twenty square miles, and after five decades of nonstop labor, only half of it was fully uncovered.
            Every month, the prisoners at the Corjo labor camp would gather around the shuttle landing pad and watch the shuttle land.  The long rectangular vessel came as scheduled to deliver supplies, and most importantly, more prisoners.
            Life on Corjo would change dramatically, for of the twelve prisoners on board, two of them caught the most attention.  As they came out, the watching prisoners mocked and harassed them.  One of the newcomers was a young lady named Ryla Corinthia.  She was twenty-five years old with soft turquoise eyes and sandy blonde hair.  She was slender and beautiful.  As she exited the idle shuttle, all of the male prisoners gawked at her - some of them with a look of hunger.  She avoided their eyes and shyly retreated behind the other newcomers.
            But someone else’s eyes remained fixed on hers.  Another new prisoner named Gerard stared at her and flicked his tongue obnoxiously.  He was a strong, burly, crude young man with curly black hair and wicked yellow eyes.
            Guards came off the shuttle, clad in body armor with reflective silver helmets.  They herded all of the new prisoners in an orderly line, facing the administrative building directly in front of the shuttle pad.
            The prison camp was surprisingly sparse for such a large-scale operation.  There were six flat concrete buildings surrounding the shuttle pad, which included a barracks, an armory, an administrative building, a warehouse, a motor pool, and a prisoner processing building.  All of these buildings were surrounded by a fence, separating the prisoners from their overseers.  Four towers stood guard along the fence line, with robotic turrets that scanned everything around them.
            On the other side of the fence were six cabins for the prisoners, and a mess hall.  There were two guard towers as well.  There was no fence to separate the prisoner’s yard from the jungle.  Only the concrete and the gravel on the ground marked the camp’s boundaries.
            An old man stepped out of the administrative building and approached the new prisoners.  He was fifty years old, but looked to be a hundred.  He had thin gray hair and dark indigo eyes.  His face was etched with deep, unnatural wrinkles.  Combined with his skeletal figure, he looked like a specter.
            He announced in a surprisingly boisterous voice, “Welcome to Corjo! I am warden Chen; I am in charge of everything here, so you must do everything I say.  If you fail to obey my orders or my rules, we will resort to deadly force.  Is that understood?”
            A few prisoners muttered an acknowledgement.
            “When I ask you a question, I expect an answer!” Chen roared. “Do you understand me?”
            Ten of the twelve prisoners shouted back, “Yes sir!”
            “Don’t call me sir! I’ve worked in this company for fifty years! I’ve earned my title as warden! You must answer as, ‘Yes warden Chen’!”
            “Yes warden Chen!” eleven of the twelve prisoners replied.  A stern-looking man didn’t bother saying anything.
            Chen gestured at the silent prisoner.  One of the guards brandished a rifle and aimed it at the prisoner.  It fired an invisible beam of sound waves at him; the inaudible beam penetrated his ears and made his head hurt immensely.  The prisoner crumpled to the ground, grasping his head in pain.
            The guard stopped the beam and allowed the prisoner to recuperate.
            “That’s more like it,” Chen said.  He paced in front of the prisoners and lectured, “We are here to dig the Corjan ruins; that is your only duty here for the rest of your lives.  I expect all of you to dig and dig to the best of your ability.  If I feel you’re not doing your jobs well, you will be punished!
            “Escape is generally impossible.  This shuttle pad is off limits, and anyone caught in this area will be shot.  The only other option is the jungle.  There is no fence to keep you from entering or exiting the jungle.  There is only an invisible perimeter line that gives off a chemical scent to keep predators away.  If you enter the jungle on your own, you won’t last long!
            “You will obey the guards at all times.  You will report to roll call every morning without exception.  Failure will result in punishment! Remember, too, that anyone caught in the restricted fenced areas will be shot!
            “Meals are served for thirty minutes twice a day.  An announcement will be made when it is time to eat.  If you miss it, you get nothing!
