Writing Southern Discomfort took more than a decade.
Not that I spent the whole time struggling to create my novel. During that period I had various income-generating writing gigs, I wrote three movie books, I had other fiction projects. Still, I’d prefer to finish Let No Man Put Asunder much more quickly. I am, after all, getting older and with less time left, I feel the need to use it effectively.
Routinely at some point in the creative process I take my most recent draft and shift from repeated pantsing to plotting. With novels, this hasn’t ever worked well. This time, I’m determined it will. I’ve read over the second draft, taken lengthy notes, taken more based on how-to writing books and articles … now the replotting begins.
What have I learned from the reread? For one thing, my book’s gotten way too crowded.
In the previous version (this is a rewrite of an earlier novel) the supporting cast for Neil and Adrienne (now Paul and Mandy) included the telekinetic tween Plutarch; his robot sidekick Talos; chief antagonists Celathion and Grainge; Cordelia Winters, Neil’s swashbuckling love interest; Renador, high-tech thief; and Peacock and Mountebank who show up in the last quarter along with a couple more bit players. Plus Mircalla Karnstein, the vampire from J. Sheridan LeFanu’s “Carmilla,” who appears off-and-on.
In this version, the big change was setting everything in Mandy’s hometown, Bluestone, rather than having Mandy and Paul cast out into the multiverse. I think it’s the right move but an unanticipated side effect is that it’s expanded the cast. Mandy’s siblings. Hillier and Oriel, two Bluestone police detectives investigating the goings on. Plus Renador (now Raga) and Cordelia. Plus Peacock and Mountebank appearing a lot more. Plus Flavia (the former Plutarch) and Talos. And because I made Flavia black, she needs to have more of her own arc than Plutarch did, so she doesn’t end up a helpful Magical Negro.
The book is overstuffed. I think the villains can be worked out without too much trouble but the heroes? Cordelia feels awkward; the romance arc doesn’t work. I’m not sure if she’s become the wrong character as Paul develops, or there’s simply not space to develop it. Raga feels completely tacked on, like he no longer fits the narrative. A shame as I wound up with him and Mandy sleeping together, which fits her character arc (I’ll get into that later). My scene with Countess Karnstein feels awkward too. In the previous draft they stumbled smoothly into her lair, and the fight is intense; here it’s lacking. As I have one of her vampire lackeys taking point to hunt Paul and Mandy, I’m wondering if I shouldn’t leave Karnstein in the background or drop her completely.
Quite simply, there’s not enough space for everyone to develop. It’s not just about them having character arcs — various characters drop out of the plot when it feels like they should stick around. I fixed some of that in this last draft, but not enough. One option is to write bigger and give them all a role. Another, probably the more practical choice, is to trim the cast and develop the rest more.
Which to cut? Raga and the countess most obviously, but beyond that? Well, there’s Mandy’s family: four out of her five siblings show up but it might be better if one of them was out of town.
More on other aspects of the third draft soon.
Cover by Sam Collins, all rights are mine.


























