Pitch Epiphany

Thursday, August 17th, 2017 12:24 pm
lizvogel: What is this work of which you speak? (Cat on briefcase.) (Work)
In my efforts to get back in the query trenches, I'm looking at an agent who has a long and unnecessarily-detailed (yet oddly appealing) submission form. One of the several things she wants, in addition to query and synopsis, is a one-line pitch.

Now, I've never had a good short pitch for Highway of Mirrors. The plot is highly dependent on a lot of character and backstory stuff, and it doesn't reduce down to a sound-bite in a coherent and appealing way. It would be much easier if I was pitching ...And The Kitchen Sink, which I've been known to describe as "a rollicking space-opera adventure filled with everything from ninjas to grues to a cyborg platypus." I'm fond of that pitch; it gives you a good idea right up front of what kind of book you're looking at, and if you want more details, you can always ask.

And then it hit me: That pitch for Kitchen Sink says nothing whatsoever about the plot. You can infer a little about the sort of plot from "space-opera adventure", but who does what where to whom? That's for the follow-up discussion, which is what a short pitch is supposed to encourage. And that's okay, because Kitchen Sink is not a plot-driven book. If you enjoy it, you'll enjoy it for the characters and the settings and the jokes about plural nouns. The plot holds up reasonably well, but it's primarily there as a framework to hang all the other stuff on.

And the same goes for Highway of Mirrors. Okay, not the grammar jokes. But it is not a plot-driven book either; what it's really about is the characters, their interactions, and the MC's ethical dilemma. But popular wisdom declares that you have to talk about the PLOT!!!, so every attempt I've made at a short pitch for HoM has been an attempt to summarize the plot in one sentence -- and not only does that tend to come across as confusing and/or stupid, it does nothing to tell you what makes the book worth reading.

So what do I think the point of HoM is? How about: "A spy on the run from her own agency has to compromise her ethics, her marriage, and even her daughter -- to protect her daughter." That could use a little fine-tuning, but it's much closer to why I care about this story in the first place than anything else I've tried. And if you're the right reader for this book, it might just be why you care about it, too.

April Word Count

Friday, May 6th, 2016 04:25 pm
lizvogel: Good / Bad (Good Bad)
old-mission stories: 65
original short fiction*: 2976
Total new words in April: 3041

*which includes 555 words of the Cinderella-crossed-with-Snow-White-only-not-really novel that I'm not supposed to be working on yet. But when a beginning hands itself to you, you don't argue.

All of which makes it look like the writing's coming a bit easier lately, and it is. Still not up to the productivity or ease I'd prefer, but: I've started a new story (A-to-Z) that I've given myself permission to just have fun with, rather than struggling with the "railroad" story that I was beginning to hate; the fairytale princess opening rather demanded to be written (always nice when that happens); and I got something that feels like a functional beginning to "Adrian Blissfield and the Night Train to Munich" while on the train back from DC. (Now if I can just work on that one without having to travel to another state!)


short stories submitted: 3


No querying done; email's still in limbo, and so's the final-I-hope HoM revision. (Which was supposed to be done in March. Housemate has agreed that we tackle that next weekend at the absolute latest.)


May's goals:

- get HoM finished

- move the email search along. Yes, it's tedious, but it's not that bad.

- sub more. Even if it means getting some new stories brushed up and put into rotation.

Yeah, none of that's writing. But until I get some of that taken care of, I'm too much in limbo to really dig into anything major. Which is why it needs to get taken care of, now.

I'll keep plinking away, of course.

February Word Count

Tuesday, March 1st, 2016 01:18 pm
lizvogel: What is this work of which you speak? (Cat on briefcase.) (Work)
original short fiction: 257
Highway of Mirrors revisions: 1571

Total new words in February: 1828

Better than I expected, and not bad for a month in which word-count really wasn't the point.

I've added a little over 4k words to Highway of Mirrors in this revision pass, mostly in the form of little characterization snippets.


Short story submissions: 6, and queried on one outstanding

At one point, I had everything fit to go out in some slush pile somewhere. They've started trickling back already, of course, but goal still achieved and it was nice while it lasted.


For March: Start writing new stuff again, consistently. Also, read-through of HoM with housemate and revisions as necessary.

Next Thing

Thursday, February 18th, 2016 05:45 pm
lizvogel: Good / Bad (Good Bad)
Oh, yeah, I forgot to mention the revisions are done.

