notes

Jun. 24th, 2017 11:31 pm
marycatelli: (Default)
It is useful to take notes on future paths for the story, IF --

You remember to consult them later.

It is very annoying to do so after several weeks of trying to figure out how to get the heroine to do something risky to look back and realize that I had made a note of the perfect motive, which would not only get her acting, but tie back into the other plot thread, AND put a time limit on her decision. 
marycatelli: (A Birthday)
Sometimes a character is given a fixed number of things:  this will take you through twelve worlds, you will have to collect seven fragments of the relic, there are four tests to pass to be the champion.

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marycatelli: (Cat)
Was poking at a story again, trying to work out the climax.

Then I remembered the earlier incident I had put in, where the hero had spotted a nasty piece of blood magic.  Which I left dangling.

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marycatelli: (A Birthday)
I'm working on what I suppose, from the age of the hero, has to be YA.  I have the adult problem. . . .

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marycatelli: (A Birthday)
Given your character a rambling story, a bildungsroman, or a quest where he doesn't know where he's going, has more than one problem.

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marycatelli: (Cat)
A plotline is starting to come clear to me.  The reason why one character is talking with the main character -- in her arch unpleasant way -- is that she realizes that certain people who threw her out of their plan in the early stages went on with it, and wants to use her as a spanner in the works.

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marycatelli: (East of the Sun)
There were two princesses.  First cousins.  Nearly the same age.  The one that was the king's daughter was under a curse, which will be romantic as she grows up but now is just an excuse to spoil her rotten.
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marycatelli: (Galahad)
So there's this new superhero -- made according to his world, and so a product of mad science, not to say a victim of mad scientists --

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marycatelli: (A Birthday)
One thing you often get in time travel stories is ones where the time was changed -- o cursed spite -- and you have to put it back again.  To set it right.

What you do not often get is reflections on the people who will be annihiliated by this.

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marycatelli: (A Birthday)
So a hero's got his origin and his superpowers.  The bad guys' fault, and he breaks out. . .

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marycatelli: (Rapunzel)
Some magic is random.

Honestly, intrinsically random. For theme and plot significant reasons no less.
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marycatelli: (Baby)
In one sense, this is a special case of why so many young heroes in fantasy (you might be better off reading the general case before this post 0:).

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marycatelli: (Rapunzel)
A bildungsroman has a lot looser weave in its plot than other stories.  Even if the heroine turns into a dove on occasion. . .

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marycatelli: (Roman Campagna)
looking at The Grimnoir Chronicles -- and superhero world-building.

Ah, an explanation of why superpowers appeared when they did! A combination sort of fantasy/superhero/SF sort of reason. I note that this reason was not only integral to the plot, it was the driving force behind it. The complications of world-building is that sometimes it has to drive the story.

Also liked the very realistic treatment of people's reactions. On one hand, the fear of the powers, on the other hand the freedom of the Actives. . . though no one pointed out that if they can control people who can throw around tanks and the like, what can they do to Normals?
marycatelli: (A Birthday)
Step one was create a superhero.

Step two was make him a fugitive from the law.

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marycatelli: (A Birthday)
When stealing ideas from other stories and fililng off the serial numbers, one of the best ways is to steal something that was a part of the backdrop -- a character's back story, a minor character's comment, history.

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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: (A Birthday)
So the heroine is trekking along the road. . . .

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