Retractions, of a sort

I keep hearing differing opinions on the matter of sharing parts of your work – both publicly and privately. I mean, if you can’t share your work privately, how the hell are you supposed to improve it? I’ve heard not to share more than 10% of it.

Luckily, a good majority of what I’ve shared so far will not make it into the final edit. Even the story of Celeste and Thomas is no longer canon. So much has changed since I started everything. All for the better, naturally.

Which leaves me wondering – how do I continue writing the story of Thomas and Celeste when it has changed so drastically? Guess I’ll have to sit down and think it out before I continue.

Now then, it’s Tuesday. So here is my tidbit:

When only McGillicuddy, Helena, and a handful of rough looking gentlemen were left, Helena went into overdrive. The salty air mixed with the smell of rotting fish and unwashed bodies. A flock of gulls swarmed above hr, their sharp calls assaulting her ears. In the distance, she heard the clip-clopping of hooves. Lord McGillicuddy tossed aside the pretence of reading the paper and headed her way.

Sidling to a stop at the edge of her view, Lord McGillicuddy towered over her, which he had not done on the ferry. Once more, Helena dismissed him as a silly, vain creature. Likely, the ladies of the Ton would love him. Had it not been the same in all the fashionable circles her mother introduced her to?

Clearing his throat, the older man said, “Now, I understand my proposal might seem rather forward Lady Helena, especially to one of your delicate sensibilities. I do not mean to offend or appear false.”

“Of course not, Lord McGillicuddy,” she murmured. Turning her head, she watched the thick fog rolling in off the churning sea. Perhaps he would grow bored and leave her in solitude.

And, as I do each Tuesday, a bit of advice from the Emotional Thesaurus. I seriously cannot wait to pick up the next purchase.

Weather details can add texture and meaning to a scene. Consider how a character’s mood can shift because of the weather. It can also stand in the way of their goals, providing tension.

This advice could not have come at a better time. Like I already said, I chose 1816 because of the unusual cold that earned it the Year Without A Summer. And yet so far, no use of the weather. I have a notebook with a list of my “must occur” scenes – and some notes I’ve made about occurrences within my story world. Changes I’ve already made to the list of scenes, Back story that I’m just now discovering. That sort of thing. Perhaps it is time to also add a list of things I must check for once I’m done with the first draft.

1. Add more weather, but not boring. Use it to create tension. Perhaps tomorrow I’ll determine how I can build up the tension  throughout the book.

2. More sexual tension between Helena and Duncan

3. And so on…

(Can you tell I’ve lost track of the things I was supposed to be keeping track of? Clearly, a list is required…)

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