marycatelli: (God Speed)
Was settling characters into their places, because they stop wandering for the next part.

Realized that I need to introduce other characters. There are four knights at this post, plus of course servants, but there are more in force when the clash comes.

I think I will merely have them say, as two youngsters leave with the wizard, that more knights will arrive to make this a proper post, because the others are not important character. Proper disemphasis.
marycatelli: (God Speed)
I know what happens in it.  I even have a point of view character whose job in the fight will ensure he gets a good view of what happens.

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marycatelli: (East of the Sun)
The thing about a princess going off with her army to find the prince who visited when she was sleeping. . . .

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discovery

Oct. 29th, 2017 10:54 pm
marycatelli: (Cat)
The thing about going through a portal and having something unpleasant follow them. . .

It doesn't have to be obvious at once. Especially since it's both little and a shadow.

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marycatelli: (Default)
One third of the way through the outline, I estimate.

So, I deduce, the original idea was one third of a story idea.

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marycatelli: (Roman Campagna)
I had an inciting incident.  So I wrote up the outline that far.  And have all three characters with their packs ready to march off somewhere. . .
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marycatelli: (A Birthday)
So plugging along on the revision and thinking, I really need to stick some padding in there. . . .

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marycatelli: (East of the Sun)
How to get the heroine into the forest. . . .
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marycatelli: (Default)
"Show don't tell" is one of those rules you hear early in the writing life.  And it has its points.  It's a very odd story that can be told well without any showing, and a scene shown is almost always more dramatic than a scene told.

Still, there are places.

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Day By Day

Jan. 26th, 2012 10:43 pm
marycatelli: (Default)
The characters are plugging along on the events of the plot, and there's the little question of how long does it all take?  In story time?

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marycatelli: (Default)
You want to keep the story hopping with liveliness and activity, or at least filled with quiet drama, all the time.  Cut out the dull parts rather than summarize them, to keep the reader engaged.

Well, usually.


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marycatelli: (Default)
Changing my longhand writing from writing such scenes as fit my fancy to plodding along from one scene to the next in the outline (umping quite a bit in time, sometimes, but always in sequence) -- has various advantages.
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marycatelli: (Default)
And he's not gonna tell you what it is.

I used to find the scene cut at the point where the hero stands up and says, "Now this is what we are going to do." very, very, very annoying.  Cut straight to the people running about doing stuff and you get to see what the plan is when it unfolds.

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marycatelli: (Default)
Lyricism in style can be fun, interesting, beautiful -- but it can also interfere with getting on with the story and distract from what it's about.

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marycatelli: (Default)
Nothing is more interesting that needing to interpolate some communication and concluding that it goes in that conversation.  Except that when you get to it, you don't know where it can go.
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marycatelli: (Default)
Not all third-person points-of-view are the same.  Even within the same work.

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marycatelli: (Default)
Besides the person chosen, there's always the question of how loose the POV can be.

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marycatelli: (Default)
Pondering the flashback and the warnings against it that I have recently run across.

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