Well, "done", of course. I spent an entire day on the last bit to be wedged in and decided it just wouldn't fit, so have set it aside. When the housemate & I both have some time free in our reading schedules (i.e., after book club), I'll print out two copies, see how it reads all-together for both of us, and then discuss the various bits that didn't fit and whether they're worth what it would variously take to fit them in. And then revise more as needed, though ghu knows I hope that's not very much.

And then I'll have a newly-revised manuscript and a new query, and I'll just need a new email provider so I can be confident of actually getting any replies. I cannot express how much I don't want to do the work to make that last happen.
lizvogel: Good / Bad (Good Bad)
Revision generally comes to me in one of two ways. There's the reading-through of the text, when I come across something that just doesn't ring right or could be better. Those usually aren't too hard to work the new text in (though if something was wrong the first time, there's no guarantee that I can come up with the right thing now). And then there's the snippets of words that come to me when I'm not looking at the existing manuscript, in fact often nowhere near it; sometimes just a line or a phrase, sometimes half a scene of new content. These typically get scribbled down by hand on whatever paper I can reach at the time, and then fitted in later. Sometimes they actually do fit where I'd envisioned them, but more often I've misremembered the existing text just enough that the new stuff has nowhere to go, or crashes into the existing with that horrible crunching sound and shrapnel everywhere. And that's if the new stuff came with a specific spot in mind; just as often it's a bit that I like or that adds something important, and it needs to go somewhere, but I have to canvass the existing text to figure out where. And then comes the roadblock or the shrapnel....

This current revision pass of Highway of Mirrors has had plenty of both kinds. I'm now down to the last few handwritten bits that need to be fitted in, and of course these are the hard ones; the easy ones got done already. There's at least one bit that I really like that I don't think I'm going to be able to use; it would add a lovely oomph to the figuring-out-the-spy-plot part, but there's no way my characters could acquire the information in question -- and making a way would probably require another 20k words, all of which would be a distraction from what the novel's really about. So, no.

One bit is a two-parter; I came up with the perfect way to work in the set-up reference a couple days ago (when I needed to be getting ready for work, of course), and now I need to scan through the later chapters to figure out where the follow-up goes.

Another bit is adding some needed depth to the antagonist's characterization, and that too requires writing a new chunk to fit it into. But in this case, the point in the story where it really needs to go happens to coincide with one of the weaker scenes in the novel. So, as is often the case, put two problems together to create a solution. I'm having to effectively write a whole new scene to slip this into the background of, but I'll have less summarizing and more actual story when I'm done.

Doesn't mean I'm enjoying the process, though. ;-P

January Word Count

Thursday, February 4th, 2016 08:02 pm
lizvogel: Good / Bad (Good Bad)
Highway of Mirrors revisions: 2489
original short fiction: 16
Total new words in January: 2505

I'd have liked more, but wordcount is not the point of revision. And the revisions are going well, all things considered. I've gotten stuck into the plotty bits in the later chapters that I was afraid were a disaster; in fact, they're just... not quite there. With surprisingly small changes of actual text, I'm taking what were strands running parallel to each other and knitting them together so they converge on more or less the same point, which I think may be the difference between a handful of events and a "plot". I'd like to claim that this is what I meant all along -- I mean, the bits are all there, seemingly waiting for this -- but I can't say it with a straight face.

I've also changed one thing from being data that my characters are given, to data that they find out. It's not a big thing (just the code name of an operation), but I think it's having an impact beyond its size, making them seem much more investigate-y and clever.

The characterization tweaks I added to the earlier chapters were things I meant from the start, but now they're actually on the page for the readers to share. ;-)

I'm laughably over my mental deadline, but my deadline was laughably unrealistic -- or rather, I'd figured on a week to do the logic-fix I turned out not to need, and maybe a couple of the easier character-tweaks, and then print it out to review for plot issues and give it to the alpha-reader simultaneously. That's somehow turned into a full chapter-by-chapter review (the chapters out of order, which is an interesting focusing technique) and everything-I-can-catch overhaul, which turns out to be a lot more than I thought I could do without hard copy. Once I've got the last of the currently-handwritten bits wedged in (which have come to me variously over time), and the last of the newly-introduced brackets removed, and the knock-on changes from the above followed through, then I'll print it out for both the housemate and myself to do a full read-through. And then we'll see what we shall see.


Oh, yeah; I also got one short story submitted.


