Lots of movies and video games these days are being remastered and rereleased; the games industry is especially notorious for dusting off and rereleasing older titles because lack of creativity and originality and risk. I figure why not jump off that bridge too, eh?
I jest. Mostly.
The truth of the matter is that I released my first book too early. I pulled a CD Projekt Red move before that was even a thing, though to be fair at the time that was more like a Bethesda maneuver. I have talked about this in previous blog posts, but to reiterate, back in 2016 I was in a position where I didn’t expect to see many more days in my life, and I was obsessed with at least leaving something behind, a legacy. I was desperate to make my then-girlfriend and my family proud. I had something to prove to myself, which I then externalized to an unhealthy extent.
That’s a fanciful way of saying that I freaking rushed my first novel out the door too fast. Year 200’s basic foundation was solid and of course I fell in love with my characters, but I did not spend enough time on polishing the work, and especially I did not dedicate enough time to ensuring the work reflected my true creative voice. This is why I often mention that the sequel, In the Baron’s Shadow, is where I found my author voice. In that work, I had shaken off the overly enthusiastic and excessively quippy narrative tone I had previously adopted for blogging, and moved away from relying on the cliches and similes that are all too often used as crutches for beginning writers.
So then, I may be playfully calling this a remaster, but in reality this is an almost complete rewrite. The plot and character dialogue will not be altered, because I don’t believe in altering published canon (see the term, “Lucasing”), however the entire structure that the story, characters, and their interactions live upon is being rebuilt from the ground up. In addition, with this second crack at the story, I am going to be able to add back in elements that I cut from the original draft because at the time I felt I lacked the skill to implement them without killing the narrative flow.
For an idea of how this will look, here is the first paragraph of the book.
“Out in the fringe of the Solar System, two hundred years beyond Terra’s death, there was an aberration: a silent, star-lit field pierced in an ungraceful manner by a metallic human construction. The overworked, underpowered shuttle sputtered across the expanse, struggling to stay on course toward the blue orb in the distance. The passengers’ fragile hope of making it to their destination alive was wounded by a collision between the shuttle and a hunk of debris.”
And now, rewritten:
“It was quiet in this pocket of the Outer Solar System. That was, until an aberrant perturbation caused a relative ruckus. It was an overworked Type-E passenger shuttle, freshly caught by Neptune’s gravity. There was nothing in the vacuum to transmit the creaking inside its bulkheads, nor the crackling of sparks coming from its overloaded circuitry, but it made up for it with a wobbling, visual commotion and plenty of fresh interference to filter out in comms traffic.”
It is a short sample to pick up on this to be sure, but I’ve done away with the attempts to be overly cute in my narration, and have dialed back on the character descriptions and perspective-distancing titles that, to be frank, I ripped from games such as Borderlands. The final product will be a story that will at last be able to stand by its younger sisters, In the Baron’s Shadow and Lunacy.
More details to come on this and my other two aforementioned writing projects in 2021.