            “Now,” Chen concluded, “all prisoners will report to building five for processing.”
            The guards made all of the new prisoners march to the prisoner processing building.  Ryla was at the front of the line.  She obediently stepped into the building and found herself facing a guard seated behind a desk.
            The guard ordered, “Please empty your pockets and remove all your belongings and place them on the desk.”
            Ryla handed over everything from her pockets:  some money, some bland chewing gum, and several ID cards.  The guard curiously glanced at the cards, noting that she was a former Maetherion employee.  The words, “Career Terminated” were stamped in red over them all.
            The guard apathetically discarded all of the belongings and said, “You will now be scanned for any foreign objects.”
            He pushed a button on his desk, and a large ring-shaped device descended from the ceiling.  It passed over Ryla, and a hazy blue field crackled electrically inside the ring.  As it descended, the blur field passed through her and made her skin tickle; she shifted uncomfortably.
            On the guard’s computer terminal, a complete molecular rendering of Ryla’s body appeared.  It showed everything from her clothes to her bone marrow.  The guard immediately spotted a foreign object on her neck.
            The guard demanded, “You must give us your necklace, too.”
            Ryla stammered, “But I can’t! My father gave it to me.”
            “Sorry lady,” the guard insisted. “But your citizenship with the Maetherion Corporation has been terminated.  You do not have the right to own any personal property here on Corjo.”
            “But I can’t give this up!” Ryla insisted. “It’s the only thing I have to remember him by!”
            The desk guard ordered, “Someone get it for her.”
            Another guard roughly grabbed Ryla’s necklace and ripped it off her neck.  He slapped it on the desk.  It was a crystalline cross inset in a golden star.  Ryla looked upon it with her eyes watering, and she put her hand where it used to lay on her chest.
            “Very good,” the desk guard said. “Next!”
            Ryla was taken to another room, which looked like a large showering room.  The escorting guard ordered, “Now, take off all your clothes so you can be cleansed.”
            “What?” Ryla snapped. “No!”
            “Take off your clothes so we can wash you,” the guard repeated.
            “No, not in front of you,” Ryla insisted. “Can’t I do this in private?”
            “You’re not entitled to privacy here.  Take off your clothes now.  Failure to comply will result in punishment.”
            “Punish me then!” Ryla bellowed. “I don’t deserve this kind of treatment!”
            Taking out his baton, the guard swung it hard against her stomach.  The blow knocked the wind out of her and made her bend over.  Whacking her on the back of the neck, he sent her sprawling to the floor.  He then kicked her in the stomach.  The pain in her neck and abdomen made her cry openly.
            “No more trouble, lady,” the guard warned. “You’re not a Maetherion employee anymore; you’re nothing! Do you get it now? You have no rights here; you have nothing here! So take off your f&cking clothes, unless you want some more!”
            Ryla rose to her feet with tears still dripping down her cheeks.  Obediently, she stripped off all her clothes and stood at the far end of the room.  Her hands covered her exposed skin abashedly.
            From the wall, the guard took a hose and sprayed a cold blast of water on her.  She gasped at the sudden gust of coldness on her skin.  She stood idly for a minute as the guard hosed her down.
            The guard turned off the hose and ordered, “Go to the next room and get an inoculation.”
            Ryla obediently dashed to the next room, still naked and dripping with cold water.  In the next room, a guard plunged a needle into her shoulder.  He explained that the shot would protect her from all known diseases on the planet.
            She then moved onto the next room, and was given a set of gray nondescript clothes.  Bunk ten - bed number five - was assigned to her.  Even though she was still yet from the hose, she donned her new clothes and stepped onto the prisoner’s yard.
            As soon as she exited the building, the crowd of prisoners stood around her and gawked.  She felt horribly uncomfortable, especially after her humiliating processing.  It occurred to her that she may be the only woman in the whole camp; everybody would be eager to take advantage of her.  She silently walked towards her assigned bunk and sat in her bed.  There, she cried all evening.
--------------------

