marycatelli: (Default)
Once upon a time, I wrote a story. It was about something that happened to a young man while he was camping by an unused road.

Which meant he had to have a reason to be there. A reason that wouldn't clutter up the story too much and that could tie into the ending.
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timeliness

Mar. 4th, 2017 01:00 pm
marycatelli: (A Birthday)
So the boys are often wandering the labyrinth. Briskly. They don't want to be trapped there all night. . . .

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marycatelli: (Cat)
Was contempating the masquerade in Phoebe and the Unicorn, where the unicorns live casually among us and go unnoticed.

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marycatelli: (A Birthday)
I need a man with a gun in his hand to come through the door, or rather, his fantastical equivalent, suitable for the story. . . or maybe not. . . .

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marycatelli: (Cat)
Ah, time for the faction sheet.

A useful sheet, like the character sheet, to help you keep track of what's going on.  There's nothing like multiplying the number of different things that characters want to make the story complex. (As long as you keep them clashing. It matters a lot less how strong the desires are than that they can't all get what they want. )
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marycatelli: (A Birthday)
Writing one's vignettes in a coherent world can give you ideas. Both for the vignettes and for interesting plot twists.

But sooner or later, you have sit down and plot the thing.  They will not sort of stick together and form a beginning, a middle, and an end.

And sometimes you need to to devise over-arching things.  Like the motives of the main villains.
marycatelli: (Cat)
Was pondering the masquerade and realized -- what if the magical being were forced away as punishment?

It would leave a whole lot of the world-building questions open but still has its intriguing aspects

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marycatelli: (Cat)
Was pondering the possibility of different kinds of magical beings hiding themselves from the mundane -- and each other -- and realized that a selective withdrawal did not have to mean hiding from each other.

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marycatelli: (Rapunzel)
At one point in Style Is the Rocket, Tom Simon mentions one flaw of the later books:  Oz learns magic.  Real magic.

So what, I considered, would really come of  a con man learning magic?

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marycatelli: (Cat)
Thought of another justification for the masquerade, why magic lurks among us but we don't know it -- so that urban fantasy can take place in a world that is not alternate.

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marycatelli: (A Birthday)
Was further pondering the problems of fully adult characters as the protagonist of fantasy adventures. . . .

There are the professionals.  People whose jobs are adventures. . . the canonical heroes of sword and sorcery, to be sure. . . but there are issues even with traveling mercenaries.

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marycatelli: (A Birthday)
So why would superheroes only show up in modern times?  Bar being the Mad Scientists' handiwork, which works in a simple and elegant manner for that -- and carries a lot of baggage.

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marycatelli: (East of the Sun)
there's a large difference between a character recounting a fairy tale within a story -- and a character recounting some backstory that happens to be a fairy tale because they live in a fairy tale world.

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marycatelli: (Strawberries)
So the hero and another boy have been magically thrown through space -- it's a trap! -- and landed somewhere.

Somewhere indeed.  Gotta describe the location.  Especially since the boys are not complete fools, the first thing they will do is look around and see what happened to them.
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marycatelli: (East of the Sun)
One thing fairy tales tend to be sparse on is motives.  There are variants of the Twelve Dancing Princesses where we never find out if the dancing is voluntary on the princesses' part.

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marycatelli: (Cat)
A MacGuffin is an object in the story that the characters care about -- but the readers don't.  We just empathize with the characters' desires about it and let it motivate the story.  The marvelous gemstone the Lake of Wine, that the thief Corry wants to steal to avenge his father's murder by the family that owns it.  Or the thinly characterized kidnap victim.

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marycatelli: (A Birthday)
I have a perfect good motive for Basil to talk to the students.  Once he's done so, he can later comment on how he thinks they are just about ideal students -- grave, modest, diligent -- and so doesn't understand why they were rejected elsewhere.  But that's me.
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