Winning the Trifecta!!!

In honor of the launching of the second book in my third trilogy, FLU SEASON, I thought I would wax poetic over my three trilogies and how they came about and how they proceeded. Of course the third book of my third trilogy has yet to be published but it is complete and considered finished, so it counts. Now I have a set of three trilogies and thus have achieved the Trifecta! These nine volumes make up fully half of my writing output of 17 novels. (All novels are available in paperback and for Kindle; click on links at the top right corner of this blog.)

THE DREAM LAND

The first book, originally titled The Dreamland, was composed back in those days of typewriters and mailing a box of paper to a publisher. It was intended to be a stand-alone novel. Yet being full of interdimensional intrigue on an alien world, there was much room for utilizing the world I'd created. The first book, retitled Long-Distance Voyager, covered everything I had intended for the story and I had no idea for a second book. I eventually had an idea and launched right into the second book. But I got stopped a short way into it. I ran into a plot conundrum and sat it aside to figure out how to proceed. Then life got in the way and I did not return to it for ten years. 

The conundrum was figured out by then and I continued it, taking it into a kind of time travel plot that was quite mind-twisting. When I was ready to throw book 1 into the Amazon Breakthrough Novel Award competition, I was also finishing writing book 2. By the time I finally got book 1 published, I knew it would be a trilogy so I came upon the idea for book 3 without too much gnashing of plot lines. As book 2 Dreams of Future's Past, was being published I was already writing book 3, titled Diaspora. It followed immediately after book 2 in the publishing schedule and I was very happy, thinking I might not be able to write more. I did dabble at a book 4 but didn't get very far and have not resumed writing it.

Being first, and introducing a new world of steampunk fashion and geopolitical skulduggery, it did well enough. Book 2, while being more ambitious and thought-provoking, sat on the shelf. Book 3, while deemed by me my most humorous of the three as well as the most horrifying, was hardly touched. That is the issue with trilogies, I suppose.

THE STEFAN SZEKELY TRILOGY

After a while, I decided to join the vampire trend and wrote a novel purportedly a medically accurate vampire story. My hero was Stefan Szekely, an ordinary guy, American of Hungarian ancestry, with an odd background. I threw a lot of personal angst into it, and came to realize I could make a pretty good vampire myself, given the chance. One and done, was my intention. But the ending nagged me through the writing of two other completely unrelated novels.

What happened to our vampire hero after the first novel ended? Because I'd set the story in the same year as I was writing it (2013-14), I began to jump ahead in the timeline. Thirteen years into the future we pick up our story - and a trilogy was born, both novels conceived at the same time although the exact story line was still vague. It was really an exercise in traveling in my head and doing research about Croatia and Hungary and calling them novels.

I wrote SUNRISE and SUNSET back to back. The first novel, A DRY PATCH OF SKIN, was well-received and garnered attention among the vampiric crowd. Book 2 was less popular, perhaps because the vampire trend was already receding. So Book 3 received little attention, although I thought I put some amazingly evocative material in it. I planned a book 4 and started writing it but got stopped when the even-further-into-the-future world I set it in began to overwhelm me with technologies I didn't have the patience to figure out.

Then I wrote three stand-alone novels: a sci-fi story with a non-human hero, a contemporary crime thriller, and an action/adventure story about a man-eating tiger. Then I was bored.

FLU SEASON: A Pandemic Trilogy

I've blogged about this trilogy in the past few months, so let me go over some of the history of its creation. I started something at the beginning of our real pandemic but didn't get far. The idea boiled inside my head for another year. When I found a way to start it and thought what would occur in the journey plotline, I still believed it was going to be a stand-alone novel. However, a journey is all well and good, but what happens when our hero and his Mom arrive? What then? 

Giving the first book the subtitle of The Book of Mom, I let it be a narrative by a teen boy about his single mother and all her quirks and whims while fighting to get them to safety from both viruses and violence. Once they arrived at a kind of sanctuary, I knew it had to be a trilogy. I already had ideas of what would happen next. By the end of book 1, I definitely knew how book 2 would begin and end.

By the end of book 2, The Way of the Son, I had book 3 planned - although I do not write out an outline like many authors do. Just as book 2 picks up where book 1 ends (like on the same day!), book 3 also picks up where book 2 ends. The difference is that book 3, Dawn of the Daughters, has a lot of ground to cover story-wise. It could be a stand-alone in its own right, if I had conceived of the story first instead of the book 1 we now have. 

Too early to tell how this trilogy will be received. As of this blog posting, books 1 and 2 are out and available with book 3 scheduled to be published in the fall of 2023. The main thing, I think, is that I've enjoyed creating these various worlds and the characters who inhabit them. I only hope that others will enjoy reading these stories as much as I enjoyed writing them.

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(C) Copyright 2010-2023 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

The FLU SEASON Trilogy: Doing What I Do

It has been a week since my new novel FLU SEASON 2: THE WAY OF THE SON launched and the excitement of that minimalistic day still lingers. The thrill of seeing my finger push that button to send a tweet into the void sizzles even now. It's all about the thrill, you see. I really can't stop. It's like a role-playing game and I get to play all the characters and make them do what I want them to do. By the end, I feel like I have put together a million-piece jigsaw puzzle and can finally see the big picture.