For the new draft, I rewrote the whole scene anew and changed a lot of things creatively (guards are now robots, Chen is not as much of a weak old man, and chapter headings will be weird made-up compound words).  I personally feel better about it, but there is still room for improvement (hook is still weak, still to much telling, not enough characterization yet).

New Draft:

1 - Postarbitration

            Over planet Corjo, a freighter flew into orbit.  From one of its hangar bays, a shuttle glided towards the green and blue world, descending into its atmosphere with a new shipment of fresh supplies, and fresh prisoners.
            Penetrating the planet’s atmosphere, the shuttle soared over miles of lush, green canopies and foliage.  It produced sonic booms in its wake, which shook the trees beneath it.  Several minutes later, the shuttle braked, and descended onto a man-made settlement in the middle of the jungle.
            As it landed, prisoners from the Corjo labor camp stood behind the iron fence, watching the ship curiously.  Their dirty faces showed mixed expressions of indifference and misery.               
            Nevertheless, the monthly shipment was the highlight of their day, before they’d be forced to return to hard labor.  Watching the shuttle gave them a welcome respite from their work; they got the chance to watch new supplies being offloaded, and they got to size up the new batch of prisoners.
            The shuttle settled gently on the concrete landing pad.  Its ramp came down; several robot guards pushed the new prisoners out of the hold and onto the tarmac.  The new prisoners were dressed in fresh sets of uniforms:  most wore all-white, representing the minor crimes they committed against the Maetherion Corporation.  A few were dressed in red, identifying them as the most dangerous of felons:  the murderers and defilers, who would spend the rest of their days at the labor camp until their bodies couldn’t take any more.
            Among those dressed in white, there was a woman.  She was skinny, with a smooth, clean face.  Her eyes were turquoise; her eyebrows were short and slanted.  Her golden hair was long, fine, and clean; it glistened in the light of the planet’s two suns.  As she stepped onto the concrete uncertainly, she could feel the eyes of all the prisoners on her.  Their expressions changed to vicious, feral hunger; it had been years since any of them had laid eyes on a woman.
            The robot guards grouped the new prisoners to the edge of the landing pad, and forced them into a straight line.  One of the prisoners in red refused to move in line; a robot guard walked up to the burly man and ordered in a deep, mechanical voice, “You will fall in line.”
            “F&ck you, I never asked for this sh#t,” the prisoner pouted.
            The robot moved against the prisoner.  He shoved against the machine and banged his fist on the metal plating on its head.  Grabbing his arm, the robot twisted it hard, until it cracked loudly.  The prisoner grimaced, and a moan escaped his lips.  Kicking him in the shins, the robot moved the prisoner into line; he stood with the others, feebly holding his broken arm. 
            One of the other prisoners slapped him on the back of the head and cried, “What are you, stupid?”
            “Shut up,” one of the robots retorted, nudging the talking prisoner with its metal arm.
            While the prisoners stood, more robots gathered around the shuttle to offload crates of food, clothes, tools, parts, weapons, and fuel.  Moments later, a gate opened in the fence, and an old man with olive-colored skin, thin gray hair, and a weathered face marched in front of the prisoners.
            Regarding the prisoners with a scowl, the man announced, “I am Warden Chen.  This is planet Corjo – the ugliest, slimiest, sh%ttiest outback world you can imagine.  This is my world, so all your lives belong to me.  When I say anything, you will listen, and obey.  And believe me, you will obey.  If you think working at the excavation is suffering, you haven’t even scratched the surface of suffering.  All of you are here, so you can know the full meaning of the words ‘pain,’ and ‘suffering’.              Those of you in white, you might achieve repentance for your crimes if you work hard and stay clean.  Those of you in red:  you’re here to die little by little each day, until your bodies can’t handle it anymore.  All I can say for you is, tough sh$t.
            “Every day, you’ll be working on uncovering the ancient Corjan ruins.  You will work hard, until you sweat, hurt, and bleed.  I don’t care who you are or what your sob story is; everybody works, and everybody suffers.  Any insolence and any deficiency will be dealt with as I see fit.
            “Our facility has no fence line.  You’re free to leave the compound all you want.  I won’t give a sh*t, because this jungle will eat you alive.  The only thing protecting you from the plants and animals out there is an invisible perimeter line that gives off pheromones and scents to keep the wildlife out.  You can escape if you want to, but believe me, you won’t want to.  Don’t even think about trying to go off-world, because it’s impossible.  This shuttle you came from is the only traffic this world ever gets, and my guards will f@ck you up if you try anything.
            “Meals are served twice a day, no more than thirty minutes at a time.  If you miss out, then that’s just tough sh#t.  Do you all understand me?”
            The new prisoners mumbled acknowledgements.
            “What was that? I can’t hear any of you pathetic slugs! When I ask you if you understand me, I want to hear you all say ‘yes Warden Chen,’ loud and proud.  Do you understand me?”
            The prisoners said loudly, “Yes Warden Chen.”
            “What? That’s still not nearly loud enough! Do you sh%theads understand me?”
            “Yes Warden Chen!” the prisoners clamored.
            “That’s more like it,” Chen said. “All of you, report to Building 5 for processing.”
            One prisoner shouted in a mocking tone, “Oh yes sir Mr. Warden Chen! Right away Warden Chen! Anything you say Warden Chen!”
