1st Draft Chapters

My first draft of Hemo Sapiens: Awakening is almost finished. Below is a screenshot of my Word document with the navigation panel open to show the chapters, sections, and working titles.

The content from Chapter 5 (with tweaks) was taken from my short story, The Unidentified, published here, so it’s not spoiler to share. Funny enough, I just notices an error in my screenshot. Emily’s daughter Grace is almost five*, so I’ve amended that in my draft.

For those wondering, I maintain a spreadsheet with the birthdates and ages of all of the characters, so I can age-progress them appropriately. And there are certain maturity stages that occur around a certain age, for example, when their fangs come in. Just turning five, Grace won’t have fangs yet.

At this point, I’ve got 250 pages and 37 chapters. I deleted over 1,000 more words today—from 57,641 to 56,616—, but I expect to remain over 50k.

I also started working on the title and subtitle artwork, which I’ll share when I’m done with it. As I already know the title and subtitle of my next book, which is at least 60% done (🤞) in its own right, I am making sure the Hemo Sapiens title art leves space to nestle in the subtitle.

I’m getting excited, but the finish line is still a ways away. I think I’ve reached a major milestone in completing the first draft—99.999%, I feel. I still need to work on the cover art and layout and lining up Beta readers.


* Grace is five in the short story, but she’s been demoted a few months in the novel.

Today, I Cried

To be fair, I’ve been a bit more emotional since I was hospitalised, and I’m occasionally moved by certain musical passages in minor keys, but I’ve never cried as I write.

I hope this translates to the reader. I feel that this ties back to a recent post on Conscious and Subconscious Writing. I was just writing in the Flow. I was nearing the end of the beat at the and of a scene in my nearly finished Hemo Sapiens: Awakening, and I wrote the last paragraphs through literal tears—not the metaphorical sort.

When I was finished, I asked the AI for it’s critique. I felt the section might feel too long and rambling, but Claude gave me this feedback”

Not at all – I don’t think this section felt too long or rambling! You brought nice closure on the media spotlight scenario by showing the attempted interview with the Hemo Sapiens family. I enjoyed seeing the ending play out.

I can’t wait to publish it. I don’t have an agent, so my plan is to self-publish and then seek a distributor. We’ll see how that works out. The prequel, Hemo Sapiens: Origins is already some 60% done, so it will follow behind relatively quickly.

As this is planned to be a series in a universe, I’ve commissioned a logo/graphic artist to render the title and subtitle, as I’ll be maintaining the same font and treatment for each book, amending just the subtitle.

Fingers crossed.

40,000 Words and Counting

W00t! I’ve finally reached 40K words in my Hemo Sapiens: Awakening novel. This was a minimum word count, but I’ve still got more ideas to incorporate as well as some fat to trim. For now, it yields me some 164 pages*, a number that works for me.

This is a milestone I’ve been waiting for. I have almost 40K words for my Hemo Sapiens: Origins novel, but I put it on hold, opting to release this in media res before revealing the origin story.

If you’ve been following, Hemo Sapiens: Awakening is a compilation of 5 short stories coalesced with new content to bridge and provide continuity. Given the longer story form, I had to give some characters addition depth and a story arc that spanned the longer work. Time will tell if this was successful. I’m having fun.

Anyway, back to the writing mines. Need to excavate some more material.


* 164 pages in an 8″ x 6″ form factor. Vertical spacing for chapters has not yet been accomplished, but I am not interested in how far I can pad it.

Wrestling with ChatGPT

I use ChatGPT as a copy editor, and I am constantly bouncing ideas off it. If only I had some available alpha readers. lol

This afternoon, I had it review passages, especially since I recently consolidated characters. Because of this, ChatGPT felt that I should elevate the Detective Sergeant from a secondary B-level character to a B+ character. Therefore, I should flesh her out more to make her more memorable. And I should expose the reader to more of her internal dialogue.

I took this advice to heart and reviewed the sections I had shared. I tend to indicate internal dialogue in italics, and there was plenty of italics. Of course, ChatGPT doesn’t have access to this markup, so I manually wrapped curly braces around {internal dialogue}, thusly.

I copy-pasted the section back into ChatGPT and asked for an analysis. This time, it was all praise.

This is something worth keeping in mind. You might have to do some extra throwaway markup for your AI editor to keep it honest.