Whenever anyone might ask me why I write - a typical question in writing communities online - I pause thoughtfully, then launch into a diatribe about how it is all fun and games until I come to the end. Then I feel a great emptiness as the published book leaves the nest and tries to fly on its own. But the game analogy is valid. When I really think about it, that is what it is: a game. It gets me up in the mornings to play it. I want to see what happens next to these invented characters - blithely acknowledging that I have the power to make things happen in a certain way.

Puppet master? I think not. For as the characters come on stage more and more, they become real and often argue with me, demand a different turn of events, threaten to sit and pout. I offer a quick way out in the form of a murder or unlucky fall, but usually I cannot part with them. Even the villains compel me to assist in their crimes. Sure, there is some clear-headed planning and crafting a narrative that goes this way and that, making arcs, dropping seeds, foreshadowing, flashing back, information dumping but only in spoonfuls here and there. I know what to do.

However, at the bottom of all of that writerly stuff is the game. An old adage for writers goes a little bit like this: Write the story you want to read. And I do. I don't often know what kind of story I want to read when I start, but it comes to me soon enough. It usually comes to me when I've written about 10,000 words. By then, the story stays with me when I'm not actively writing. I start to think of what happens next - and what just happened and what I may have missed and need to add or change - through the day and into the evening. As the story progresses, I may be so driven as to sit down in the middle of the afternoon and type out another scene. Or, surprisingly, delve back in late in the evening just as I was certain it was time to sleep. It's a crazy process, but there it is.

For my FLU SEASON trilogy, which began as a stand-alone book, THE BOOK OF MOM, until 2/3 of the way into writing it, I developed a regular routine (me being a retired fool with little to occupy my hours). I would rise and get coffee while booting up the beast (an old desktop computer running Windows whatever-number, using Word of some kind). I'd sit and open the file, a running manuscript in which I add the next bit straight into the file, which is already set in book format - all the better to see how it will look in the final version. While starting the session, I begin listening to the "soundtrack" I've put together: music which fits the scene, always instrumental (don't need sung words getting in the way of the words in my head).

I usually begin by addressing spots I thought about since the previous session and fix those. Then I might read through the last scene I wrote and revise/edit it, which leaves me ready to dive into the next scene or chapter. In the alternative, if an idea is hot when I'm starting, I may go straight to typing out that scene while it rages, then return to my normal routine. Depending on the scene - writing coaches talk about the goal of a scene - I may begin with a little setting information, or jump into dialog to get it started. I'm always thinking of the mood of the scene - mood of the characters as well as what comes from the setting, like the difference between the same dialog and action in a sunny setting versus a dark and rainy setting. I know from a lot of previous writing how to mix exposition ("telling") with live action and dialog ("showing"), with the thoughts and feelings of the characters.

However, I tend to "write lean" just to get the story down in a basic form, knowing I will go back over it and make it richer. Sometimes an exchange of dialog runs the scene. Other times, getting the look and feel of the place and situation is most important. I find I have the uncanny ability to "become" a character and think, speak, and act as that character would. And yet I was never a great actor! Yet, in becoming my characters, I feel what they feel and that makes the writing effort exhausting - or occasionally energizing. It is almost like going to the gym for a hard workout, depending on the conflict in the scene I'm writing. A lot of that is driven by whatever is happening in my head when my fingers hit the keyboard. I might say it is magic but I don't truly know. Probably a form of mental illness of which I can make full use of its quirky features. Living in one's head is not just a metaphor.

I will write as long as I can. When the scene is finished I will go back immediately and read it through, revising as I go. I add more description (a sentence here or there), fill out dialogue (can't just have the necessary words but also need the extra phrases that make dialog sound real), and add thoughts and feelings (of the protagonist; can't know what other characters are thinking and feeling but I can suggest those through what the protagonist notices). When I get tired or I run up against having to do some other task, I'll pack it up, save everything in 6 places (3 places off the desktop computer), and call it a day.

Then I think about the story as I go through my day. I'll drive to the grocery store but there is the next scene in my mind's eye as I'm sitting at the traffic light. I push the cart through the store and I'm thinking through that last exchange of dialog, perhaps deciding a better phrase to have my character speak. Or I might realize I forgot to include something or I discover in reviewing what I just wrote that I need to add some important detail - something a reader would point out. Later, often lying in bed ready to sleep, I will also find "plot holes" (seldom these days, despite being a make-it-up-as-I-go-along kind of writer) or other spots I need to address. Then, if I'm lucky, I will go on to sleep. And sometimes I will have a dream which relates to the story I'm writing and I'll pop up in the darkness to scribble something on a note pad next to my bed and deal with it in the morning.