For February: Finish this revision pass and get the print-out printed out.

I'd like to get another short story finished. The idea that spun off from a library presentation on screenwriting last summer recently acquired a half-page of handwritten fix, and the main character now has an actual reason for being where she is. (That one, I think was in the back of my brain all along; it just took a while to get to the front.) That might be a good candidate.

Everything that can be in a slush pile right now, should be.

The email issue remains. I wish I could switch gears better; maybe once I get to the print-out stage of revision, I'll stop feeling like every free day has to go to that, and can catch up on some admin work.

But mainly, the revisions.

...or not...

Sunday, January 10th, 2016 01:14 pm
lizvogel: Good / Bad (Good Bad)
Well, that's embarrassing.

Turns out the logical inconsistency that I've been stressing out about in Highway of Mirrors... doesn't exist. (Short version: It's not the existence of the Sekrit Facility that $character uses his Sooper Spy Tricks to suss out; it's who's there and when. The place itself is officially known of. So it's perfectly all right if said character shows up at said facility later on.)

I'm still digging into the revisions, though. There's a lot of stuff that I think I can do better now, and one or two things that I've never been entirely happy about. (I still don't know what to do about those, but it feels like time to give it another try.) The previously "final" version is backed up in several places, so I can dink around to my heart's content and always go back if something proves to be a bad decision.

Have not yet devolved to spending all morning taking a comma out and all afternoon putting it back in, though I expect that will come. But for now, onward.
lizvogel: Good / Bad (Good Bad)
Oh, god, why did I think I could revise this thing? Someone, please, shoot me now.






No, no, it's okay, really. Breathe. Fix the logic inconsistency, then print out a nice, clean copy and give it a read from there.

December Word Count

Tuesday, January 5th, 2016 12:25 pm
lizvogel: Good / Bad (Good Bad)
I had meant to do some writing on the first, to start the New Year off right. Instead, I got sucked into errands and tasks, and haven't gotten unsucked yet. So it looks like the new year is carrying on true to form. ;-P


So what did December have to say for itself?

original short fiction: 1920

Total new words in December: 1920

Disappointingly low, but then I did give myself permission to go easy in December. Plus, that total represents two completed short stories, both of which were previously stuck, as well as tweaks to a third story which got it to the point that I'm willing to send it out. So actually I'm pretty darned satisfied.


No queries sent, and there won't be until I've found a new email service that doesn't randomly delete messages with the subject line "Re: Query...."


Short stories submitted: 2


So overall not bad, given the limitations and the time of year. I'll take it.




For January: The laid-back approach still seems to be working, so I'm going to carry on not stressing about word-counts for a while longer.

I did finally make a list of all the works-in-progress (credit less to willpower than to curiosity). It was not as traumatic as I'd feared; stories-started-then-stuck made up a much smaller portion of the list than I'd anticipated. And it was useful as a focusing tool. So:

January's main goal is to dig into the Highway of Mirrors revisions. At minimum, fix the logical inconsistency, and sort through the other notes I've accumulated to see what fits where. It may be worth trying to recruit fresh betas between the logic-fix and any emotion-conveying revisions. (Psst, hey, anybody wanna read an old-school-inspired spy novel with a complicated-romance sub-theme?)

Stretch goal: Finish a short story (probably "Measure", the one that needed the railroad research).


Carry on submitting stories as opportunity presents.


In a writing-related vein, get going on the email research. I've been concentrating on cleaning out my existing accounts, and not that that doesn't need to be done, but that doesn't have to happen before new accounts can be test-driven. And too much is waiting on having new accounts established.
lizvogel: Good / Bad (Good Bad)
I considered doing a round-up of all my works-in-progress (or should-be-in-progress), but it would probably just harsh my mellow. And I'm feeling pretty good about writing these days. In the past few weeks, I've finished a story that was doubly-stuck, on what-happens-next and on an indecisiveness of tone ("A Cold Day In Spells", for the record); finished another story that's been an opening in search of a story for about eight months (not sure "Dinosaurs Taste Like Chicken" lived up to the promise of the opening paragraph, but done is still good); figured out the vital Thing to un-stick the Mars novel; and, just recently, found the tweak to take a story that's been in not-quite-right limbo for several years from "this needs something" to "this could go out now" (and hit Send on it today).

