marycatelli: (sunset)
Ah, forests.

It's wise to go through one before you put one in the story.  They can be interesting, especially when you don't have paths. . .  hmm. . . maybe I should put in a false path so my heroine can cleverly note that it is not beaten down by feet, the trees just grow in a deceptive pattern.

Concluded I needed a stand of firs for some dramatic darkness.
marycatelli: (Rapunzel)
Hmm -- perhaps this other set of necromancers does not live in another land of shadow.

Perhaps they live in a wide-open sunny land.  Hmmm -- farther north, I think, so it's colder, and sometimes it's dark enough for anyone in winter, when it's truly cold.

 But that's the advantage of not requiring night for the necromancy:  great peril for the heroes.  Especially since the land can  not support so many, so they have to cover more land with few people
marycatelli: (Rapunzel)
All sorts of magical knights about. Fire, water, earth, air, cold, strength, life of plants, of animals, of people. . . .

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marycatelli: (Cat)
Off go the heroes, fighting monsters in a mountainous land.

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marycatelli: (Cat)
Talk happens.  Long term strategy, deep heart-to-heart, instruction.

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marycatelli: (Rapunzel)
It's not a proper school.  They are using a building that does not normally serve as one, and the student body is less than a dozen students.  

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marycatelli: (Default)
I may have to fall back and outline this story from a higher level. . .

Some locations that are problems that they know about -- a central locations that is the real problem, and which they learn about --

How many of the first do they have to visit? When do they make their discoveries? Who opposes their not checking them all if they conclude they have enough information to cut to the second? Given that they have been sent by authorities -- and they have used that authorization freely -- other characters can seriously crimp their planning.

Would a high level outline help -- higher than scene by scene? I would have to continue the scene by scene to make sure there's a story, but the structure on this one may need some help. sigh
marycatelli: (A Birthday)
A character leaves her home, which is horrible, and is brought to a new place.  Much better in every respect.  Even when she first arrives, she notices many things that are obviously much nicer about it.  (Well, nicer for her.)

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ah, dear

Feb. 12th, 2015 11:08 pm
marycatelli: (A Birthday)
So the heroine goes and toddles down the road and happens on the library.

It was intended to give her some contrast with the boisterous, rowdy, overbearing Wolf Hall.

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marycatelli: (Strawberries)
Settings can contrast each other as character foils do,   One thing that can contrast is how settled they are.  And the fun part is that each one can look settled and civilized in contrast to the next.

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Part of [livejournal.com profile] bittercon
marycatelli: (Strawberries)
Come to think of it, if the heroine is an agricultural wizard, and her story revolves heavily about her work in agriculture -- even if the actual conflict spring from the things she stumbles across -- it would help to have a better idea of agriculture's effect on landscape and vice versa.  If only for the descriptive prose.

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marycatelli: (A Birthday)
Virtually all of my stories build up their settings about them.  Which means, in practice, that they aren't in series, because the earlier works' settings have to dictate the later ones.  Perhaps just an aggravated form of a problem that many writers have, if you have ever read the later works of a series where the author's lost the spark, or the setting's been wrung dry (often characterized by an inability to write in that setting, with other works being fine).  Still, it's not a form of inspiration that lends itself to fix-ups.

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unity

Sep. 11th, 2012 11:15 pm
marycatelli: (A Birthday)
Ah, the unities.  Unity of time, unity of place, unity of theme -- all blamed on Aristotle, who didn't even mention unity of place and on time only said that the best plays seemed to take place in a single day.  Theme, yes, unity of theme reoccurred again and again in Poetics, being central to his notion of story.

He didn't get into unity of setting, and unity of tone, but then, the genres were not clear enough perhaps to make it a distinct point.

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marycatelli: (A Birthday)
It can be interesting to be generating names for two different stories at about the same time. . . .

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marycatelli: (Strawberries)
Inspired by an online discussion about why so many fantasies take place in kingdoms -- but not, on reflection, limited to government structure.

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