I wanted to convey a sense of formidable energy with a straightforward style balancing classic flair and modern simplicity. 发迹 - fa ji - means "arise to power and position." It's rendered in the Kai font - I had to hand tweak its shapes to look closer to calligraphy.
Click for full size. Font and pattern credits are on its deviantArt page. The original file is a high-res printable that I saved at 25%. OPTIMISM FTW
I also got the NaNo trial of Scrivener - writing software that's all about arranging your work in logical chunks to organize, reorder, and summary view it as needed. This trial gives you time to use the planning features and a chance to muck around with editing in the first week of December. You get a discount on the full license if you participate in NaNo - half off if you win. So far, it's great - sure beats my standard procedure of dumping all my plans in one Google doc to split as it gets unwieldy.
And that brings me to the Substantial Topic of the Day - novel planning, and how it's surprisingly worked for me thus far.
When I first got the idea to write this, I was scared. Shit scared. All my other stories involve one main arc and occasional side plots that are more about resolution for a supporting character. How was I going to plan all the arcs I needed, have them properly intertwine, and achieve narrative balance when describing them?
The answer, as it turned out - one at a time.
All logical consequences flow from a solid beginning. I focused on setting up Gao Feng Tao - the boss man - with a thriving business, some ways he could characteristically acquire more, and temptation toward the big time and shadier tactics required. I nailed down the employment situations of his closest cousins with an eye toward involving them in his ascension - first by circumstance, later by planning. This involved a combination of early specifics and looking ahead to judge their potential for further development.
From there, more arcs naturally follow from circumstance. What happens when an investment partner gets upset? What if the counterfeiting operation becomes too prominent? What about previously impossible goals now within reach, and a new ruthlessness impelling one to go for them? Personal conflict comes into play as well with regard to employment, living, or family situations. Sketch out the possibilities as high-level summaries, letting them organically evolve and keeping the what-if dependencies in mind. You might push them in some direction or another - an unlucky break, a sudden betrayal - but such should be a choice of a fork in the road rather than dragging the cart off through Never Never Land for the sake of making things happen. I praise The Wire to highest heaven because it does this so damn well.
In Scrivener, I'm planning a combination of scene specifics and general notes. I don't know how I'll show the aftermath of a business takeover, but I can sketch out its key points to divide up later on. I might have a gap in events and make a note reminding myself to connect the dots (la la la la la). Unknown resolutions are noted as such so I can get back to them later. Each scene is tagged with participatory characters so I can interleave them in a balanced way.
Yeah, yeah, there's always revision, but it goes so much better with a sound first draft.