I’ve stayed up past midnight 3 nights in a row to finish Stephen King’s 11.22.63. Yes, it’s that good (and that long; nearly 900 pages.)
Not a fan of horror, but this one is fantasy/scifi rather than his usual genre. It has time travel. It’s a historical novel. It has romance. In the end notes it has a nod to Time and Again which I agree with King is the best time travel book written.
One small but vital character interested me because of a parallel to Jake Calcutta and the Temporal Lisle. It seems guardians of time travel are a common idea. I’m giving a little away here, but you can’t read the first few chapters of King’s book and not realize that the yellow card man is going to be more than a bit player, no matter how few lines he speaks.
So there you have it: Stephen King is starting to write like me because we like the same time travel book.
(Speaking of fantasy . . . )
This month’s newsletter went out two days ago and included a special offer/request for help with my science fiction adventure work in progress, Jake Calcutta and the Temporal Lisle.
If you’d like to hear about that opportunity, sign up for the newsletter before next Wednesday’s blog post (the date will be November 23rd) and I’ll resend the info, just for you.
After three variations I found myself stumped. The third feels right, but is it?
It’s easy to fly through storytelling, getting my readers to The End with the least fuss.
It’s better to make the critical scenes more than simply the conveyance of information. The deeper I dig into the core scenes, those that turn the story’s direction, the more memorable and emotionally fulfilling they are.
I’ve never done that, pushing myself to rewrite a scene multiple ways, looking for the best version. In the past, I’ve been satisfied to note the scene’s purpose, write a direct sequence of actions fulfilling that purpose, and let my editor tidy it up.
If he tidies brass, you get highly polished brass.
I want my books to be solid gold.
“I have money.”
He didn’t reply. She tried again.
“My owner will pay whatever ransom you want.”
“How much am I worth to you?”
“Stop talking. If you were only a possession to barter with you would already have been sold.”
“Then what am I? Why are you taking me?” She suspected an answer but wondered if he would respond.
“Don’t I have a right to —”
He slapped the back of her head. “Stop talking. I won’t say it again.”
She turned. “I will not. If you intend to drag me through the forest you will hear me every step of the way.”
He had stopped a moment after her, one step too close. As he slid his machete from his belt she kicked him, hard, below that belt.
Before the machete dropped from his hands she was holding it.
“Do not follow me.”
He backed away. She stepped closer and flicked the machete in her two hands. The middle of his tunic split; just a small split, but the tip had touched him.
He continued backing away.
She turned and ran without a backward glance.
“Keep moving.” He shoved her.
Stifling rage, she smiled coyly. “I thought this might be a good place.”
As she stepped closer he raised his arms to either attack or defend depending on what she did next. “A good place for what?”
She softened the smile and tilted her head slightly. “Unless you don’t want to . . .”
That was the look she was expecting. All men everywhere were the same.
He lowered his arms.
She stepped closer and raised her bound hands. “Aren’t you going to untie me first?”
His face reddened and he put one hand on his machete. He leaned and stepped at the same time, his nose nearly touching hers.
As he opened his mouth to shout at her no sound came. Her hands were locked behind his neck, the thick rope pressing against the front and sides.
When he was unconscious she let him fall, took the machete, and fled back down the path. Time enough to free her hands when she was out of his earshot.
Her captor was no match for her in the forest. Any opening was enough for her to slip away.
Every few minutes his pace changed; he slowed, to check behind or to rest or simply because it was how he marched.
She started counting.
The third time, it was almost exactly the same count.
The fourth time, she anticipated, quickened her pace, and was hidden among the trees before he could touch her.
Idea — blend action/adventure with scifi
Concept — a genetic mutation allows a man to travel through time without the equipment other time-travelers need
Premise — what if a group of researchers discovered that the universal timeline had been corrupted and the only way to restore it was to send a mercenary back to pivotal points of ancient history to fix them — if he wasn’t killed first?
… more … “The Rise of Rafe Keyn”
As his quarry stumbled noisily along the path he moved silently on a parallel path through the trees. Occasionally he fell behind; unlike the supermen on film, it took time to move truly silently.
But his quarry was in no hurry, and so with spurts of speed through clear spaces, he kept up.
He carried no weapon; needed none but the one inside his head. He valued life, considered it sacred, and wouldn’t take a life unless it were the last desperate option — and even then, he knew he’d give his own before taking another without good cause.
This quarry was no threat, simply a source of information. He’d noticed the so-called tourist’s familiarity with customs in the market and realized they were the underling he’d been waiting for. Whatever function they performed for their employers, their function to him was simple.
To take him to those employers so he could destroy them.