Lately, my motivation is waning. Not for writing as a whole, but if I’ve spent so long with Jon and the demons in Rochester that I’ve gotten easily distracted by a somewhat about face – crime thrillers, specifically noir. I’ve always loved a good mystery, but most of the ones I like are paranormal or disguised as something else (i.e. Harry Potter series). Recently, however, some mafia classics have been popping up in my head. Private investigators intrigue me. The almost feudal structure of mobs/mafia/yakuza, etc. interest me too.

I have two stories running around in my head. Sometimes, when I sit to write the fourth Warlock of Rochester book, I end up writing thousands of words in one of them instead. They come out so quick while I sort of waffle with the finishing touches on book four. I think its because I have written all my favorite scenes. The passionate ones always entertain me the most because I generally leave my writing feeling whatever emotions I gave my characters. If Jon is having a good day in my writing, I end up feeling positive even if I’m otherwise having a bad day. Which is why the last stitches are always the hardest for me in a book because I leave dull connecting scenes – the ones needed to keep the pacing from becoming too frantic or the passion from staying high too long – those ones are hardest to write because I leave them feeling bored and tired. I don’t want my readers to feel the same, so I go over them more and more than anything else, resulting in me getting almost obsessive, which can be dangerous as an author if you over-edit, but I know they have to smooth out so when I read the scenes before and after (which I generally enjoy), the scene which irritated me to write doesn’t translate when reading the same way.

Mostly, I’m successful. Those scenes either blend into the batter like kale into a smoothie, so you don’t recognize the flavor among everything else that is liked, or they gain a sort of importance of their own where I find a minute aspect for them to reinforce in a subtler manner than other scenes. When they don’t work, often the irritation I feel matches the rising tensions for Jon – who is rather impatient like these scenes make me. If nothing else, that makes them in character. Perhaps that’s the point. Jon’s so distracted by who he could be – the excitement of magic (the passionate, emotional scenes) that the normalcy which could keep him safe grows irritating like a fruit fly you just can’t catch.

But I’ve rambled. In the two stories – one story is a cop vs. mafia situation which explores school friends ending up on opposites side of the law. While they both have good intentions, they recognize they can’t protect one another and with each confrontation, the friendship comes into question where they both recognize they have to stop caring about the other if they want to advance in their careers or – in the case of the cop – if they want to stop the growing mafia influence in local politics. I’m pretty sure it won’t end happily.

The other is a private eye novel with an ex-detective who lost his hearing after a drug raid. However, when he woke in the hospital, he had gained telepathy. The ability overwhelmed him, but he struggled to master it in hopes of keeping his posting – cheating hearing tests by reading the doctor’s minds, but in the end, he couldn’t, and the novel takes place after he’s sort of got his feet back under him and has some control over his ability. It follows him on a weird case where a guy thinks his ex is trying to kill them using his pet cat. It’s kind of weird and actually takes place in the same universe as another series I wrote, but as the private eye has no idea of the magical world, his nephew’s involvement, or anything (though he suspects his post-explosion best friend (and the only one who’s thoughts he can’t hear) is Death). I haven’t decided if he’s wrong yet (or maybe that’s a lie).

Anyway, I might post an excerpt from one of those two if they keep haunting me. I don’t think I’m getting them out of my system any time soon.