pouring-cement1-cropThe construction crew for the Janey II is done with their major drilling work, and so am I…pretty much. I’ve finished most of the foundational research for both halves of Book Three: Istanbul in the 1500s and Portland in 2059. I’m still having a few heart-to-heart “discussions” with my main characters, but that’s for another blog post. This one deals with a foundational part of Book Three that I want to be solid, solid, solid. The prologue.

Look at all that rebar. Look at all those braces. Look at the giant hose pouring cement. That’s how solid I want the prologue to be. It’s in at least its fifth version now, and I’m still not satisfied. That’s why the Viva Scriva critique group will be reviewing it yet again this week. See all those construction workers? I imagine them as my Scrivas: Addie, Amber, Liz, Melissa, Nicole, and Sabina. Have at it, ladies!

I also shared the prologue with another bunch of writers (yes, I am currently in two critique groups). I call them the Liz Group. Liz calls them the Downtown Group. For the record, they are Nancy Coffelt, Ellen Howard, Barbara Kerley, Elizabeth (Liz) Rusch, and Emily Whitman.

Why all the fuss? In this book, as in The Ninth Day, the prologue happens just before the main story begins. It sets up the key problem in the story and is the only time that I’m not writing in the voice of my main character. It’s the foundation of the foundation. Eventually I will have written the entire manuscript. Will I then go back to the beginning and scrutinize the prologue once more? You can bet on it.

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