(Writing is cool. Also weird. What that story's been waiting for was a better punchline. What it got instead was a line or two of character-reaction just before the end. While a better punchline still wouldn't hurt, what's there now works, because the earlier tweak refocused attention on the characters, and now the existing punchline means more. I was startled.)

And perhaps the best bit of un-sticking, which I am intermittently giddy about, is something I thought of yesterday for Highway of Mirrors. I haven't talked much about it, but my last round of revisions introduced a small but significant inconsistency. It took me an unconscionably long time to realize it was there, and once I did, I didn't have a clue what to do about it. And it's been really bumming me out. But this new idea not only doesn't involve either cutting the clever bit in Chapter 4 or mutilating the new scene in Chapter 10, it may even introduce an additional cachet of ominousness (ominousity?) to the central story issue. And it's a fairly small tweak (not that those can't be as hard to wedge in as larger changes). I still need to ponder it to make sure it'll work (and won't inadvertently introduce a new problem), but the prospect is making me excited to have another go at the manuscript, whereas before I wanted to pull the covers over my head and not come out.

So, after a year of mostly poor productivity, things are starting to look up. And that's enough of a round-up for me.
lizvogel: Good / Bad (Good Bad)
Coming into Chapter 2 of Falling From Ground, I had the problem that I was looking at a giant unrelieved block of navel-gazing. Some of that's inevitable and even appropriate -- the MC's got quite a mess inside his head that he needs to sort out -- but there needs to be something actually happening, too, as leavening. And so when action starts happening that is related to the mess, in a few chapters, it won't be too much of a change of pace.

Went out to dinner with the housemate and tossed the problem around, and now someone's following him. Don't know who or why, yet, but that's okay. But the words still weren't happening. I'm coming up on end-of-month, and despite having sailed well over quota last month, I'm looking at a hell of a push to make word-count this time.

This is incredibly frustrating and more than a little scary. Beginnings are supposed to be the easy part! But then I got to thinking about the Haley novel, and how I had to re-research Zurich three times. And most of the messing-about-in-Zurich stuff is in the earlier parts.... So I checked my notes:

It took me five months to write Chapter 2 of Haley.

And something like nine months for the second chapter of Highway of Mirrors, though there's some first-novel learning-curve there. Which means this isn't a sign that this novel is going horribly off the rails, or that even the easy parts will be hard and nothing will ever be easy again. This is just part of my process.

It makes sense, when the enthusiasm for a new project meets the tedium of actually making it happen. And it's not necessarily a part of my process that I have to keep unaltered; I still want to make quota for this month, if I can. And I don't think the lull is due to any back-brain work that needs to be done: I can still generate world-building at the drop of a keystroke, for example. But it's useful to know that this is a thing I do, and right about at this point in a new novel, pretty consistently.

Now, get back to work.

Getting Into It

Friday, August 8th, 2014 09:26 pm
lizvogel: Good / Bad (Good Bad)
Back when I was writing Highway of Mirrors, my characters pretty much took over my brain. I was living, breathing, and sleeping in their head-spaces, to the point that I started taking my coffee the way they take theirs. (This wasn't so bad with the character who drinks hers the way I always took mine anyway, but it was a bit jarring when I suddenly switched to the fellow who takes his with milk, no sugar -- yuck! Except it wasn't yuck; it tasted just right. To this day, I can't answer coherently when a waitress asks me if I want cream and/or sugar with my coffee, because I don't know until I taste it who's mind-set I'm drinking it from.) This was occasionally entertaining to watch, I'm told, and more than a little disconcerting from the inside, but it meant that when I sat down to write, I could drop into the character's point of view completely and effortlessly with no preparation whatsoever.

And I realized recently that that's what's not happening with Falling From Ground. I've been spending a lot of time with the world-building; Mars is shaping up to be a fun place, for definitions of "fun" that include a certain amount of evil writer cackling. But I haven't been getting into the main character's head-space at all, to the point that I'd even lost sight of one of his major characteristics that, while it becomes a major focus later, needs to be at least hovering around the edges right from the start.

There are reasons for this. Not least is that his head-space isn't a very pleasant place to be. I like to think that I've achieved some contentment with my life in the last couple of years, and I'm going to have to shatter that to really get inside this guy's head. Bluntly, I don't want to go there. But as one of my favorite exchanges about writing puts it:
"It would hurt like hell."

"What would that matter, if it made a good book?"

