Titanic Ramblings - *novel at 275 pgs! or 71,175 wds

You're not gonig to believe this. I am having so much fun writing Curse of the Titanic that I can't waste to get back to it, and that's when you know you're on the right track. I suspect Elmore Leonard, Dean Koontz, Mary Shelley, Michael Crichton, Tess Gerritsen and well you name it would agree. If your having fun with it....keep doing it. That was the advice science fiction author of many years ago, Clifford Simac said to me word for word. Koontz once advised me to "slow down, son...you don't do your best work till you turn fifty anyway!"

Well I never did slow down but I do feel I am writing at my personal best these days.  My City for Ransom trilogy I felt was my best stuff...then I yanked out a manuscript that had been gathering dust and rewrote it for like the fortieth time...my magnum opus -- Children of Salem...felt it was my best work to date.  Now am working on this novel with its Titanic breadth and feel it is my best work to date....

I guess I need to believe that with each book I am improving and doing my best work, wouldn't you say?  Frankly, I think every author at whatever level he or she is working in terms of skill and experience is working at his level best. This is why, as an editor, I can always find something good to say about any manuscript (well almost).

Did you know I have a tendency to ramble? I also like to use my own work as examples here and in my Dead On Writing book from Wordclay and Kindle, paper and ebook respectively. Critics--well two reviewers who read and put the book to use loved it beyond words, while a third reviewers detested it beyond words. It is all subjective but if the guy didn't like it then why not just return it for the 1.99 it sells for; why harp on what he thinks is wrong with the book? In some demented way it seems a lot of amateur reviewers get a real kick out of kicking an author, a psychological feeling of superiority. And he thinks I like the sound of my own voice (well I had better to create a voice, a consistent voice for each of novel one writes.

In point of fact VOICE is the single most definitive element that defines one's style; we soak up stylve via the authorial voice.  Bear with me, as we write and rewrite we aim for more and more CONSITENCY of VOICE. We want a voice that does not break with the bond established, a subtle bond between the narrative flow and the reader's ear.  I like to think what I am searching for in a narrative voice for a given novel is the authorial voice...the authentic voice for this story. Authentication of sound of the bell you want the story to ring. It has a lot to do with the noise maker you choose--or if you will, the character of your narrator.  For instance imagine big James Mitchener relating a dark Noir tale; switch over now to a Fess Parker (Davey Crockett) telling a story, change gears and imagine a tale told by a one-eyed Troll. What will be the center line or consistent level of each speaker's voice? Once a young writer discovers this truth, she can excel and indeed fly.

I swear it is the chief secret of all secrets writers don't know how to keep secret and shouldn't. I began writing in the voice of Mark Twain, a little novel I shaped via research and imitation of Twain entitled Daniel & The Wrongway Railroad. I did another YA years later, Gideon & The Siege of Vicksburg for which I had to find another voice.  I chose the voice of historian Shelby Foote but at the time did not know it (seeped in subtlely). So whaat VOICE are you fishing around for?

Now about Curse of the Titanic, I am extremely excited as it is going along quite smoothly; I have both stories rolling well, and the Past Story is in one consistent voice, and the Future Story is in another voice but both are consisted for the authorial control both exhibit. I think that is what I mean...but that is part of it too....finding the right authorial even stentorian voice for the story you wish to tell. The range is endless but as with all writing how do you know what you want until you SEE what you write...then reread, then rewrite, then more reading it over again and rewriting further (more) and extending your command over the voice and your flexibility with this too oft described nebulous matter.

It's not so mysterious as some make it out to be, not really. But it is hugely important and all else hinges on it. You find the voice and you can plug into it anytime anywhere with ease like falling into an alpha state.

Ransom's story in 1912 is told in my most compelling voice with an intent toward finding mystery, intrigue, cliffhanger endings--all told in a controlled manner and taking as much advantage of the speech of the times as I can, remembering that Dialogue Lines belong not to the narrator but to the characters.  Dave Buckland's 2020 story is told in the most compelling voice with an intent toward mystery, intrigue, cliffhanger endings (or ditto) -- all told in a separate but equal controlled manner while taking advantage of speech patterns of today and tomorrow, remembering that Dialogue Lines belong to the characters, not the narrator.

When I wrote my first novel it was carefully controlled in another manner, point of view--ONE single point of view -- Daniel's. This is a lot easier to control than multiple POV but I worked up to multiple through single. Today I challenge myself with duo stories going on at once and my challenge is to make the reader want to get back to whichever story he is not in at the moment! I personally never want to write the same book twice, not even in a series, so I find ways to challenge myself and my writing fingers.

It is true -- Curse of the Titanic is at page 275 and that means just over 71,000 words, which is super. I am bearing down on 300 pages. Most of my books come in at or around 400 but this one is moving so fast toward a conclusion in both parallel stories that I think I will be ending it somewhere around 350 pgs. Besides if I am to make my goal of a good, solid rough draft by mid-May, I want to bring it to an end as well. But I don't want to rush it or make it feel rushed or abruptly ended. If I do that some critic or reviewer will nail me for it. If need by the deadline will be extended before the book is rushed. Stay tuned. I am soon going to be asking certain people interested to READ and comment and edit if they like--fix me! Let me know if you'd be interested in being among the first to put eyes on the Titanic...or rather the Curse of the Titanic - a novel that asks the question if Michael Crichton were aboard the Titanic what then?

