setting the scene
Aug. 17th, 2013 11:45 pm![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
marycatelliRevising, revising. . . just about finished tearing out the first part of the scene, where the stage was set, and slapping in a new setting. Entirely changing the building they were inside to a whole bunch of buildings, where they are outside.
And just about to segue into the dramatic conversation that they will have there. It's not in need of changes until I have to figure out where to pry it open and lard in the new charges and countercharges (the clever masks of infodumping).
sigh
That was the first real clue that this scene really had something wrong with it. A story that you can pull the main character out of and slap another character in is a bad story. (Story ideas can accommodate many different characters. Not so full-blown stories.) By the same token, a story that can be freely relocated has a real problem, and so does even a lowly scene.
(makes a note about not stinting on outlines. tries to ignore the advice about getting it written, not right, because juggling will be needed -- later.)
And just about to segue into the dramatic conversation that they will have there. It's not in need of changes until I have to figure out where to pry it open and lard in the new charges and countercharges (the clever masks of infodumping).
sigh
That was the first real clue that this scene really had something wrong with it. A story that you can pull the main character out of and slap another character in is a bad story. (Story ideas can accommodate many different characters. Not so full-blown stories.) By the same token, a story that can be freely relocated has a real problem, and so does even a lowly scene.
(makes a note about not stinting on outlines. tries to ignore the advice about getting it written, not right, because juggling will be needed -- later.)