The time has come to work on the second draft for the editor, taking into account all of the suggested changes, and there are quite a few. So much for thinking I could put in an almost flawless manuscript.

…

There is a history of strong female characters. They don’t have to be the lead character in order to become a focal point in the story.

I’m reminded of the CIA agent in Cuba in the latest James Bond Film, No Time To Die, where she literally kicks ass. To my mind, that is a girl to be reckoned with, and no, I would not want to meet her in a dark alley or be her enemy.

I wanted one, and put her in the Zoe series, an assassin without a conscience, but has one of those life-defining moments that doesn’t take away anything from her character, just adds another dimension.

This story is going to have one too, Teresa, only she is a different kettle of fish, to quote an analogy.

She is just the sort of person our main character’s handler recruits in a heartbeat. The fact she is in jail when we first meet her just adds to the mystique.

And when the main character and her meet, it’s like water and oil. She had a role to play, even if it’s not the one our main character is led to believe is.

The trouble is, I’m having too much fun playing to the two off against each other, so much so, I’m beginning to like her, as much as I would, in real life (if such a person existed) fear her.

Interesting question: how would I react if my imaginary world suddenly became all too real?

I guess that’s another story.

The time has come to work on the second draft for the editor, taking into account all of the suggested changes, and there are quite a few. So much for thinking I could put in an almost flawless manuscript.

…

Sometimes it takes a failure to make a success.

Well, that’s the theme I’m running with.

Of course, the leaders of the revolution take that failed attempt as a bad sign, but a severe setback sometimes causes that sort of introspection.

And the revolutionaries never quite know who’s on their side and who isn’t.

And there are those who are trying to keep out of harm’s way, do their job, and still get caught up in the middle of a war.

Revolutions are more than just the capture of radio stations, army barracks, and the airport. It’s always a good thing when a country doesn’t have too many airports or army bases. It also helps that the country is small and manageable and that its current leaders are corrupt and self-serving, and some very dangerous.

They are also helped by having the heart and soul of the citizens, not so much that they would take up arms and fight, rather, do nothing and get in the way. That in itself could be dangerous, but sometimes people act without thinking of the consequences.

Those you would least expect to step up and be counted.

It’s going to take more words than I have before it is supposed to be written by the end of the month, so this story is going to run into overtime.

So, stay tuned, for daily reports on how the revolution is progressing.

The time has come to work on the second draft for the editor, taking into account all of the suggested changes, and there are quite a few. So much for thinking I could put in an almost flawless manuscript.

…

Sometimes it takes a failure to make a success.

Well, that’s the theme I’m running with.

Of course, the leaders of the revolution take that failed attempt as a bad sign, but a severe setback sometimes causes that sort of introspection.

And the revolutionaries never quite know who’s on their side and who isn’t.

And there are those who are trying to keep out of harm’s way, do their job, and still get caught up in the middle of a war.

Revolutions are more than just the capture of radio stations, army barracks, and the airport. It’s always a good thing when a country doesn’t have too many airports or army bases. It also helps that the country is small and manageable and that its current leaders are corrupt and self-serving, and some very dangerous.

They are also helped by having the heart and soul of the citizens, not so much that they would take up arms and fight, rather, do nothing and get in the way. That in itself could be dangerous, but sometimes people act without thinking of the consequences.

Those you would least expect to step up and be counted.

It’s going to take more words than I have before it is supposed to be written by the end of the month, so this story is going to run into overtime.

So, stay tuned, for daily reports on how the revolution is progressing.

The time has come to work on the second draft for the editor, taking into account all of the suggested changes, and there are quite a few. So much for thinking I could put in an almost flawless manuscript.

…

There is a history of strong female characters. They don’t have to be the lead character in order to become a focal point in the story.

I’m reminded of the CIA agent in Cuba in the latest James Bond Film, No Time To Die, where she literally kicks ass. To my mind, that is a girl to be reckoned with, and no, I would not want to meet her in a dark alley or be her enemy.

I wanted one, and put her in the Zoe series, an assassin without a conscience, but has one of those life-defining moments that doesn’t take away anything from her character, just adds another dimension.

This story is going to have one too, Teresa, only she is a different kettle of fish, to quote an analogy.

