1996-Now

The first draft I sat down to write in 1996 was called Red Clogs: Genesis. One of the central characters who had always been dead and mythologised throughout the previous versions and serials would be in the book as a live character prior to her death. The fact she ends up dead is only one of the triggers for the rest of the events to unfold. So rather than having a novel where the central character is dead and we are already in the midst of a conspiracy, I decided at that time to start at the begining, before things go arse over tit. Difficult really, to write about the change, the point of no return, how motivations change. I think I wrote about 8 chapters over a couple of months and left it for about 6 years to work on other things, concentrate on Uni, develop a career in teaching.

This first draft wasn’t focused. It wasn’t about anything or anyone. Nothing more than a series of anecdotes, misplaced digressions. Although it was a useful excerise in creating and developing characters. From these couple of early drafts I’ve essentially retained the characters and a couple of scenes. Another problem I also ran into, which I’m trying to resolve is the tone of the novel. For years it could be as flippant as it liked but there’d be parts where I wanted it to be dark, moody and serious. Like ‘Sweet Thunder’ by Yello, or a Simon Drake illusion. As you get older even though you can still appreciate a lot of the things you were into as a teen, it can kind of wane or date, the humour wears thin, jokes fall out of fashion, jokes about subjects become cliches, whereas some things don’t date and if anything get stronger throughout your life. (I realise that I’m waffling on now…but you’ll have to read a future entry about influences so you’ll know what the cock I’m on about)

Early in the 21st century, after the disappointment that was the new millenium, I picked it up again, did a bit of editing and this time focused on three main characters. Jan, Ann and Ulysess (The Conductor in the original short story) Jan’s experiences would represent us, the reader. Through his eyes we would observe, fail to make sense and get our hearts broken by the events that occurr in Rotterdam. We’d go through many journey’s and changes, with many companions on the way. Ann represented, I suppose you might say the ‘good’ side, trying to put on end to the growing totalitarian government although I’d say that it’d be the lighter shade of grey. And Ulysses would be the reluctant dictator, doing the things he believes are the right things for the country, even though it transforms the world for the worse.

While writing this I became aware that I wasn’t so much as sympathising with Ulysess but I was trying to examine the struggle within him, while Ann came across as shallow and indifferent. This wouldn’t do if were supposed to really believe in Jan’s relationship with her, if her death was to have any effect or meaning to the reader. Also the plot had become so complex that there were about a dozen sub plots all with back stories going on, which seemed to blur the focus of what the story was actually about.  So part of the writing and editing process during the last few years, in between bouts of procrastination and other stuff, has been to work on those dynamics, tidy up the text and langauge and simplify the plot. I’m on my way.