marycatelli: (Default)
I know where the story begins.

At the point at which she gets her powers.
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marycatelli: (A Birthday)
Reading Phoebe And Her Unicorn from the beginning, online, is -- interesting.

You see, after several years, it got launched as a newspaper comic.  Which meant a whole pile of new readers had to be introduced from the start.

Some repeat comics, some using the same gag, some comics depicting the same events -- a distinct tendency to compress into one or two comics something that was a whole story arc earlier.  Like the spelling bee arc that introduced Max.
marycatelli: (A Birthday)
I began an outline, as I begin so many, with only the vaguest ideas about what would happen next.  That is, after all, why I outline, to make sure that something does happen next. . . .

Amazing, how much I mentally revised without actually changing the outline.  It comes out very clearly when I go to actually write the outline.
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marycatelli: (A Birthday)
Opening a story -- introducing this element and that -- and trying to remember that he's done that before. He's not new to school, to the beginning of the spring term, to the post he holds. . . .

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marycatelli: (Galahad)
The story starts with our heroine passing out posters to urchins, to hang them about the city streets for a fee.  The author is unhappy because --

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marycatelli: (A Birthday)
Sometimes the muse offers an idea that really is a beginning.  (Just because a story ends up with a beginning, a middle, and an end, doesn't mean the elements came in that order.)

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marycatelli: (Rapunzel)
What's the first thing you do when you win the battle against the evil sorcerer?
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marycatelli: (A Birthday)
Just because a story ends up written beginning through the middle to the end (however that fits into story time) doesn't mean it gets conceived or written that way.

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marycatelli: (A Birthday)
I had an inciting incident.  So I wrote up the outline that far.  And have all three characters with their packs ready to march off somewhere. . .
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marycatelli: (A Birthday)
I have the beginning of a story.  The hero, a young man, is peripherally aware of something going on, involving a burglary with murder and theft in the backstory.  Because of an accident, he's swept into the thick of things:  he knows too much.

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marycatelli: (A Birthday)
Pondering a story, I realized I could move the inciting incident much earlier than I had thought.

But not to the beginning.  There was still some set up needed.

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marycatelli: (East of the Sun)
sigh

Two fairy tale stories.  One I begin when the hero is seven, and he meets up with a wild man of the woods, with consequences that rebound throughout the story -- but not until he's fourteen or so, except for the coldness it creates between him and his father.

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NaNoWriMo

Dec. 1st, 2015 10:50 pm
marycatelli: (A Birthday)
Well, didn't make it.  2700 words short.  Get there this week, probably. . .

lesson noted:  NaNoWriMo is not a good time to try experiments.  Actually, this year I can even distill the problem down to a transmittable lesson:  episodic tales, like bildungsroman, need episodes.  Which have a beginning, middle, and end.  To add drama that the looser weave of the story doesn't have

Also, don't come down with a bug one weekend.

ensembles

Aug. 11th, 2015 11:37 pm
marycatelli: (A Birthday)
The opposite end of the Harry Potter situation where even the two most major characters barely get subplots is the ensemble, where many characters are important, sometimes leaving the main character role split up.
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marycatelli: (East of the Sun)
Exactly how and why, in a story ripping of "Iron Hans" and its variants, does the prince rescue the wild man of the woods?

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marycatelli: (A Birthday)
sitting down with the outline -- enough with notes, I know the opening scenes, and it won't jell on its own.

So I sit there and realize that I have four characters.  One man is caught outside an area effect because he had to go pick up a delivery outside normal hours -- a combination of wasting time decyphering badly filled out forms, and slacker co-workers -- and one woman and two youngsters are because of a problem with a bus-equivalent, such that they could only cram as many as they could on one bus.

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marycatelli: (God Speed)
Among the things that are not the adventures of writing -- how to explain the constitutional limits of the main character's powers.

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