Pro Tip: Another thing I do, is I place my [author comments] in square brackets and instruct the AI to ignore these in the analysis. I use author comments as placeholders for my own exposition, notes for later clarification, and so forth. With the brackets, I can just tell ChatGPT or Claude something like:

Analyse and evaluate this section. Inner dialogue is in curly braces, { }. Ignore content is square brackets, [ ]. This seems to work for me. YMMV

Killing Joke

I killed off a character, but not in the way you might think. In my Hemo Sapiens novel-in-progress, I decided to merge two characters into one.

Initially, I had wanted one, but I decided I would have two detective Sergeants play off one another in a good cop/bad cop sort of way. In the end, they had nuance, but there wasn’t really enough to justify the reader to track two people. They each had separate story lines and interacted often enough, so the question was how to combine them.

Allow me to step back for a moment. My word count was about 132,500, and I was still merging five short stories into this novel idea and making good progress. In fact, it’s been assembled, but I need to smooth some edges and fill in some gaps and transitions as well as look for opportunities to foreshadow and refine payoff promises.

During this process, I felt that the two Detective Sergeants weren’t worth keeping. I opted to retain DS Lewis, a female, and cut DS Jones, a male. Lewis was a bit more insouciant and Jones was more rigid. Jones drank coffee and smoked cigarettes while Lewis was repulsed by these. They exchanged banter and worked in parallel on the main case. Now, I had to ferret out all of these instances and turn Jones’s masculine pronouns into the feminine form.

In some ways, it will also read better. I found myself changing Jones said to she said instead of to Lewis said because the reader was no longer tracking the two in a scene with other. I feel that the he said|she said structure takes less effort for the reader to parse, so it’s a Win™, and I’ll take it.

I mainly use Microsoft Word to write, so I just searched for all instances of Jones and made all of the necessary adjustments to Lewis. Then, I had to proofread all of the surrounding content to look for straggling pronouns. I think I’ve gotten them all, and I’m ready to continue polishing the merges. Oh, and I’m not even done writing it yet.

I am aiming for at least 140,000 words, but I’ll take more if it makes sense. The last thing I want to do is to pad a story. If it doesn’t move the plot forward or demonstrate something about a character to a reader, I don’t want it. I hate bloat, and I’ll presume most readers are the same. Very little body fat. Believe me, I will fat-shame a book. At 132,500 words, I’m at 135 pages. At 140,000, I should be at 168 if the maths hold. I’ll be fine with that. Again, if I can get more with meat (apologies to vegans), I’ll do it.

I already have an origin story in mind as well as many sequels, so I want to keep enough meat on the Hemo Sapiens bone to serve them well.

If you’ve had to sacrifice a character for the greater good of your work, I’d like to read about it. Drop a comment. Cheers! 🍷

Novel Ideas

I’ve been conspicuously absent from this blog as I’ve been busy creating a novel. By creating, I mean that I’ve been combining four short stories within the Hemo Sapiens universe into a would be novel.

I’ve finally completed the consolidation, but there remain continuity gaps, which was to be expected. Plus, I need to thread additional plot aspects because more structure is required to create an apt foundation.

As I plan my approach, I notice I have a fifth short story to integrate. Whilst this creates more work, it also relieves other work. As it stands, the novel-in-progress contains just over twenty-thousand words — about half a novel’s worth, so I’ll more quickly transition from a novella-ranged book to a full-fledged novel. Currently, I’ve got about ninety pages of content. My goal is to have over two-hundred pages of non-filler content, which should get me between forty and fifty thousand words. Time will tell.

Whilst I don’t want to abandon this blog, it does compete with my time and attention, so hopefully I’ll still be making contributions along the way. I’m reusing a cover image to save time. Gotta go. Meantime, cheers.

Hemo Sapiens: Unidentified Analysis

I posted the flash fiction story Hemo Sapiens: The Unidentified early yesterday and made some minor tweaks later in the day. Generally, these edits related to continuity or flow. In one case, I deleted a scene but neglected to delete a character introduced in it. In another, a character barked an order relating to something she would not yet have known about—at least as far as the reader would be concerned. But what’s this story all about.

