I don’t make New Year’s resolutions because I have enough opportunities to flagellate myself year-round without the added pressure of being aware I haven’t lost twenty pounds in two weeks, am more likely to be killed by a terrorist shooting lightning bolts out of his fingers than I am to get married,* and my chances for winning an Edgar Award are slim to none. In addition, in our gotta-have-it-now society, it’s easy to think if you don’t succeed in the first month, you might as well give up for the whole year. A few years back, I decided it was better to set goals than to make resolutions, and ‘they’ say it’s actually better to set concrete goals with discrete steps than to just say, “I want to lose a hundred pounds”, but it still didn’t spur me to actually meet the goals on my list. The last week or so, I’ve been thinking a lot about missed opportunities this year, and I’ve decided to revisit the idea of setting goals for next year. Some of them are concrete, such as losing weight (or inches in my case) and publishing a novel, but others are more nebulous like setting better boundaries and not being so hard on myself.
I’ve been reading some of my unfinished (and finished but not completely edited) novels, and they’re pretty good. They’re unique just by the dint of the protagonists being Taiwanese American bisexual women** like me. Toni Morrison said:
If there is a book that you want to read, but it hasn’t been written yet, you must be the one to write it.
This is why I started writing prose in the first place, and I resent anyone who tells me that my writing is too niche or that I shouldn’t always write about Taiwanese American bisexual women.
But I digress. My point is that my novels have some value just because my protagonists are not ones you see every day or at all, really. Beyond that, my writing is solid. I write mostly mysteries, and I have a good sense of pacing and characterization. My dialogue is pretty spot on, and I’m really good at planting false, but believable clues. I’m weak on description–I hate scenery with a passion, and I sometimes bog down my writing with too much minutia. Still. I find I can breeze through one of my mysteries and still be engrossed in it. I’ve also notice that I’ve been writing different versions of essentially the same story for several novels. I’m currently working on two different trilogies–I like trilogies for some reason–and I’m trying to decide which one is better. Also, more palatable for a wider audience.
When I write a trilogy, I usually have some idea of the second and maybe the third as I near the end of the first, which is good because I can then go back through the first novel and plant seeds for the second and third. When I write a novel, I have the general outline in my head before I even start writing. Mostly. Usually. I don’t outline on paper because I find it to be a waste of my time. If I’m going to write something down, it’s going to be the actual novel. I usually know who the killer is from the very start, though I have changed the villain in a novel once or twice while writing it. Lately, I’ve been toying with the idea of having a different protagonist for each novel in the trilogy, and in an earlier trilogy, I was going to kill off the protagonist of the second novel.
