The second Starcaster book is opening a bit rough. But that seems to be par for me. I take a while getting into the story, then I go back and whack alarming chunks off the start of the story. And then I rewrite what's left two or three times.
But it's not wasted effort because it gets the backstory in my head, where it can leak into the rest of the story only when it is necessary.
I have over 6000 words written, and it's unlikely I'll get 4000 words written tomorrow and meet my 10,000-word 4 day weekend goal. I found myself absorbed in a Janet Evanovich novel (Twelve Sharp--her best one in a while) and my story was unable to compete with hers. She gave me a lot of good ideas. Never mind that her voice and my voice are about 200 years apart. The way she has Stephanie's running commentary throughout the novel must have influenced the way I wrote the first Starcaster. And I wasn't doing that enough in what I just wrote. It was boring--just a recitation of events. Since the voice was probably the strongest aspect of Starcaster, I need to stay consistent.
I did write a number of scenes that I like. In one, Miss Young, Tory's mentor, lectures her for spending time alone with Cecil, her "gentleman friend". (Anyone know a good word for "boyfriend" that might have worked in about 1810? I know Jane Austen used "Beaus" but that's too French for me.) Tory's got to protect her reputation, you know. In those times, a girl's reputation was her strongest asset.
And in another scene, Tory wants Cecil to go to her mother's soiree, but he flat out refuses. There isn't going to be a soiree, of course--Tory doesn't have time for soirees. She's got a mission to perform.