My new novel, Dream Electric, is a departure from a lot of novels going in some ways. In it, I’m trying to reinvent expressions, using a lot of leeway in hyphenation rules to create a different synergy than what you might expect in a lot of books. I’ve tried to make it avant-garde but not too much, so that readers don’t lose themselves in style, which is sometimes a problem with books that veer into experimentalism. The bottom line is that while some of these books are extremely original and unique, they are, however, virtually inaccessible, save to a few highly interested readers. The goal with the increased uses of hyphenization is to create a subjective, rather than an objective, mood in the reader. For example, a more ordinary description of the sky would be “clear, azure sky.” My alternative description would refer to it as the “clear-mind-depth sky,” which imputes more subjectivity than the first.
One minor stylistic component is the occasional switches in verb tenses from past to present, then from present to past. The whole idea with the present tense usage is to create a sensation of timelessness in the reader, when there’s a gap in the novel where Rick, the main character, finds himself in a state of pause and momentary enjoyment. As you will see, though, these moments prove to be fleeting, as they are often are in life.
Another thing I worked on was to adapt the style and mechanics to the places Rick visits. So when you find him in a modern New York apartment, you find the writing approach reflects the moods and whims of the city around him. When it shifts to Uminia, where he sojourns around in pastoral medieval towns, the style fluctuates, becoming reflective of that environment, transmuting to a more high fantasy method of approach. So the writing, in a nutshell, is not static but adaptive, you might say.
I’ll get into some of the ideas contained in the book in a later post.