Yes, after two years of implementing a system of writing 1000 words a day on a new book while editing a finished book, my schedule fell apart due to several factors, most of which I’ve already talked about on this blog. Some parts of life I never discuss because they involve dragging others’ private lives onto the internet, which I do not do. Lately, I’ve been ungenerous and have had thoughts such as “If [unnamed person] wants to behave badly, why should I hide the behavior?” It’s a natural attitude to develop over the years, especially for people who operate in the world as “reasonable and agreeable.” They lose patience after about age forty. As a writer, I document the world around me, AND I’m over forty — so far over forty I’m almost fifty.
Be that as it may, I place great value on respecting privacy. I want my space respected; therefore, I give space to others. That means only talking peripherally about people in my life on this blog. This is a book update, however, and part of my update is creating a journal of my life as a Catholic church secretary. It certainly has its intrigue for me, as someone who loves history and minutia. The interactions with church people are also endlessly fascinating to me, and I want to document them before I lose them to my bad memory. Hence, my first update is that I’m writing a journal of my job. I will not publish this book during my life, unless I live for forty or fifty more years. Instead, I’ll leave it in my will to my children or husband to publish for me. What I’m admitting here is that I’m spending a fair bit of my time writing a book that isn’t meant to go to market anytime soon. That is the primary reason I will never be a bestseller or popular in my time. That’s okay. I’ve lost hope regarding that, anyway. Or, as Eeyore would say, “If I ever had any hope, which I doubt.” I’m not Eeyore, thankfully.
That is why I’m still hacking away at the three other books I had been working on before these many life changes. They are, in the order that I had planned to publish them, as follows: my breakdancing Albuquerque cyberpunk I was calling, depending on the day, either Breakin’ Good or Breaking Lo Malo (yes, I know it’s an obvious joke); the Roswell PenTriagon alien sequel, which has no name as of yet; and my gothic ghost story, which was to be called something like The House of Redheads.
What about now? How are these books coming along? I’m so glad this was the pressing question in your mind! Let me tell you what has happened to my books. The breakdancing novel was near completion at around 150,000 words. Zoiks! I couldn’t bring myself to complete the final edits, either, because I had the distinct impression it had gone off the rails. When I read it over, I found it readable and intriguing. I could still pull off that lengthy version of the novel, bring it all together with some better editing and a stellar ending (the final scene was still lacking). But it wasn’t my original vision, which was to be like an eighties’ dance movie. The other books are still sitting pretty the way I left them, but this one I’ve started over again. Yes, I started it over. I could shed tears over the wasted hours, but I won’t. Instead, I’ve been rewatching the old breakdancing movies that inspired me to begin with. Watching the movies is, after all, easier than doing the hard work of typing for an hour every day. By the way, I have taken that up again, now that I’m no longer taking the freelance tutoring and editing that took up all my hours after work.
There are three seminal movies in this genre: Wild Style, Beat Street, and Breakin’. Breakin’ has a sequel, but it’s so much like the first movie in style that I’m not going to discuss it here. Wild Style and Beat Street almost operate as documentaries of eighties’ hip-hop culture in the Bronx. The first one is gritty, dark, and rated R. It is a worthwhile watch, though, because it boasts the actual famous graffiti artists Lee Quiñones and Lady Pink. It has everything: mixing, graffiti, and breakdancing. The same is true of the second movie on my list. The essential difference with that one is its PG rating. It’s a clean film unless you’re offended by bad language. In the early eighties, apparently, the F bomb didn’t merit an R rating. I find it to be a fair rating, on the other hand, because the movie doesn’t have nudity or sex, and there is one short fight scene between two graffiti artists. That is to say, it’s not a violent film, either. Both these films are very light on plot.
When we get to Breakin’, we leave that gritty Bronx documentary style behind. Dance movies are supposed to be goofy and fun and culminate in dance battles between rival groups or gangs. Right?! I love dance movies for their goofiness. I love dance movies because they are basically musicals with the emphasis on dancing instead of singing. I also really only like dance films that are clean. That’s why Flashdance isn’t a favorite of mine — the directors wreck the fun by introducing a tawdry sexual relationship and from what I remember, with all manner of steam and saxophones. Breakin’ is PG and takes the breakdancing world to the sunny, blue-skied world of LA. The ghetto in this series of films has tiny old houses rather than burnt out tenements, and the audience only deciphers that it’s the ghetto due to the graffiti. The focus is on dancing and goofiness, and the characters — the protags, anyway — are community oriented. For example, in the second movie, the plot goal is to save the community center where the local poor children can go to take dance and other art classes so they aren’t left to their own devices on the streets.
Breakin’ is how I imagined my book, except that it’s a murder mystery that takes place in a futuristic utopia version of Albuquerque. It’s The Minäverse world but set farther in the future. I don’t know where or how I lost the plot on the goofiness when writing it. It’s my proclivity to do deep characterization, and in this book, I also did a fair amount of unnecessary worldbuilding. I suspect that’s where the goofiness went. Oh, and another btw, I lost the goofiness in my first book, Anna and the Dragon, from first draft to last. I never want to make that mistake again — all of it based off reader response that I needed to even out the tone in the book. Was it a weird comedy, or was it a serious and somewhat dark novel? In my opinion, I took the wrong path with that book. It could have ended up as a dark comedy. But hindsight is 20/20, as the saying goes. And at the time I still cared about editor/critic/betareader input. I wasn’t past forty at that time and was still trying to play the game, in which I pretended to care what readers think about my books. Honestly, I have a difficult time forcing myself to care, anyway. Readers tend to not know what they want or need until a good author brings it to them; that’s why novels are called novel. Without authors starting trends, people gravitate toward what is most common and bland — what is sold to them and what they’re used to. That’s why people listen to bland music, too. The music execs spend a lot of time and money creating bland music, and it’s not until an indie artist off YouTube makes something unique that audiences realize that was what they always wanted. The publishing industry is the same, except they are mass producing politically driven propaganda. It is only indie authors who publish freely, the good and bad and everything in between. I don’t know if I will ever be the kind of writer who is good enough to guide tastes, but I’m certainly not the kind of writer who follows after industry-created reader tastes.