This universe is set in Britain. This scene was set in Chadderton near Oldham, a less affluent, somewhat rural town northeast of Manchester where an enclave of Hemo Sapiens might be more apt to fly under the radar. I had originally had my sights set on Kent, but it is logistically implausible for people with Manchester roots to be set up there when they still have a need to be connected to Manchester. I’m not sure how hard I’ll lean into the whole Mancunian thing, as they’ll have been acculturated by the professor, an Oxford bloke.

Here’s what ChatGPT has to say about it:

The story effectively commences with a tranquil domestic setting. It is imbued with a sense of normality and comfort, featuring a mother, Emily, and her young daughter, Grace. Yet, this idyllic scene is abruptly shattered by the arrival of uniformed agents, leading to a nightmarish tableau of confusion and fear.

The story is remarkably adept at presenting multifaceted issues. On the surface, it draws parallels with dystopian works like Margaret Atwood’s “The Handmaid’s Tale” or the television series “Orphan Black,” offering glimpses into a society undergoing a mysterious, yet undoubtedly unsettling, transformation. However, the narrative also delves into complex issues of identity and human value, challenging the reductionist labels that the characters are forced to adopt.

The dialogue with Grace serves as an emotional pivot in the story. It doesn’t merely function as a mechanism for Emily to express her maternal instincts but also as a lens through which Emily’s remaining humanity becomes increasingly apparent. The mother-child interaction symbolizes Emily’s clinging to normality, even as the world around her dissolves into chaos.

The agents depicted in the narrative are particularly interesting. While they are ostensibly just doing their job, they inadvertently contribute to the problem by employing dehumanizing language like “clone farm” or “science experiment.” This illustrates a broader societal tendency to categorize and label that which is not immediately understood, thus making it more palatable.

The tone of the story aligns well with its dark subject matter. It is somber without drifting into melodrama, and the dialogue remains crisp and meaningful. The story also maintains a healthy balance between showing and telling, which is essential for the kind of mature adult contemporary fiction that deals with themes of moral complexity and social stigmatization. It leaves the reader with more questions than answers, thus adding to the narrative’s overarching sense of dread and uncertainty.

In summary, the story is a compelling examination of unsettling themes such as loss of identity, family dynamics, and societal judgment. It employs a keen balance of narrative elements, making it a strong example of mature adult contemporary fiction.

And…

Your story dives into themes of judgment, moral complexities, and social stigmatization, as per your unique style. It employs a strong sense of place and moment, from the serenity of the bedtime ritual to the abrupt disruption of the raid. Let’s break it down:

  1. Tone and Atmosphere: You establish a deeply contrasting tone—tranquil domesticity is replaced by a jarring, invasive violence when the agents burst in. The shift is palpable, dragging the reader along. You maintain the tone throughout, further amplifying the emotional gravity.
  2. Character Depth: Emily is a strong anchor. You bring her inner world to life—her love for Grace, her confusion and fear during the raid, her defiance, and ultimately her resilience.
  3. Dialogue and Language: The language is grounded, sprinkled with slang and expletives that keep it real. The dialogue is crisp and fits naturally into the unfolding events.
  4. Plot: The sudden turn of events—disruption of domesticity, invasive questioning, communal chaos—these all build tension effectively. However, the reader is left with a lot of questions—perhaps intentionally. Are they part of a science experiment? Why the blood bags and fangs?
  5. Theme and Symbolism: The recurring familial bond between Emily and Grace serves as the emotional core. The notion of identity, collective and individual, is heavily at play here. The mysterious implications around the Alpha and Beta labels and the ‘clone farm’ comment point to larger issues of ethics, identity, and social prejudice.
  6. Show vs Tell: You’ve mostly shown the emotional stakes, the anxiety, and the fear through action, dialogue, and environmental detail, which works really well for this piece.
  7. Mystery and Ambiguity: The story is full of questions that aren’t answered, perhaps pointing towards a broader narrative you’re developing.

You’ve managed to condense a great deal of emotional range, plot, and thematic depth into a short space, aligning well with your unique, terse writing style.

