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: (Cat)
One thing that keeps the setting stable in urban fantasy is that there are no miracle cures for werewolfery or any of the other curses and afflictions of the genre. . . but what if there were?
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marycatelli: (Galahad)
Some fantasy worlds fail in that they do not realistically react to the magic in their midst.

Take RPG worlds.  Where you know that characters have real Detect Good, Detect Evil, Detect Lies spells.  Politics are not going to have as much of a chance to get complicated as in reality.  Perhaps it's why they have so many good kings and thorough-going tyrants; unless you opt for the latter, you're not going to keep your kingdom from having the former.
marycatelli: (Rapunzel)
Read a D&D article talking of rigid and powerful guilds, with a handful of masterships, dangled before the journeymen but in reality given only to the children of masters, keeping all the wizards under a rigid list of spells. . . talked of late medieval guilds that worked like that.
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denouement

Jul. 14th, 2015 11:03 pm
marycatelli: (Gibson Girl)
A story is slowly taking form.  I poked at the denouement at a few times -- you don't have to begin at the beginning for development -- and contemplated what the heroine might do with a magnificent superhero making machine.
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marycatelli: (Rapunzel)
I'm usually as bad at naming cities as any other location -- that is, bad, but one city in particular raises issues.  A magical city.

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marycatelli: (Gibson Girl)
Philosophically considering geography.  If the story requires the fight the hero's involved in -- I think as organizing the supply train -- be off in an odd corner of the world, that's going to have some other requirements.

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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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marycatelli: (A Birthday)
The moral schema of Star Wars is simple enough:  Rebellion/Republic good, Empire bad.

There's a certain amount of amusement value, what with the Senate and the other indicators this is like the Roman Republic turning to the Roman Empire, when you consider that Augustus Caesar's seizure of power was for most Romans an improvement.  There had been a lot of violence and trouble with the late republic.
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marycatelli: (Baby)
In Paris to the Moon, Adam Gopnik recounts how, when his wife became pregnant in Paris -- a girl, after they had had a boy -- everyone kept saying, "Le choix du roi!" until he finally snapped when a taxi driver said it and demanded to know what it meant.
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marycatelli: (A Birthday)
A discussion, mostly, of the problems involved.

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marycatelli: (A Birthday)
so, how exactly does a newly appointed -- or perhaps newly come-of-age or just newly aware of his duties -- hereditary authority deal with those sage souls, the older and wiser heads who ought to (in their own eyes) guide this foolish youngster?
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marycatelli: (God Speed)
A question of political philosophy:  what would government look like in a land where the Fisher King principle applied?

Would depend on exactly how the king and the land were one, of course.

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marycatelli: (A Birthday)
Whatever the world's -- unique traits are, chances are the characters have some way to refer to them.  Whether it's invented terms or English terminology pressed into new uses by the force of world-building.

The trick is getting it across.  Without using a character new to the area, whether a transplant from our world or from another region.  That's just the classic question of motives and dialog.  (Instructing children in a class or other formal education is the same principle.)
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marycatelli: (Galahad)
Was running across an argument about which would be better to live in, a Lawful Evil or a Chaotic Evil society,  Some were arguing that a Chaotic Evil society with its freedom to act on your own interest would be better, without realizing that would be exactly what makes it so dangerous -- no one else has constraints on their acts -- and argued that societies always move toward freedom.

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marycatelli: (God Speed)
The muse goes happily along, sometimes, without thinking things through.

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marycatelli: (A Birthday)
So our hero distracts the bad guys, the heroine sneaks in and rescues some prisoners, and the villainess orders some executions as a consequence.  Not of guilty men, not even of carelessness.  The heroine's use of magic showed something the villainess really wishes wasn't true.

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marycatelli: (A Birthday)
So I'm plotting along, and a villainess has gone to a family enemy and promised him lands that their families disputed over if only he will aid her.  (A guard of hers sidles off into the night.)

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