marycatelli: (East of the Sun)
essayed again.

This is doubly my stuff, because it's about how I came to write my story
marycatelli: (Galahad)
You start with what you start.

But in some respects, if the muse puts forth a theme, it's the hardest thing to work with.

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marycatelli: (Galahad)
I could keep alive the evil overlord who's causing so much trouble in the story. The climax turns on a traitor who joined him. . . this is a series, after all.

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marycatelli: (Default)
I think there are going to be subplots.

I know that one villainess likes intrigue, and another likes handing magical tutoring to foolish young folk and seeing what they do (after they pay her).  There will be characters who try to exploit this.  There will be at least one for whom it backfired very badly, and the results are significant in the main plot.

Bit hard to see how to festoon them about the main tale evolving in the outline.  Perhaps I shall just let them grow in the first draft, where I usually learn of them. 
marycatelli: (Default)
Ah, the bildungsroman! I know the years ahead. I know many events that will happen in them.

I even know that some will happen before others!

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marycatelli: (Cat)
There are people about. There are, in fact, a LOT of people about, it's a city. A fair number would be interested in what the heroes and villains are doing. (Some of these people are even alive. )

Now, the story tends to sprout subplots when I start working on the first draft. But should I be considering them in the outline? They could complicate things there. And there's always the effort of fitting them into the story, juggling the story times, and having effects and causes interlace.
decisions, decisions. . .
marycatelli: (Galahad)
A heroine sees the chapel where she can become a paladin. She runs away.

Timing is important. Not only does this develop character, it also ensures that two other characters will meet her at the dramatic moment when she goes back.

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marycatelli: (East of the Sun)
So, what do you name a Cinderella?

Assuming it's pulled out a fairy-tale world even to more a high fantasy one, Cinderella's a bit off.

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marycatelli: (East of the Sun)
Was zipping along, writing up the outline, and realized, o those many months ago, that the daughter as well as the son could be in a fairy tale. Furthermore I could easily do it by having her rashly promise to marry someone.

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marycatelli: (East of the Sun)
And just when I thought I had all the threads at least laid out. . . .

The bear trudging through the forest between the scenes informed me, in terms of no ambiguity, that he's going to have some scenes.

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marycatelli: (East of the Sun)
Four plot threads. Four. Two of them thrown into the story after the outline, when I was chugging along, as merry little things.

And now they all come to a head in a short span of time in four different places. grumble grumble GROUSE

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marycatelli: (Default)
So, in a massive multi-fairy-tale tale, I set out to put in a scene from a character's point of view to give him a chance to shine.

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marycatelli: (A Birthday)
Thinking again about the metaphor of the Valley Full of Clouds as I meander metaphorically through one, blazing the trail. . .

Only too accurate in one respect.

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marycatelli: (A Birthday)
Was pondering more the characters of Harry Potter, besides Ron without a distinguishing trait -- or, for that matter, a subplot, which is a good way of giving them more life.
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marycatelli: (East of the Sun)
So -- the fairy tale does indeed go into the fire.  I don't know where it's going to be told, but it will be.

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marycatelli: (A Birthday)
Problems with recasting fairy tales:  they are almost always told omnisciently.

Unless you can pull that off -- harder in a novel than a tale -- you need to tell it from a point of view that will cover all the info.

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