I am now 26,000 words into this draft of Impossible Takes a Little Longer. I’m wondering if I’m doing it right.
This draft is a big improvement because I relocated it to 1983 and that was definitely right. A lot of the worldbuilding makes much more sense if things happen in the 1980s — the Stardians and Un-Things occupying part of Dallas will play out better if they’ve only been there twenty years. Also the changes to the timeline are more manageable if I shave 40 years off them. They’re also closer to the real timeline which makes them more interesting — when it was set in the present, everything was far more unrecognizable. And I can make better use of pop culture references, such as the 1980s comic book Thriller (almost nobody remembers it, but it has a role to play).
Looking at the first 26,000 words, however, I’m thinking about a critique someone in my writing group made about the previous draft. The early chapters spend a lot of time on KC’s social relationships and unless that pays off down the road, it’s too much.
It does pay off. What happens to Skeeter Powell and Sarah Wyzbecki is vitally important, and I need to establish them as KC’s friends before the crazy stuff happens. And some of the discussion sets up themes that will play off later — violence, compassion, doing the right thing, empowering others, etc.
That said, it still feels like I’m taking too long to get to the meat of the story, the looming threat. It’s out there and KC has already had a couple of intense battles but the sense of menace I want isn’t there. I’m also thinking of the feedback I got on Southern Discomfort a couple of years back: that an urban fantasy needs urgency and tension from the start whereas I’m writing at the pace of epic fantasy, where the build can be slower.
Then again, it may be that I have enough action and menace, it’s just that there’s two chapters in a row that are heavily talky or not focusing on the main threat. If I were in the middle of Chapter Three or Four I wouldn’t feel the same. Perhaps I need some tension in the middle? Which could mean rearranging events, or simply making KC’s reaction more intense.
Not a fatal flaw, I think, but definitely a problem to be aware of as I keep going.
Cover by Trevor von Eeden, all rights to image remain with current holder.