            Walking up to the insolent prisoner, Chen sharply regarded him with his indigo eyes and challenged, “You making fun of me?”
            “No sir, Warden Chen!” the prisoner screamed, his lips curled into a mocking smile.
            Smacking him in the face, Chen yelled, “I don’t take this crap from anyone! Shut the f*ck up and get to Building 5, before I wipe that smile off your face with my gun!”
            “This is bullsh@t!” the prisoner ranted. “You’re just an old man on a power trip! You can’t do anything to me; I’m a Maetherion citizen!”
            Drawing his sidearm, Chen pressed the barrel of his nuclear-powered pistol against the prisoner’s lips, and said, “You are one dumb sh#thead.  The minute you’re sentenced here, your citizenship is revoked.  You’re my citizen now.  And you know what? I think you’re too stupid to stay a citizen of my camp.  What good are you if you keep shooting your mouth off at me? I think I’ll end both our miseries and shoot your mouth off!”
             Before the prisoner could do anything, Chen squeezed the trigger.  A hot yellow beam exploded from the pistol, and made the man’s head explode.  The prisoners recoiled in terror as blood and broken flesh flew out and splattered on the concrete.
            The warden turned around and left the landing platform without a word.  The robot guards hustled the prisoners to Building 5, where they formed a line and passed through an X-Ray arch.  One by one, each prisoner stepped through the arch, and was cleared by the guards.  One prisoner had to be diverted from the line for a body cavity search.
            Next, each prisoner was scrutinized by a robot with a large red eye.  The machine scanned each prisoner’s face and eyes, matching them up to Maetherion’s criminal database.  Once each prisoner was verified, the machine stamped the prisoners’ arms with a barcode and their name in red letters.
            The woman in the group passed through the X-Ray machine without trouble, and stood before the big robot.  She pleaded with the machine, “I don’t think I’m supposed to be here.  There has to be some mistake.”
            Scanning her, the robot replied flatly, “Records match.  There is no mistake.  If your record remains clean, you’re eligible for parole in five years.”
            “Five years?” the woman’s voice choked. “No.  It wasn’t supposed to be this way.  I should be on Mitheria Sigma at the worst.  This is–”
            “This is your assigned prison sentence.  There is no mistake.”
            Before the woman could argue any more, the robot stamped her arm.  The hot ink seeped into her skin with stinging pain.  She looked at the barcode in disbelief, and rubbed it with her fingers.  The ink had already fused with her skin, permanently tethering her to the Corjo labor camp.  Her name – Ryla Corinthia – looked like it was branded in blood.
            The robot extended another arm, which grabbed Ryla’s arm and pressed a circular band of blue ink on the back of her hand.  The new markings provided her bunk assignment:  Building 12, Bunk 35.
            In a daze of fear and shock, Ryla was pushed down the line by the guards.  She passed beneath arches that sprayed vaccines and immunities at her.  The clouds of mist seeped into her pores and flew through her nostrils, smelling acrid.
            When she left the building, Ryla stepped into an empty dirt lot.  Several bunk buildings faced the lot; the administrative and supply buildings were built behind a walled-off section, with robotic turrets scanning the camp constantly.
            As Ryla stepped across the lot, she felt the eyes of the other prisoners on her.  There were over a hundred men in the camp, most of whom coveted her and her flesh.  A shiver ran down her body, and goosebumps formed on her arms, when she thought about the combined impulses of so many male prisoners.  She felt sick to her stomach, knowing that she wouldn’t last long in the camp.
            She found her bunk in Building 12.  She discovered that the whole building was designated for all female prisoners, and it could only be opened with the marking on her hand.  Knowing that she was segregated from the male prisoners, she no longer worried about being assaulted in the middle of the night.  When she found her assigned bunk, she realized that the place was too clean; she was the only female prisoner in the whole camp.  She wondered if the camp ever had any other female prisoners, and if so, what happened to them.
            Lying on the bunk, Ryla felt overwhelming dread and confusion.  She didn’t understand why she was on Corjo; her crimes were minor, and she expected to be taken to a standard prison.  She didn’t even know where in the galaxy she was, but it was clear to her that she was thousands of light years away from any form of civilization.  When she recalled her sentencing, she realized that her incarceration on Corjo was no accident; somebody purposefully arranged for her to be there.  She was accused of spying on executives; now, they made sure that she’d never reveal the few secrets she learned.
            She didn’t even know or care about those secrets.  She came across the information by accident, and didn’t give any of it a second thought.  When the Maetherion guards came for her, she was shocked and confused during the entire hearing.  Her defense was silenced quickly, and she never even had the chance to arrange for legal counsel.  The judges produced evidence as if from thin air, and in the next few hours, she was sent to the shuttle.
            On Corjo, the weight of her incarceration finally sunk in, and she realized that her life was as good as over.  Even if the other prisoners weren’t a threat, she couldn’t last long working on hard labor.  She spent her whole career as an administrative servant, specializing in accounting, bureaucracy, organizing summits, and arranging presentations.  She feared that hard labor would break her.
            Once she realized that the life she was accustomed to was gone, Ryla couldn’t stop the tears from dripping down her face, and the sobs from escaping her lips.  She cried until the planets’ suns set, and the cabin was all dark.
--------------------