There are other reasons. I'm effin' tired, and emotional engagement takes energy. There's the usual new-novel inertia; the same force that pushes for completion with 60,000 words behind it makes getting started a challenging proposition. And there's probably the fact that I've been taking a caffeine break for the past two weeks (it was either detox, or start buying Red Bull in larger cans). That last, at least, will be over in a few more days, and it may be that this effort will have to wait until I've had that first, sweet, much-desired mocha.

But as for the rest of it... the only way out is through. I'll just have to suck it up and do it, and warn everyone around me not to take any weird mood changes personally for the next few days. And do my best to compartmentalize it all, of course, so that I can step back out as needed, which will be an interesting exercise given that writing a novel is pretty much a road-map for obsession. Ultimately, it doesn't matter if I Don't Wanna; there's a book that needs to be written.
lizvogel: Good / Bad (Good Bad)
Saw Mary Robinette Kowal's local book-tour stop Tuesday night. It was an excellent presentation, and jam-packed. (Puppetry! Books! Regency dressmaking! I don't believe the woman sleeps.) Both Without A Summer, which I haven't gotten to yet, and the fourth book, out next year, sound like they're going to be a lot of fun.

Afterward, I had a chance to speak to her briefly about pitching. MRK is something of a genius at this -- seriously, "Jane Austen with magic"? How great is that? Four words, and you know exactly what you're getting into. I'd been hoping she might be talked into doing a pitching workshop at a certain upcoming convention, but alas, it is not to be. She did kindly take the time to offer some advice, however. She made some good suggestions, among which was to focus on the "gee-whiz" factor, the thing that made me excited about the story. This is advice that I've heard before, and for various reasons it doesn't apply. In the spirit of showing willing, however, I gave it another try, and may have at least figured out why this excellent suggestion doesn't get me any forwarder.

See, the other common advice for pitching/summarizing is to practice with other media, books you've read or movies you've seen that you're really excited about. And I'm terrible at that, too. Seriously, if you ask me about, say, The Avengers movie, what you're going to hear about is how there's this great fight scene with excellent use of small-unit tactics, and Cap showing actual leadership and personnel management skills by tasking each of his team members in ways that play to their strengths.... are your eyes glazing over yet? What you're not going to get is any idea of the plot, or any kind of overall impression of the movie -- not even any notion of what kind of movie it is, beyond the kind that has a really cool fight sequence in it.

And in trying to pitch Highway of Mirrors, I have much the same problem. Thinking about the things that got me excited about writing the book, I come up with (1) the theme of conflicting loyalties, and what happens when someone tries to stay loyal to multiple forces that are pulling in different directions, (2) the idea that two people can look at the same evidence and come to different conclusions, without either of them being evil or stupid, and (3) the moment when the main character realizes that in order to stop the bad guy, she's going to have to run her own daughter as an asset -- in short, she's going to have to do the very thing she's been fighting all along to keep him from doing. The first two are thematic matters, much too vague and generic to use in an elevator pitch. And the third is back to the same problem that I have in trying to pitch The Avengers, an isolated scene that gives you no sense of what the rest of the book is like, and that probably loses a certain amount of its own impact in isolation.

Now, I'm not completely hopeless; in talking with the housemate, I've figured out that I can probably pitch ...And The Kitchen Sink as "the Avengers in space", though I do have to specify that I mean the old British TV show The Avengers and not the superhero movie. But Kitchen Sink is a much simpler book; it's a fun, quirky sci-fi adventure, not a... well, if I could describe Highway of Mirrors that easily, I'd have half the battle won. The basic scenario of Highway of Mirrors just does not readily reduce to a pithy sound-bite. It doesn't help that the concept is one of those things that could either be really cool or really stupid, depending entirely on how it's done. I've yet to come up with a means of conveying that I've done it the really cool way, which means that my pitch generally leaves people attacking the concept instead of asking follow-up questions. Not fun, and not useful to me or anybody else.

So, how about you, oh reader? When you're telling somebody about a story with the idea of getting them to read/watch it, what bait do you use?

lizvogel: Good / Bad (Good Bad)
Finished de-bracketing ...And The Kitchen Sink yesterday! It didn't even take the all-day marathon on the last day that I was dreading; in fact, the last twenty pages or so fell down with barely a push. Seems the farther I got from NaNo, the less bracket-happy I was.

March's goal round-up:

De-bracket Kitchen Sink - Done.

