@Louis Urbanowski thanks. Honestly I started with the premise, the person burned and covered in writing. Then I considered my theme. In this case the novel is about what we find purpose in, and what we're prepared to give of ourselves to find that purpose. As such, each member of the cult (and the film crew) joins and behaves in a way that fits their definition of purpose. Because that looks different for each of them, they don't get along and the whole thing hurtles towards disaster. Who did what to whom ended up being about deciding which characters would believe violent acts fitted their purpose. I mapped it all out in a big timeline/character sheet before starting proper and refined as I wrote.

P.s. @Louis Urbanowski what are you writing? I'd love to hear about it.

@Petra Glover that's a lovely, practical tip thank you!

@Juno Baker thank you, I am drawn to the idea of being able to step back for a time. When I find myself in the weeds with the big project it's very easy to lose any objectivity and begin doubting my judgement. Being able to take a 'brain break' and enjoy working on something else would be restorative.

(knowing nothing of the rest of your novel) I really like this opening. The striking imagery (the red against "breaking" ice) is so evocative and immediately suggested danger. To juxtapose that with the grounded, linear thinking of a child is quite wonderful.

I just wanted to call out the choice to write "some of us" as opposed to just "some". It really sells the belonging, the collective experience.

In the firelight it appeared as magic. His hands coaxed the most beautiful sounds out of that old, battered guitar. Every note he played had a fragile beauty to it. Sparse but just overflowing with this brittle feeling. I was over the moon to be assigned to work in the laundry with him. I wanted so badly to tell him how beautiful it was, but I couldn’t find the words. When he introduced himself, and revealed that he knew my name, my heart could have stopped. Joe

@Issy McCann thanks very much, that does immediately have a bit more power to it. My favourite part of this kind of exercise is finding the voice for the minor characters. I tried, at least, to ensure that each had a different tone and language dependent on the imagined history of each character. Joe/Josiah for instance fled a strict Jehovah's Witness upbringing and almost 'speaks' as though he's only ever read most of the words he uses. Super earnest but a bit wooden. I liked him a lot and brought his tale back several times.