Upon recent reflection, I decided to tweak this opening chapter even more, to immediately immerse the reader into Ryla's perspective and reveal information in a different way.  I addressed one or two logical issues (Ryla is branded upon sentencing, not when she gets to Corjo), and there are still a couple of things I should address (I forgot to mention Ryla's parole options).  Still, this is probably the direction I'll be heading for this story from here on out.

Newest Draft

1 - Postarbitration

            In the cell, Ryla Corinthia knew she was safe.  Even though the cot was hard and the small toilet offered no privacy, she found comfort in the gentle vibrations reverberating through the shuttle’s hull, and the faint hum of the engines.  She forced herself to lay on the cot and enjoy what few comforts she could, because once the shuttle lands, she would be on planet Corjo, to work the next five years of her life in the labor camp.  Chances are that she'll be there for longer.
            Ryla spent hours turning on the cot, trying to find a comfortable position.  While she was on her side, her turquoise eyes settled on her forearm.  Her name was branded there in red ink, with numbers associating her with her criminal record and sentence.  It looked like a tattoo made of blood.  She still felt a residual stinging on the flesh, from the sentencing process.  When the robot sounded out her file, she gawked at the machine and trembled.  In a broken voice, she told it, “There has to be some mistake.  I should be on Mitheria Sigma at the worst.  But…Corjo?”
            “There is no mistake,” the robot declared, before guards carried her to the cell.  The unfeeling voice continued to haunt Ryla.  Her crimes were minor, and she expected to be taken to a standard prison.  When she recalled her sentencing, she realized that her incarceration on Corjo was no accident.  Somebody purposefully arranged for her to be there.  She was accused of spying on executives.  Now, they made sure that she’d never reveal the few secrets she learned.
            She didn’t even know or care about those secrets.  She came across the information by accident, and didn’t give any of it a second thought.  When the Maetherion guards came for her, she was shocked and confused during the entire hearing.  Her defense was silenced quickly, and she never even had the chance to arrange for legal counsel.  The judges produced evidence as if from thin air, and in the next few hours, she was sent to the shuttle.
            While en route, the weight of her sentence finally sunk in, and she realized that her life was as good as over.  She couldn’t last long working on hard labor, and the other prisoners would show her no mercy.  Even if Corjo wouldn’t kill her, it would break her.
            After countless hours alone in the steel cell, Ryla felt the ship lurch.  She jerked awake, when she realized that they were passing through Corjo’s atmosphere and landing.  Through the bars, she saw robots rolling out of their niches and unfolding into man-sized forms.  They stood guard along the walls, as all of the cell doors in the ship opened.
            Prisoners walked out of their cells and down the main corridor.  Ryla stood at the threshold of her cell, but stopped short when she saw the others staring at her.  Their expressions betrayed their primal urges, as if their sullen eyes could speak and tell her that they all wanted to violate her.
As Ryla stood and trembled, the robot guards took notice.  One of them nudged her into the group of prisoners.  She kept her head down, focusing on her shuffling feet to avoid everybody’s wicked stares.
            Ahead, the shuttle’s ramp led down to a concrete landing pad.  As she continued towards it, she felt somebody’s hand on her shoulder.  A shiver crawled down her spine, and the rest of her body became taut.  She felt somebody’s hot breath against her cheek, and a voice whispered into her ear, “Tonight…your a$$ is mine, b*tch.”
            Ryla wanted to break away and start running, but her legs refused to move.  Before anything else could happen, a guard walked up to the man behind her.  It said, “No talking.  Keep moving.”
            When the machine nudged the prisoner, he shoved back and shouted, “Hey, f#ck you!”
            In the next instant, the robot slammed its fist into the man’s face.  His head snapped to the side with a loud crack.  Blood and spit flew from his lips, before he tumbled to the ground, moaning.  The other prisoners kept walking, keeping their attention focused away from the trouble.
            When Ryla stepped down the ramp, a blast of hot, humid air washed over her.  The light from Corjo’s twin yellow suns was nearly blinding, compared to the dim shuttle.  When Ryla’s eyes adjusted, she saw an iron fence surrounding the landing pad.  The dirty faces of dozens of prisoners gawked at the new prisoners, showing mixed expressions of misery and indifference.  Many of their gazes settled on Ryla, who stood out with her glistening blonde hair.  Their expressions showed vicious, feral hunger – it had been years since any of them had laid eyes on a woman.
            Regarding the prisoners, Ryla realized that most of them wore red uniforms.  They were sentenced to Corjo for any number of heinous crimes.  In her clean white uniform, which signified minor crimes, Ryla felt even more out of place.
            The robot guards grouped the new prisoners to the edge of the landing pad, and forced them into a straight line.  More guards offloaded crates of food, clothes, tools, parts, weapons, and fuel from the ship’s hold.  Moments later, a gate opened in the fence, and an old man with olive-colored skin, thin gray hair, and a weathered face marched in front of the prisoners.
