marycatelli: (Default)
It's all very well for Aristotle to talk about logical or necessary procession. 

Sometimes, you just have a bunch of things happening during a time, and the only temporal requirement is that they fit into it.  Visiting a home and not caring when they visit the garden and talk about the labyrinth there.

It does make it hard to slot them all in. 
marycatelli: (Cat)
The heroine sits around and thinks, and the writer sits around and thinks about whether there should be more obstacles between her and the meeting with the love interest.  The terrible toad was one, and now -- perhaps a bird?  I could make a bird a real nuisance and different from the toad.  

The dread bird.
marycatelli: (Cat)
The toad is -- well, not dead, since it was never really alive, or (for that matter) a toad.

But the crafty thing is revealing that the heroine is going to suffer quite a lot after her victory.

And here I thought it wasn't even very important in the plot.
marycatelli: (Default)
Ah, discoveries.

There is the leader of the group. There is also at least one rival angling to take over.

Amazing what clarifying the earlier events does.

I think I will have to put in more sightings of the fugitive wizards, just to remind the character that they are the important ones.
marycatelli: (Default)
I've got to nail down how many villains are up to shenanigans. And establish what they are doing.

Then, and only then, can I work out how the heroine learns about them before the end.

Even though the story's working its way from her viewpoint.

sigh
marycatelli: (Default)
Oh you plot bunnies!

Two very different stories about a character who finds herself in another world.  The means by which they are moved differ, the situations they find themselves in differ, their powersets differ, and the reasons they have powers differ.  Their enemies differ, and so does the conflict.

This probably means they should have different reactions to arrival, perhaps all the more in that they do not glide over it as a machine that the readers will simply accept as not relevant to the plot.  (It is relevant in both cases, though -- the reasons differ.)

Both are going to have  metaphysical questions, though.  No matter how different I make them.

(And I don't even know if either one is a full story yet.)
marycatelli: (East of the Sun)
Was plugging along on the first draft, and realized that it might be more interesting with another character, the daughter of one I had in the outline.  Breezily wrote pages with her -- 

And realized that she doesn't work.  The hero has to be opposed by someone whose expectation is unreasonable, and so the daughter has to go.

I glowered and grumbled, and poked it to figure out where to set up the no-longer-a-mother do what was needed.  I realized that after what happened to the hero's mother, I could set up a kind-and-unkind-girls tale.  

Which relief lasted until I sat down and had to write it.  I still needed to plot out three scenes and put them in. 

Ah, well, at least the vague outlines have formed.
marycatelli: (Strawberries)
The five girls are studying hard, and having some amusements, and trying to devise a project. The big project, the one that proves they can do the job they are studying for.

So how much of the other stuff gets depicted as they pound their heads against the wall? It can't obsess them day and night, or they would be discharged from their studies as crazy. But how much of it is relevant?
marycatelli: (East of the Sun)
essayed again.

This is doubly my stuff, because it's about how I came to write my story

ah changes

Jul. 15th, 2024 11:51 pm
marycatelli: (Default)
I thought the scene where the heroine put down her foot about something to try to protect her would be the midpoint. Except it's not shaping up that way. In part because I introduced another scene which may confuse the matter.

sigh You know, it was one of the first scenes I thought of when I realized the story was too thin.

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