marycatelli: (Roman Campagna)
Heroine lands in a horrible situation.

It occurs to me that I have to define how long it has lasted.

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marycatelli: (Architect's Dream)
I outline the timeline of events affecting my heroine, and my hero. Then I gave it a gimlet gaze, trying to decide where to start.

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marycatelli: (Default)
So, starting a story.  Noticing I was using the past perfect, which is not a good sign.

Considered putting in an earlier scene.  Then I realized that I could put what I thought of as an earlier scene after my original start.  That scene could be compressed down to a few sentences AND used to give the main character an excuse to escape from it.

Befores and afters are sometimes complicated 
marycatelli: (Default)
Do I have to put some stuff on stage?

They are major characters, if not the main one, and they will marry and have children before they take a significant part in the events.  So, how to allude?  Wooing, wedding, offspring?  Or just some?  How about the assignment to a team -- which will be significant only later.  When it will be very significant.

This would be backstory except that the main character's story started earlier.
marycatelli: (East of the Sun)
The heroine knows something. Her father and her uncle, both, were too foolish in their cups for the story to not leak out.

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marycatelli: (Default)
Caroline Furlong has some sage advice here:


Thus it is this author’s belief that extraordinary abilities and their limitations are best considered after a writer has conceived of a character. Or, if possible, he ought to create them simultaneously.


And why, yes, those sweet, bell-like peals of laughter are my muse's. She's not calmed by the later "ninety percent of the time."

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marycatelli: (East of the Sun)

When does the heroine get to hear her story?

The curse at the christening, the politics involved, why they know one prince is not THE prince. . . .

AND the reader's heard it all already, in living color, too, so how do I omit and summarize and put in something new to keep the readers awake? 

marycatelli: (East of the Sun)
The evil mother-in-law gets less press than the wicked stepmother, and indeed, she did appear less in the folk source.

But she was pretty frequent.

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marycatelli: (East of the Sun)
Haven't even finished the first sequel, and it's suggesting a third story in the sequence.

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marycatelli: (Default)
Ah backstory. The heroine has some. Something has just happened to drag it back into her life.

So when will she think about it?

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marycatelli: (East of the Sun)
Hmm. . . the story is plugging along and I know that they know bad things about this prince. . . and then I give him a backstory for it. . . and then it occurs to me. . . .

There are other princes in this story who should get them.

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marycatelli: (Default)
Sometimes the thing you want to rip off is an element of the backstory.

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marycatelli: (East of the Sun)
There's an old woman in the woods. She gives good advice to the heroine, and possibly something of gold that she can use to bribe the villainess.

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marycatelli: (East of the Sun)
So Snow-White's son, who is also Rapunzel's grandson, is bringing his bride Rosemary back to the family. . . .

Hmm, how much of the plot of the prequel is necessary to be slithered in?  Rosemary knows quite a bit of it, living in the kingdom and all, but this is the point for any backfill. . . .
marycatelli: (Default)
Mucking about with Gamelit and thieves. Now, the basic skills of a DnD thief are picking locks (and dealing with trapped locks), climbing walls, picking pockets, sneak attacks, and just sneaking about.

Was pondering backstories.
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