            Regarding the prisoners with a scowl, the man announced, “I am Warden Chen.  This is planet Corjo – the ugliest, slimiest, sh*ttiest outback world you can imagine.  This is my world, so all your lives belong to me.  When I say anything, you will listen, and obey.  And believe me, you will obey.  If you think working at the excavation is suffering, you haven’t even scratched the surface of suffering.  All of you are here, so you can know the full meaning of the words ‘pain,’ and ‘suffering’.  Those of you in white, you might achieve repentance for your crimes if you work hard and stay clean.  Those of you in red:  you’re here to die little by little each day, until your bodies can’t handle it anymore.  All I can say for you is, tough sh%t.
            “Every day, you’ll be working on uncovering the ancient Corjan ruins.  You will work hard, until you sweat, hurt, and bleed.  I don’t care who you are or what your sob story is; everybody works, and everybody suffers.  Any insolence and any deficiency will be dealt with as I see fit.
            “Our facility has no fence line.  You’re free to leave the compound all you want.  I won’t give a sh#t, because the jungle will eat you alive.  The only thing protecting you from the plants and animals out there is an invisible perimeter line that gives off pheromones and scents to keep the wildlife out.  You can escape if you want to, but believe me, you won’t want to.  Don’t even think about trying to go off-world, because it’s impossible.  This shuttle you came from is the only traffic this world ever gets, and my guards will f&ck you up if you try anything.
            “Meals are served twice a day, no more than thirty minutes at a time.  If you miss out, then that’s just tough sh#t.  Do you all understand me?”
            The new prisoners mumbled acknowledgements.
            “What was that? I can’t hear any of you pathetic slugs! When I ask you if you understand me, I want to hear you all say ‘yes Warden Chen,’ loud and proud.  Do you understand me?”
            The prisoners said loudly, “Yes Warden Chen.”
            “What? That’s still not nearly loud enough! Do you shitheads understand me?”
            “Yes Warden Chen!” the prisoners clamored.
            “That’s more like it,” Chen said. “All of you, report to Building 5 for processing.”
            One prisoner shouted in a mocking tone, “Oh yes sir Mr. Warden Chen! Right away Warden Chen! Anything you say Warden Chen!”
            Walking up to the insolent prisoner, Chen sharply regarded him with his indigo eyes and challenged, “You making fun of me?”
            “No sir, Warden Chen!” the prisoner screamed, his lips curled into a mocking smile.
            Smacking him in the face, Chen yelled, “I don’t take this crap from anyone! Shut the f*ck up and get to Building 5, before I wipe that smile off your face with my gun!”
            “This is bullsh&t!” the prisoner ranted. “You’re just an old man on a power trip! You can’t do anything to me; I’m a Maetherion citizen!”
            Drawing his sidearm, Chen pressed the barrel of his nuclear-powered pistol against the prisoner’s lips, and said, “You are one dumb sh*thead.  The minute you’re sentenced here, your citizenship is revoked.  You’re my citizen now.  And you know what? I think you’re too stupid to stay a citizen of my camp.  What good are you if you keep shooting your mouth off at me? I think I’ll end both our miseries and shoot your mouth off!”
             Before the prisoner could do anything, Chen squeezed the trigger.  A hot yellow beam exploded from the pistol, and made the man’s head explode.  The prisoners recoiled in terror as blood and broken flesh flew out and splattered on the concrete.  With wide, teary eyes, Ryla watched the scene and couldn't stop trembling.
            The warden turned around and left the landing platform without a word.  The robot guards hustled the prisoners to Building 5, where they formed a line and passed through an X-Ray arch.  One by one, each prisoner stepped through the arch, and was cleared by the guards.
            Afterwards, each prisoner’s arms were scanned.  When Ryla’s brand was processed, a mechanical arm extended down.  It grabbed her arm and pressed a circular band of blue ink on the back of her hand.  The new markings provided her bunk assignment:  Building 12, Bunk 35.
            Ryla was pushed down the line by the guards.  She passed beneath arches that sprayed vaccines and immunities at her.  The clouds of mist seeped into her pores and flew through her nostrils, smelling acrid.
            When she left the building, Ryla stepped into an empty dirt lot.  Several bunk buildings faced the lot; the administrative and supply buildings were built behind a walled-off section, with robotic turrets scanning the camp constantly.
            As Ryla stepped across the lot, she felt the eyes of the other prisoners on her.  There were over a hundred men in the camp, most of whom coveted her and her flesh.  She felt sick to her stomach, knowing that she wouldn’t last long in the camp.
            She found her bunk in Building 12.  She discovered that the whole building was designated for all female prisoners, and it could only be opened with the marking on her hand.  Knowing that she was segregated from the male prisoners, she no longer worried about being assaulted in the middle of the night.  When she found her assigned bunk, she realized that the place was too clean; she was the only female prisoner in the whole camp.  She wondered if the camp ever had any other female prisoners.  If so, what happened to them?
            Ryla couldn’t stop the tears from dripping down her face, and the sobs from escaping her lips.  She finally comprehended the full weight of her sentence, and it seemed inevitable that it would crush her.   She cried until the planets’ suns set, and the cabin was all dark.
--------------------