She is just the sort of person our main character’s handler recruits in a heartbeat. The fact she is in jail when we first meet her just adds to the mystique.

And when the main character and her meet, it’s like water and oil. She had a role to play, even if it’s not the one our main character is led to believe is.

The trouble is, I’m having too much fun playing to the two off against each other, so much so, I’m beginning to like her, as much as I would, in real life (if such a person existed) fear her.

Interesting question: how would I react if my imaginary world suddenly became all too real?

I guess that’s another story.

The time has come to work on the second draft for the editor, taking into account all of the suggested changes, and there are quite a few. So much for thinking I could put in an almost flawless manuscript.

…

A writer has to be all people, and, sometimes that can be a difficult remit.

To start with, I know what it’s like to travel, stay, and work in remote, sometimes primitive, locations. Getting there is sometimes a laborious task, battling the weather, the people, and the authorities.

It can be scary at best and terrifying at worst.

And it can be lonely with tenuous links to those back home.

Now, supplant that with the fact you are in that place on false pretences. You now have to channel all of the above and find a degree of both bravado and confidence, which most times, in reality, you don’t have.

Easy, you say, to write about, because you’re not really there, so you can be whatever you want, do whatever you want.

The problem is, it still has to be believable.

So we’re starting with a character that has a job to do, preferably to be on his own so he doesn’t have to be responsible for anyone he’s working with and can use any or all means available to get the job done.

Still not a difficult portrayal.

Quite often there’s no need to complicate the character by adding a background life, which might mean that he has a wife, which is unlikely if he is an agent provocateur, a girlfriend, which is also unlikely, because as a lover, he doesn’t need the distraction or the problem of keeping secrets, which, because of his job, would be a necessity.

But…

Time to add a complication.

His boss sends an assistant, or partner, one that he’s not told about.

And is a woman.

Suddenly his dynamic changes completely, and we need to have some character analysis, like his attitude to partners, and attitude towards women.

The problem is, how the reader is going to perceive this characterization, and that’s where the job becomes harder because on one hand, you want him to be the epitome of the new age man, and on the other, the hard-nosed agent that has no time for building relationships, and particularly because that person is female.

It’s going to be an interesting dynamic, and now that I have thought about, enough to write this, I can see some elements of his character will need to change.

Needless to say, she is going to be a strong female character, so more about her tomorrow.

The time has come to work on the second draft for the editor, taking into account all of the suggested changes, and there are quite a few. So much for thinking I could put in an almost flawless manuscript.

…

A writer has to be all people, and, sometimes that can be a difficult remit.

To start with, I know what it’s like to travel, stay, and work in remote, sometimes primitive, locations. Getting there is sometimes a laborious task, battling the weather, the people, and the authorities.

It can be scary at best and terrifying at worst.

And it can be lonely with tenuous links to those back home.

Now, supplant that with the fact you are in that place on false pretences. You now have to channel all of the above and find a degree of both bravado and confidence, which most times, in reality, you don’t have.

Easy, you say, to write about, because you’re not really there, so you can be whatever you want, do whatever you want.

The problem is, it still has to be believable.

So we’re starting with a character that has a job to do, preferably to be on his own so he doesn’t have to be responsible for anyone he’s working with and can use any or all means available to get the job done.

Still not a difficult portrayal.

Quite often there’s no need to complicate the character by adding a background life, which might mean that he has a wife, which is unlikely if he is an agent provocateur, a girlfriend, which is also unlikely, because as a lover, he doesn’t need the distraction or the problem of keeping secrets, which, because of his job, would be a necessity.

But…

Time to add a complication.

His boss sends an assistant, or partner, one that he’s not told about.

And is a woman.

Suddenly his dynamic changes completely, and we need to have some character analysis, like his attitude to partners, and attitude towards women.

The problem is, how the reader is going to perceive this characterization, and that’s where the job becomes harder because on one hand, you want him to be the epitome of the new age man, and on the other, the hard-nosed agent that has no time for building relationships, and particularly because that person is female.

It’s going to be an interesting dynamic, and now that I have thought about, enough to write this, I can see some elements of his character will need to change.

Needless to say, she is going to be a strong female character, so more about her tomorrow.