Add sub-plot & other fill-ins to Kitchen Sink - not done. Originally these were the same goal, but I wanted the de-bracketing done before starting the sub-plot, and the one held up the other, so I'm counting them as two for current purposes. I was going to feel really bad about this (it's been on the goal list for two months now), but the de-bracketing turned out to be such a huge enough chore that I'm actually totally okay with getting one of the two done.

Finish the Highway of Mirrors synopsis - Done.

Query at least one agent - Done, and done again for good measure.

Do some writing, even if it's just fanfic - Done. My unofficial quota for this was 5000 words or the first "episode" of the current Doctor Who WIP, whichever came first. I finished the first episode, clocking in at 1928 new words. Works for me.


For April:

- Finish the sub-plot and related elements in Kitchen Sink. Yes, finally.

- Continue querying. At least one agent a week, I'd say.

And two goals that aren't writing, but are vaguely writing-related:

- I need a writing-related userpic. My Good/Bad meta 'pic is getting way overused. I have the idea, I have base pictures, I just need to put in a couple hours of dinking with graphics.

- Get the car seen to. I've been putting off what I suspect will be a rather expensive repair, which has been fine for the past few months, since even my day job rarely involves leaving the house. But if I don't get it fixed soon, it's going to start interfering with my ability to go to conventions and conferences. Which are a writing-related activity, which makes the car a writing-support issue, if you squint at it the right way. ;-)

lizvogel: Good / Bad (Good Bad)
Last week(s): Queried, got rejected. This week: Queried again.

Today: Crossed several agents off the list due to questionable business practices, attitude problems, or reps for unresponsiveness, and one for entirely legitimate things that made them not a good match for me. It's good solid work that needed to be done, but it's not leaving me feeling productive. I was hoping to get another query in the ether today; instead, I'm feeling discouraged about finding enough agents to query.

Which, wait for it... wasn't supposed to be the hard part. Oh, yeah; slogan for the whole process. Marching on anyway.

The Voters Have Spoken

Wednesday, March 20th, 2013 12:25 pm
lizvogel: Good / Bad (Good Bad)
The Backspace contest winners are posted!

It's been interesting watching this contest mutate; first, it was popular vote only, then it was half popular vote + half a panel of pro judges; the announcement date shifted from the 17th to the 20th; and now there are two partial winners as well as the initially-promised three. It would also be interesting to see the math behind the scenes, as the final results don't have much correlation to the popular votes.

As for my own results... oh, well. It was good for exposure, anyway. Congratulations to the winners; I hope they have a blast at the conference!
lizvogel: Good / Bad (Good Bad)
I have queried!


Now, do it some more.

Voting deadline

Thursday, March 14th, 2013 10:41 am
lizvogel: Good / Bad (Good Bad)
Polls close tomorrow for the Backspace “This Manuscript HAS to Become a Book!” Scholarship Contest. If you haven't voted yet, now's the time!
lizvogel: Good / Bad (Good Bad)
Voting is now open on the Backspace “This Manuscript HAS to Become a Book!” Scholarship Contest. The top three winners get a free registration to this spring's Backspace, which is a seriously non-trivial chunk of change.

Long-time readers of this journal might notice something familiar about one of the entries, round about, oh, #58 or so. ;-)

I'm still working my way through the last-minute entrants, but so far there's the usual range of quality -- which means that while there's a lot of 'meh' and a few, um, really no, there's also a few gems that wouldn't be out of place on bookstore shelves. Polls are open now 'til March 15. Go, read, vote.

Tag, You're Not It

Friday, March 1st, 2013 06:51 pm
lizvogel: Good / Bad (Good Bad)
One of the challenges of database design is not just accommodating current needs, but anticipating future ones. I'm good at doing this most of the time, but most =/= all.

Tags are a database. And there are some things I'm still talking about that were tagged a certain way for reasons that no longer apply, or that I no longer want to think about in that way.

If you reached this post by following the HoM tag for Highway of Mirrors, you'll want to continue with the niay tag.

If you reached this post by following the Haley novel tag for the as-of-this-posting-untitled Haley novel, you'll want to continue with the novel 2 tag, which it was before I finished something else first. ;-)


(And if you're reading this on LiveJournal, you'll have to find those tags yourself, as the links point to Dreamwidth. And if you're reading this on Dreamwidth and want the niay tags prior to May 2nd, 2009, you'll have to look on LiveJournal. Platform changes, bleargh.)

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