Hope to see you on Facebook, Twitter, and around the net
Till next time--
Rob
http://ning.it/bfYij4

Contest to Name my Next Book ongoing/Hit page 100

Want to remind everyone that a free hardcover edition of Dead On is yours, signed...signed by moi....for a mere comment left here on a better title than mine, PlagueShip Titanic, my working title which I am not so happy with....Also the winner gets his or her name IN the novel on the acknowledgment page for Naming the Novel. That's a double win!  Competiton is so sparse anyone might win at this point!  Keep those comments coming in; contest rules - there are none!  It is that easy!  Contest continues throughout March and if nothing better comes through the door it may be extended but hoping NOT.

Now as to progress on the novel; I have recreated the lost pages from memory, and while not word for word, I have the scenes back and intact. Happy camper but it still took a chunk of time to rewrite from my head!  So I am out a couple of weeks and due to the slow start am behind a month so must annoounce now that I am not going to make the first deadline of a rough draft in three months.Darn it's going to take four at least. I am so pleased however with the way it is going that I forgive myself.

It is not unusual to have rocky road problems at the outset of getting a novel underway, getting those first scenes--establising people, places, and issues or themes down on paper; it is why we call it a rough draft. The real work comes in rewriting these opening scenes until every pore in your body is shouting YES, that's wha I'm talking about! Hitting page one hundred has that effect on me.  Getting to that first hundred in writing a novel tells me the book can and will get done.

I was right to interweave the Past story chapteers with the Present story chapters sooner as it helps to compel the pace along for each separate storyline. First time around, I had two chapters opening with the Past story followed by two chapters of the Future story (or modern day tale). But giving it further thought, I deicded to tighten and cliffhang each storyline better by alternating chapter one then two, followed by three then four.  Past, Present, Past, Present - like that.  It has a much faster pace as a result and hopefully, the new balance will appeal to readers. I think it will; hope so.

This got me thinking along with the fact I began writing new scenes before recreating the lost ones from memory; got me thinking how most novels are written NOT in this manner. First you have the two storylines coinciding right alongside one another, and most importantly, I began writing scenes out of timeline as they do in shooting movies. I found this a challenge. I know I want that scene but have not written the previous one yet. Tricky and I know I will have to go back and read from the beginnnng up to this point to be sure I have not flubbed a lot of things that could be flubbed working out of chrnonological order. I hope my characters will all support me and be sports about how erratic the writiing is going so far, but I have every confidence in them. 

I am happy so far with the characterizations and the plot; I work hard to make plot and character involved with one another. Like most of my books before this, I am dhallenging myself to do somethiing fresh and new as I am not interested in doing the same book over and over, using same formula, even in series work. I want my characters to grow, change, react as well as act. I am so happy too to be working again with Inspedtor Alastair Ransom despite his fall from grace and using an AKA and hiding out from certain authorities.

A gtreat deal  more dialouge has been added, and pages are building, but there is a great deal more to go. Best get back at it. Any questions, suggestions, comments please add a suggestion on the title. To get ideas for the title think Titanic...doom and gloom, a plague aboard, karma,  Meanwhile, I will keep working on the worldview and mindset of each of the characters.

Thanks and happy writing - latest Kindle titles are Killer Instinct and Aftershock!

135 ebooks with my name on the covers have sold this month at the Kindle bookstore. If you are one who has purchased, please consider doing a review of the book on Amazon.com; you would have my undying gratification (for what that's worth!)

Chicago Tribune gives it up for Shadows in White City

Disclaimer:  THIS is a Re-Posting of one of Dirty Deeds Earliest posts:

Turning my blog over to this marvelous review garnered for my latest
exciting installmetn in the Ransom Series -- sequel to City for Ransom,
the April-May release of Shadows in the White City...enjoy the review:

"Shadows in the White City," the second novel in Robert W. Walker's
historical mystery saga featuring tenacious Chicago Police Inspector
Alastair Ransom, can be likened to getting sucker-punched in the
face with brass knuckles: It's shocking, unrelentingly brutal and
guaranteed to leave an impression.

Walker, who grew up and still lives in Chicago, deftly mixes
hard-boiled mystery and meticulously researched historical fiction
with a hint of horror to create a wildly entertaining series.
Set in 1893 Chicago during the World's Fair, Walker's novel shows us
a world of extremes: In the midst of one of the most socially and
culturally influential events of the century, an almost-mythical
cannibalistic butcher nicknamed the Leather Apron haunts the Chicago
underground, preying on homeless children. But when the short-tempered
Ransomï¿ whose investigatory methods are far from by-the-bookï, closes
in on the mysterious killer, the identity of the human flesh-eating monstrosity
turns his world upside down. "Shadows in the White City" is historical
mystery at its best."