Hopefully, you'll see how much has changed, and find the latest draft the most engrossing.  As far as this story goes, I rewrote about 25,000 words, and decided to go back and change some more stuff, so it's practically a new third draft.

The work shall continue until Warden Chen is satisfied...

September 12, 2015

Reflections on Writing

Over the past several months, I've probably received way more exposure to the world of writing than I ever have before.  Part  of it came from attending various panels at the Comic Con FanX in January, and a lot more came through joining the League of Utah Writers and attending their official writing conference in August.  And there's a little bit of hands-on experience trying to indie-publish my first couple of novels.  All of these things have given me a plethora of things to learn and realize, and it will undoubtedly alter the way I write stuff in the future.

Earlier in the year, I read a post on Facebook, in which Ray Bradbury suggested that all writers must start with short stories only, and tackle novels years later.  He suggested a regimen of writing a story a week, so you'd have something like 50 stories in a year and a few of them may be publish-able.  I personally didn't agree with this method - I started dabbling with novels when I was 15 or so, and never stopped.  I enjoy the breathing room and the breadth of a novel's narrative, and working with it hands-on has helped me evolve stylistically and structurally.  On top of that, it seems to me that plenty of authors got their start with novels.  This is ultimately subjective - some authors can pump out a great first novel, others can't.

However, in the past few weeks (mostly during the big writer's conference in Logan) I learned of another rule.  This is a quote that was once said by Terry Brooks, who attributed it to Ray Bradbury, but online it appears to also be attributed to David Eddings, Jerry Pournelle, and John D. McDonald.  Who knows who originally said it? The gist of it is this:

"Write a million words–the absolute best you can write, then throw it all away and bravely turn your back on what you have written. At that point, you’re ready to begin."

It sounds rough to write one million words and dispose of them.  However, that would roughly equate to ten years, which is about the amount of time suggested for a writer to properly mature enough to be any good.  At the conference, author Maxwell Alexander Drake pounded this into us, saying that it's always your newest work that's the best and everything before it is garbage.  Writing is a progressive learning process.  If you look back on your old work and think it's still good, then something's wrong.


When I look back on more than ten years of writing - all random stuff just for the fun of it, and hardly anything published - I realize that I might have reached a certain point of maturity.  I would have surely written a million words by now.

At this point, my projects are all scatter-brained and all over the place.  It's pretty sad to look back on old projects, which always elicited so much excitement and pride when I wrote them, and find that they're just bad.  Just about everything I have is now slated to be rewritten in some way.  At the same time, I realize that this means I've changed, improving my skill little by little to produce something that might actually be readable.

I've come to believe that writers have to be sadomasochistic by nature.  The sadism comes from having to create great characters and force them through hardship, pain, and suffering in order to make a cool plot.  The masochism comes from having to take your beloved story and cut out huge swathes of it and change it all around to make it better.  On top of that, a writer has to suppress his ego, accepting the pain of criticism to address shortcomings and fix things.

