Staring Into Space While Cleaning

I’m getting company this afternoon (YAY) so I’m cleaning, which in this house means getting a backhoe.  The thing about cleaning is, it’s pretty mindless except for the “Why is that in here?” moments and the “I should just get a box of garbage bags and put everything into them” moments.  That means that I am now productive while staring into space, which is what I’ve been doing for much of June because Discovery Draft sometimes comes with a side order of “Why would that happens?” (Because the Girls want it to.)  And “How could that happen?”  And What does that mean? (Who care, write the damn book.)

Example: I really like the fact that Nick is dead.  I also really like the changes that happened because he’s poisoned with Lazarus Plant which has unexpected side effects (unexpected to the Bad Guys; the whole thing is unexpected for the Good Guys).  These side effects involve him cycling through five hundred years of different Nicks, and that’s a pain in the ass to write. But the stuff I get from that–Nita having to deal with a dozen different Nicks after starting a relationship with him, Max making a choice between protecting Nick and telling Mammon, Nick himself having to sort through a maelstrom of identities–is too rich to jettison just because it’s hard to write.   So I stare into space and look at this piece of plot like it’s three-dimensional, turning it different ways in my brain so I can see all the sides of it.  Every plot point is like a gear that turns multiple other gears.  Which means I have to look at those gears, too.  So cogitating..

Then there’s the whole physical thing, in particular, blood flow.  Everything I’ve been writing pretty much  means that Nick gets a fully functioning body back, but I want him to still be dead, no heartbeat.  I don’t know why I want that, but the Girls seem convinced.  However, if he’s dead (no heartbeat) then there’s no blood flow.  I kinda need a blood flow here.  Cogitating.

And then there’s Nita’s plot.  The first turning point is Nita accepting the supernatural.  The next two turning points are Nick’s.  But Nick is the subplot, which means I’ve lost the thread of Nita’s plot.  (What plot?)  I have the romance arc and it’s solid.  What the hell is Nita doing?    I know, fighting evil, and I did give her the last turning point, the climax, but the middle seems to belong to Nick.  Nope, nope, nope, cogitating.  

There’s more but I have to go clear a path from the front door to the guest room so Krissie can get to her bed tonight.  I think we’re seeing Wonder Woman on Friday, so we’ll have a spoiler post then.  Plus I can run all of this stuff by Krissie to see what she thinks.  She was against the hero being a skeleton so she’ll be happy about him having a body again, but when I e-mailed her and told I was thinking about skipping the sex scene, she wrote back, “Nooooooooo.”  And it would be a cowardly thing to do since the first time people make love is usually pretty significant for the relationship.  I’ve got the run-up done and the aftermath, it’s just the mechanics I’m not interested in.

I’ll think about that while I’m finishing the dishes.  The heat from the water usually makes me warm anyway.   Argh.

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