3/16/07

Hazard

Ideas have been bouncing around my brain. Lately, I've been fascinated with the song "Hazard" by Richard Marx. A wandering trip through bad late 80s songs apparently leads to Nebraska. Be scared.

I free associate until I have enough raw material to start grouping ideas into loose files. For RWS, I mingled a bit of personal dislike for paranormal romances with the story of how Johnny Rotten acquired his trademark stare. The girls' animated Robin Hood video inspired the place setting and solidified my plot. Voila! They grouped well together, oddly enough -- or they will. Eventually.
Now with "Hazard," I wouldn't want to do the video again. I care less about whether he killed Mary than I care about his wise decision to chop the off-putting mullet. And besides, the town of Hazard, Nebraska has pretty much covered all of that territory. They have very little to hold their interest, other than the cows.

Instead, I've been making brain files. I've grouped the Hazard concept and "Except the New Girl" by Chris Isaak with a fascination for shy, misunderstood young men such as Mark from Pump Up the Volume, Ren from Footloose, and Philip from Captives. To those, add a lingering interest in the Troubles, from back in my intense U2 obsession days, including works such as Water, Carry Me by Thomas Moran and In the Name of the Father. There's something in that mess that intrigues me.

I don't know if it'll go anywhere. However, despite the bundle of projects I have lined up for this year, it's got my brain fired up with problems and possibilities. And that would be just my luck. If there's anything harder than selling historical romances set in unusual places, it's selling historical romances set in nearly-modern times. My muse insists upon a tragic lack of commercial sensibility. Bitch.

1 comment:

Ann(ie) said...

Clearly you need to write for small presses or epubs for a while in order to build up a fanbase. Once you have sales figures to back up your muse, then NY will want your books, regardless of setting.