From writing panels, conferences, and critiques, I've learned the following lessons that could apply to any writer:
  • Writing is a skill, not a talent.  It takes years of practice and learning, and it never stops.
  • There are three things to master in writing:  dialogue, narration, and motion.  If you can write all three of these well, then you'll be set.
  • As difficult as it is to get accepted by agents, publishers, magazines, etc, the only way to truly fail is to quit altogether.  You just have to keep writing and keep trying.
  • Rules are meant to be broken.  I hear this all the time in writing.  I kinda hate the phrase, because I'm a conformist by nature and I can't bear the thought of breaking rules in society or rules given to me by figures of authority (including English teachers).  However, after reading from Cormac McCarthy, William S. Boroughs, and Hubert Selby Jr., I am truly convinced that anything goes in literature (seriously, how did these guys ever get published?!).
  • Moderation goes a long way.  This can apply stylistically (watch your adverbs, your narrative tags, how much you show, how much you tell, etc) or with your content (too much trashiness, too many cliches, tone imbalances, deus ex machina, etc will turn people off).
  • Lots of things can be left unsaid.  It feels important to describe things, but if you don't, it's nothing to worry about.  Readers can fill in the gaps with their own imaginations, and sometimes it may be better that way.
  • Hooks are the thing that will earn you time with readers, agents, and other pros.  To hook people with your work, you should start immediately with the action/plot.  But action alone won't help you if it's just action for action's sake.  The characters need to be the focal point of all the action, so if you can establish the right pathos right away and keep the plot rolling, you should be set.
Lessons in getting published (not that I've been professionally published, but this could help you):
  • The publishing industry is going through a transition phase.  In spite of that, it looks to me like there's a difference in opinion on the value of the traditional publishing model, and of literary agents.  Agents are busy people as they are, they have little to no time or patience to accept new clients, so they set the standards for queries absurdly high and will reject anything and everything that doesn't meet those standards.  On top of that, they're also pulling double-duty as editors.  Some agents have recently been sued for negotiating contracts without a license.  Publishers in New York are enforcing more life of copyright contracts, meaning that they'll have the rights to books for 50 years or so, giving writers no control over their work.  The quality of traditionally-published work is not what it used to be, and they still won't do much to market you.  Some writers will still tell you to publish this way - it's the professional way and it's how you break into the business.  However, some writers will enforce indie-publishing as a viable alternative, since new tools (like Createspace) allow authors to print and distribute their work in the same trade channels as real publishing houses.  Becoming a "hybrid" writer may be the most ideal position - one who publishes both traditionally and independently.  In the future, however, the entire industry could change drastically.  Flexibility is warranted in our current era.
  • If you do submit works to a professional publishing house or magazine, you can't just spam them.  Research them first, to find out what agents and presses are looking for.  Submit only to those who seem to match up with your work.  Make sure you follow the correct formatting guidelines, and provide everything they ask for (nothing more, nothing less).  The guidelines are strict, because editors and agents have huge slush piles to work through and they will look for every opportunity to reject your work.  You can improve your chances by making sure you submit to the right people and in the right way.
  • Pitches are opportunities to formally connect with agents and try to sell them on your novel.  It's easy to psyche yourself out over a pitch session, but after trying out a practice pitch, I found that it's not too terrible.  It's helpful to practice your pitch, to memorize the points you want to say, but you should be flexible to deviate if you have to.  It's not as formal as you might think - these sessions can be quite conversational, and if you're really passionate about your work, it should be easy to talk about.  There are loads more guidelines I've uncovered on this topic, so I may have to make a post about it later.
  • I've read this advice years ago and it still seems to be true:  beware of anybody who asks for fees or money, or tries to force you to purchase something for your book's benefit.  Real agents and publishers should make the money flow towards you, and make their money out of a percentage of profits (about 15% for most agents, 55% for publishers) - anything else may be a scam.  Research should be able to help you identify how creditable your agent/press is.
  • The most successful writers don't just stick to one thing, and they won't get far doing just one book a year.  Writers may work with novels, short stories, freelance writing, ghost writing, screenplays, musicals, comics, and so much more.  All of these different mediums have different processes.  To make a living as a writer, you will need to dabble in multiple mediums and work pretty darn hard.
  • If you do manage to become a professional writer, you'll generally do a good job if you do two of the following:  write well, get work done on time, and be easy to work with.  For some reason, many authors aren't easy to work with, and that's why agents are needed to mediate between authors and publishers.
I've come to learn the following lessons about myself:
  • It all begins and ends with the characters.  It seems like all the work I've been getting critiqued of late has failed to captivate readers because they can't connect to the characters - they're described as robotic.  I realize that my stories might be too engrossed in some cool idea or plot, and I fail to address the characters properly.  Without their thoughts and emotions, it's just shallow action and ideas.  I tend to think that these things could still sell, but they won't have a lasting impact.  I've come to think of this as the "Christopher Nolan" effect, because if you look at all the people who hate the movie Inception, or anything else the guy makes, you'll find these same complaints:  lots  of ideas, not enough character focus.  I think I've made plenty of colorful and interesting characters, but when the action hits, they tend to go through the motions, leaving various scenes feeling cold and empty.
  • I've also been told recently that I've been telling too much and not showing enough.  For some things, it can be an easy fix.  I find it hard to figure out how to extrapolate great detail and description in character thoughts and emotions, without being blunt or obvious.  And then I find myself overthinking things, and I worry that I might wind up making a contrived effort.  What I find interesting about this is that I think I've done an okay job at balancing these issues in some stories, but have done a terrible job in others.  It's great when it flows out naturally, but it's a pain to fix in editing, and it feels weird to consciously tell myself "I have to show this and not tell it" while drafting something new.
  • My hooks are weak.  In most cases, I've been so focused on using action or dialogue to start a story as an instant hook, but action and talking alone doesn't captivate nearly as well as starting with the character and the story's starting point.  I've also been compelled in many stories to start with setting the scene, but this is obviously a boring way to start.  I've been analyzing the openings for most of my stories, and I've been thinking of new ways to revise them so that they'll hopefully be better.
  • Repetition, is one of the first problems that was brought to my attention, as far back as 2005.  I've kinda trained myself to spot repetitive words and phrases in editing, but it still rears its ugly head on occasion.
  • Balancing dialogue.  I usually get a kick out of writing dialogue and hearing the characters' voices in my head.  So much so that I've probably overindulged in exposition.  I've had one scene get picked apart because the villain was "giving a lecture" to the character (I suppose he was monologue-ing).  I've recently been made aware that I have characters talking about stuff they should already know.  I'm gradually learning that there are things that are better left unsaid.
  • Density.  Most of my older works were so action-focused that I made the classic mistake of over-indulging in it.  As a result, I had scenes that went through fight moves move-by-move.  It was long and dry to write, and it's long and dry to read.  I succeeded in making awesome stuff boring.  Same goes for description, which is weird since I don't usually like overly-descriptive books.  However, action and plot do slow to a crawl when I stop and try to paint a picture, no matter how cool it is.
  • I should really read my stories out loud.  Even to myself, it's a way to methodically go through a story word-by-word and spot errors that will be missed when just looking at it.  I find that reading my stories out loud will also give me a better idea of how the pacing is going and whether I'm being repetitive or dull.  
So that's a lot of what I've learned recently.  It feels like I'm finally learning and accepting that I am still a novice in need of practice and learning.  I've already started going through old works and rewriting things, applying my knowledge to make these stories better.  Hopefully, I'll be able to publish something in the future that I can genuinely say is good and worthwhile.  In spite of this, it's feeling like an old phase of my writing is closing, and a new era is beginning.

I've written about one million words up to this point.  So in the words of Khan..."shall we begin?"