Since being at my friend Ashlea's house I've had lots of time to write. I have the computer to myself a lot of the time and Ash has unlimited broadband - whee-ee! Kaya, the house's Elder Daughter, is just back from India and catching up with all her friends, so there are young people in and out at all hours. It's nice. It reminds me of my student days, or the time I was running a dance group in Enzed and always had dancers sleeping over in the studio and sometimes on the floor of my flat as well.

I caught up with most of my Perth friends within a fortnight of touchdown, so the social pressure is off. (Mind you, I hope to see them all at least once more before I head back to South Oz on 11 July!) I'm back into writing mode, therefore, and it feels good.

With the help of my Face-to-Face group, I actually drafted a plot outline for The Trilogy before I went to England early this year. Having struggled with the monster for nearly four years it's about time I got all those characters and their shenanigans into some kind of order. Now I've actually started writing, I find the storyline changing a bit under my fingers, but not so much that I lose sight of the plot. I thought that planning might make the actual writing tedious (what's the point in a story if you already know the ending?) but actually I'm finding it just as exciting as "flimmering" my way through. Now the excitement is in things like little details of setting and nuances of character rather than "what happens next".

The first thirteen chapters are in first draft and already it reads far better than anything else I've written. (That's not just MHO, BTW - my critters all say the same, which is encouraging.) Part of the improvement lies in a better grasp of the way readers like POV presented these days. Having grown up with Enid Blyton, Arthur Ransom and Rudyard Kipling and later graduating to writers of the sixties and seventies, I was used to the omniscient author style, in which it's fine to foreshadow events or to comment on the character's predicament. ("Little did he know that this would be their last meeting...") Intellectually, I could see that these techniques were out of favour, but I still didn't manage to get myself right out of the story and let the characters get on with it. I think I'm managing to do that much better now.

Not that the "tight third" POV is anything new. Jane Austen used it somewhat. In fact, Austen never strays very far from her character's thoughts and feelings, even if she doesn't always express them quite as intimately as a modern genre writer would. My friend and teacher Michèle Drouart assures me that Flaubert was actually the first writer to use this style. Being academically trained (she has a double major in French and English lit!) Michèle calls it "FID", which stands for Free Indirect Discourse. If you live in Perth and aspire to write, BTW, you could do worse than to enrol in Michèle’s writing classes. They are not only instructive, but great fun as well. And if you haven’t already read her autobiographical novel “Into the Wadi”, please get hold of a copy. It’s a great read.

Ok, Ok, I hear you. (Or is that my conscience speaking?) Blogging is displacement activity. I shall get back to the monster now.