So for the two years in which I've worked on three novels, this has been my usual daily work routine. It is good to have a regular schedule when nothing else such as getting to work is there to keep me on track. I often confuse the day of the week now, unless the TV schedule reminds me. After a while they all run together as one big writing session, anyway, and I don't mind that.

I'm not sure what comes next. The FLU SEASON Trilogy is finished with Book 3: DAWN OF THE DAUGHTERS - coming in fall 2023. I have teased that I will have an artificial intelligence app read my trilogy and then create a fourth book. Then a fifth book. And I shall be reduced to mere editor. We shall see. At least read Book 3, the final fully human-written novel of my career!

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(C) Copyright 2010-2023 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.

FLU SEASON 2: THE WAY OF THE SON Launches!

Hurray! The Way of the Son, the second book in my pandemic trilogy, FLU SEASON, has launched! Paperback is available now and the ebook for Kindle will be delivered May 15 although you can pre-order it now. Click the links.

Sanctuary from a pandemic is only good if you can stay there. When Sandy and his young family are exiled from the island, he struggles to find a way to save them while they face the worsening situation. Without Mom to guide him, Sandy must now take on all the responsibilities of survival in the lawless Outerlands.

It's hard to believe that a couple years ago I was fumbling around for a way to write a novel based on the very same pandemic we were all going through and constantly getting to a dead end, no pun intended. Now I've achieved a miraculous goal of writing three novels in two years, with two of them published and the third book already completed.

Meanwhile, I've interacted with other writers on various social media platforms, and an interesting question keeps coming up about my pandemic trilogy. What's the genre? My immediate knee-jerk reply is "science fiction". But then I have to stop myself and wonder. I worry that many sci-fi readers might be confused by the story I've put together in this trilogy. 

In this on-going interaction with other writers I came upon the term "psychological sci-fi" which seemed to be used for stories like Orwell's 1984, in which the focus is on the psychological (and social/cultural) aspects of the setting and how characters face it. The term doesn't mean it is about the psychology of the characters, not their mental illnesses or such, but rather, how the story may influence the psychological aspects of the reader's experience. In this way, the story need not have a fantastical setting or be filled with wonderful new technology.

Psychological science fiction = involves a "complex theme, ethical dilemma, existential questions" and exists "beyond time and space", involving "what it means to be human"; it may "reflect on the influence of science and technology", focus on "reality and consciousness", and morality. (cobbled together from remarks spoken in a video, link lost)

This may be compared to "literary sci-fi" in that both sub-genre might have similar subject matter but "literary" - at least to my thinking - is more about the style and depth of the writing and not specifically the setting or subject of the story. Note that in all three books the narrator speaks in first-person so we get the style of that person's manner of speech, which grows more uneducated and uses more Southern dialect as the story unfolds.

The FLU SEASON trilogy is traditional sci-fi only in that the people in the story are in distress as a result of science (virus) and technology (electric grid down, fuel runs out, etc.), and the story shows how they find solutions to the problems or find other ways to get by. This is done in a world/setting that is realistic in today's terms rather than fantastic or only plausible in the future or in extreme circumstances. The closeness to the present moment and the lack of things more typical of post-apocalyptic fiction makes FLU SEASON psychological sci-fi. But it is also action and adventure fiction. It also has a teen romance story line. There is humor and dark humor. And...well, you get the idea: it's like life itself, full of everything.

The immediate cause of both my writing and the story's setting is the coronavirus outbreak of late 2019 through late 2022. I pondered, in the days when our society seemed most set upon, what people would do if it got even worse. Suppose this "present situation" (think summer and fall of 2020) lasted six years - four more years beyond our "present" experience. How much worse would everything get? How would, say, an autistic teen and his single mother cope? What would they do? What would be the results of their efforts? And that was my story. And what would become of Mom's *tuba?

I wasn't but a little past the half-way point when I knew this stand-alone novel had to be a trilogy, although I had no firm idea what would happen next. As I finished Book 1 The Book of Mom and waited through all the miscellaneous hassles (cover art, etc.), I started right in on Book 2 The Way of the Son. Here, that teenage boy is on his own, without Mom to guide him, and he learns an awful lot on his journey.

Book 3 Dawn of the Daughters (now in the 'tweaking, then tweaking back' stage) picks up the story from the end of Book 2 and takes readers through the lives of our hero's growing family, in epic multi-generational tradition, as they experience a bloody civil war and the painful reconstruction of society afterwards - much like Gone With the Wind but set in 2035 with a deadly virus.

*Mom (of The Book of Mom) is a professional tubist and music professor, who refuses to leave her instrument behind when they flee the chaos of the city. Her son dutifully takes care of the tuba (Book 2), and his daughter eventually learns the backstory of the instrument and why it is so precious (Book 3).

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(C) Copyright 2010-2023 by Stephen M. Swartz. All Rights Reserved. No part of this blog, whether text or image, may be used without me giving you written permission, except for brief excerpts that are accompanied by a link to this entire blog. Violators shall be written into novels as characters who are killed off. Serious violators shall be identified and dealt with according to the laws of the United States of America.