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Reply Subj: Re: It does. Posted: Tue Jun 10, 2014 at 01:02:31 am EDT (Viewed 941 times) | |||||||
Quote: Like I said, this is where I can be unusually tough on myself. I'll write a downtime scene as minimally as possible because, for instance, there has to be actual length transportation time conveyed to the reader, and the characters talk about the kind of thing people talk about during a long trip. But then I'll agonize about whether I dragged it on too long.This is a strength, not a weakness, and should be utilised as such. Quote: Quote: It might be helpful to visualise it as a six-issue comic series that then gets collected for trade. Each episode has to have a punch and a point, each one leaving you reeling for the final haymaker.Quote: I try to do that anyway. The tricky part is keeping the end in site, but not revealing it too early by accident. Or looking like you're trying to avoid the ending because there aren't enough words yet. Man, I want to strangle so many movie writers for violating that rule...Nobody said you have to write everything in order. Draft out the scenes that are burning in your mind. Lock down the big-budget finale and the end of the characters' character arcs. Fill in the intermediate boxes from there. Sure, it'll definitely require two drafts minimum, but they'll be productive rewrites based on clear developments. Quote: I've sort of been sketching out/starting over the whole World Class story. It's mostly the same, except for a few changes so far:Quote: 1. Keiko starts out the story with a combination of being desperate for interaction after virtually imposing exile on herself working at the I.A., more trusting than earlier stories, and a lot more bitter and negative. (see #2 for why)Quote: 2. Part of the reason why is because her former I.A. "co-workers" are now characterized as being violent and vicious people who enjoy bullying and terrorizing people. You get a sense of that right away when Keiko's first in-story interaction involves a lot of thought about the novelty of strength being used for kindness.Quote: 3. The former I.A. people are not eliminated so easily. They will pop up from time to time throughout the story. Also, just so their appearances don't get boring, one opening character (the U.S. Marshal) will reoccur while suffering his own crisis of conscience. And bounty hunters, too.Quote: 4. Quite a few changes will be made along the route so that it's really difficult to tell if Keiko is actually in control or not. I had to remember that this is someone who has been struggling to maintain her own sanity in a world of psychotics. I'd like to create a little bit of worry about whether she made it out entirely unscathed. As well, I want readers to question both their own sense of morality, and hers, at the same time, because she uses so much logical justification.Key to this is going to be how you write "point of view". If we're in other cast's heads when they're speculating about Keiko then we get to wonder with them - and its easier to lead the reader into false temporary conclusions. | |||||||