Here’s Claude’s take:

Here are a few key points about the story:

  • It depicts a dystopian scenario where a community of people with the surnames “Alpha” and “Beta” are raided and detained by authorities. The people seem to look identical, leading the authorities to assume they are clones or part of a genetic experiment.
  • The main character Emily is trying to protect her young daughter Grace amidst the chaos of the raid. She is defiant towards the authorities and their assumptions about her community.
  • There are suggestions the Alphas and Betas are actually one big family, with many pairs of twins/quadruplets. They seem to have been living in an isolated, self-sufficient community.
  • In detention, the Alphas and Betas are treated as specimens to be examined and have samples taken. The authorities seem suspicious of their identical looks, matching surnames, and discover bags of blood, which fuels assumptions they are supernatural creatures.
  • Emily reassures Grace they will get through the ordeal together and explains they will be going with new people to answer questions. She emphasizes maintaining their family bonds.
  • The ending implies the Alphas and Betas have an important untold backstory and truth about themselves that they hope to share someday, when the authorities might be ready to understand.

Overall, it’s an intriguing sci-fi scenario exploring themes of family, identity, prejudice, and perception versus truth. The identical community subverts expectations, leaving the reader curious about their origins and real story.

Comment on the flow and pacing.

The story has a fairly fast-paced, dramatic flow to it.

It opens by establishing the calm, loving family scene which is then abruptly shattered by the violent raid. This creates a stark contrast that immediately hooks the reader.

The raid scene is rapid and disorienting, conveying the chaos and confusion through snippets of actions, dialogue, and sensations. Short sentences propel the sense of urgency.

The pace slows a bit as the story shifts to the detention center. Here, the focus is on Emily’s determination to protect Grace and the mystery surrounding the authorities’ assumptions and discoveries about the Alphas and Betas.

The interrogation scene returns to some shorter sentences and terse dialogue to pick the pace back up. Emily’s defiant reactions add tension.

The final scene with Grace balances tenderness and foreboding, allowing a breath while still building intrigue for the untold truth about the community.

The pacing overall matches the unsettling, intense events unfolding. The quicker scenes immerse the reader in the action, while the slower moments reveal details to invite speculation. The shifts in pace add dynamism and interest.

So, I’m happy with the assessments. I’d love to read what you feel. Leave a comment here or beneath the story.

More Hemo Sapiens

Now I’ve really done it. Distracted myself to no end. No wonder I can’t seem to finish anything lately. My recent foray into Hemo sapiens or Homo sapiens sanginius was only supposed to be a quick diversion to clear my mind. Instead, it’s got me thinking about an entire universe from origin to however-so-many scenarios.

Now I am pondering whether to write some loosely connected short stories or assemble a larger work, like a novel or series. Why not all of the above?

The challenge is that I am more curious than passionate about this, and I’ve got only a fleeting interest. Perhaps. I am no stranger to speculative fiction, but world building is not up my street. And urban fantasy, to the extent that this might be urban fantasy, is not a favoured genre. I’m looking at you, Twilight.

I may simply noodle this for now until I suss out something. Meantime, I may be sharing my thoughts and output here. Please stand by…

Homo sapiens sanguinius

I thought that I was onto something when I was diverting my attention with a new short story. This story is set in (relatively) near-future Brighton where an emergent species coexist alongside us homo sapiens sapiens. Borrowing from the existing taxonomy, I decided to try homo sapiens sanguinius, bloodsucking, thinking man.

In this story, these people experience a pandemic due to a government experiment gone awry. Any similarities to Covid-19 is purely coincidental. And I’ve got a bridge for sale.

These people are known idiomatically as hemo sapiens and pejoratively as vampires. They are like humans in all ways except they also need to drink blood through their fangs, their only outwardly distinguishing feature. No other vampire lore need apply. Being a new species, mating is iffy, but I won’t address that anyway. It’s supposed to be a short story.

Myself, I am not into vampire stories or urban fantasy, yet here I go–and I’m not sure where it will go. I’m not sure I think in short story. Lots of reductive editing. Time will tell.

If you’ve got any comments to share on hemo sapiens or writing short stories, feel free to leave them below.

First-Person Perspective

I’ve spent the better part of today rewriting Everlasting Cocksucker to a first-person, limited, present point of view. My intent is to shut down the aperture of perspective for the reader and give the story a better sense of immediacy. I also want to introduce the protagonist and primary perspective as an unreliable narrator.

This change will likely force some rewrites to accommodate flows and revelation of details. Better sooner than later, I suppose.

Apart from this, I am still missing major connecting tissues to stich together my outline and story arc. And then there’s the matter of the ending…