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The ten thousand things and the one true only.

by Kip Manley

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That’s one down, Kitty Carlisle.

So! I’ve finished the first pass at no. 23. I think it’s going to be called “ – the thin ice – ” but I’m not sure so don’t quote me on that. I’m not sure about a lot about it, actually. I mean I know it’s 16,036 words long, which isn’t the longest an installment’s been, but there’s still a couple of scenes to squeeze in but also some extraneous bits to trim or even cut away and also there’s the rearranging that needs to be done but I’ve written the last word of the last scene and already opened up the notecards for no. 24, which I don’t even know what it’s going to be called, but here’s where the scene between Becker and Pyrocles will go, and there the one with Jo and Luys, and all the bits to introduce Moody, if that really ends up being his name—

Ordinarily this isn’t how it works. Ordinarily what would’ve happened is by this point maybe half of it would already have been posted and then things would’ve gone dark for a week or two or a month or two as I tried to make the rest of it end up where it now needs to go given where it’s already been.

But this isn’t so much ordinarily anymore, or rather a new ordinarily is being assembled somewhere in the back of my brain without my direct input or awareness mind not that I’m in any way nervous about that fact why would you even think such a thing and maybe I can fit a Guthrie bit in, too? In the scene at Pioneer Square? Maybe?

Sorry. —So! While (ordinarily) you would’ve been seeing bits of no. 23, which may or may not end up being called “ – the thin ice – ”, by now, well, now, in what seems to be the new ordinarily, you won’t. You wouldn’t. You haven’t. —The second movement is where things take a turn, get contemplative, ruminative, when the shadows gather and deepen; usually scored at an adagio tempo, about 60 to 72 beats per minute. —I’m taking my time, is, I think, the takeaway here, uncertain, tentative, feeling my way through the negative space left by the clarion call of the first movement’s fanfare (allegro, 120 to 168 beats per minute. Roughly).

But the good news is that on or about the end of November I should be finishing the first pass of no. 24, assuming I keep on track, and figuring out the first inklings of the structure of no. 25. The plan—always keeping in mind what becomes of plans—is to have five or six rough numbers stacked up, ready to polish and release on something approaching a reliable schedule, starting in June or so of next year.

So. Something to look forward to? —Anyway. —One down; ten to go.


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