I had picked What We Did to Save the Kingdom (whose necklace is in this icon) as my next book project, and I had let it percolate and hashed out bits of geopolitics and character relationships and botany and that. And then Deportees showed up and was fun and shiny and blaster-filled...and not at all fully developed. So I wrote a bunch of scenes on Deportees and came to a screeching halt because there were other things I didn't know about it. And then I had to make a choice: to go back to WWDtStK* or to spend time focusing on figuring out Deportees in the necessary detail.
Well. Despite the cajolings of a few space-opera-focused people, this didn't actually take long: I have the full outline on WWD, so I can sit down and get words pretty regularly and right away, rather than thrashing around for several more weeks muttering to myself and not getting much done. And the thrashing around on Deportees can happen while I'm working on WWD, and probably will. So I'm not saying I'm not writing it. I'm saying I'm not focusing most of my energy on it at the moment. Also, at the moment I find it far easier to spot what makes WWD special than what makes Deportees special, and while that doesn't mean that it won't be special later, it just looks like a better idea. Bouncing around from project to project is not the order of the day. Settling into something I can work steadily at for awhile really is. And I think this is it. And if I start telling you it isn't, ask some pointed questions.
Now I just have to figure out how much of the libretto I have to write in verse for the comedy operetta within the book and how much snippets will do. The librettist is a lot of trouble as a character, which should mean the libretto is smooth and easy, right? Right?
Sigh. Yah, I don't really think so, either.
*Locally known as What We Did to Piss Off the Continent because of the above-mentioned geopolitics. Also as the girl-Richelieu novel, the Evil Regent novel, etc.