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Fear For Your Lives

Despite the promises that I’d get a lot done yesterday, very little was actuated.  Call it holiday blase or whatever, but the writing spirit wasn’t there.  Also, the two rather hefty pints I had for lunch probably didn’t go much good for the mood, either.

But, hey:  can’t have every day being a writing day.

Thing is, when I look at my notes for the current scene I’m in, I realize that I can probably wrap up the whole thing in a day or two.  If I really jammed it out tonight, and I do it for sure, because all that remains it (a) having Annie tell Kerry there is no way in flippin’ hell she’s asking the other two monsters if they wanna see the city, (b) she answers his question about why she’s asking him to run around the city with her, and (c) asking the question for the third time and getting an answer.  Easily peasily, as Pinkie Pie says.  (Who, some quick research show, shares a birthday with me.  Um . . . okay.)

Annie is trying to get what she wants, which is something she does a lot.  That was something my beta reader told me about her:  she’s a leader, not a follower, and she does things.  She wants to go out, and she’s gonna drag this kid along no matter what.  Well, if he says “no” she’ll probably get steamed and then go after him in another way, but–yeah, Kerry’s hitting the town with her, like it or not, and that’s that.

"Aren't we supposed to be walking through London?"  "Pretend for a moment we're not in a stock photo, Kerry."

“Aren’t we supposed to be walking through London?” “Pretend for a moment we’re not in a stock photo, Kerry.”

In the original version of this scene Annie was the passive one and Kerry was Mr. Take Charge.  Someone who’d only been to London once was about to drag around a girl who’d been all over the world–yeah, that didn’t seem right.  Particularly after it’d been pointed out to me.  Now the feeling seems a little different, a little better–

I’m still afraid of Annie, though.

I wrote her wrong in the start–or, as I was told, it felt like I wrote around her.  She had no personality, no feeling.  As she points out in this new scene she’s been all over the world, but that didn’t come across the first time.  Now it’s better, but there is still the feeling, when I enter the scene, that I’m still afraid of her.

Or, maybe, I’m getting her too right, and that starting bringing on memories that I’d rather keep repressed right now.

Makes any sense?  No?  That’s the way writing is at times:  the writing knows what they hell they’re rambling on about, and the read is left to wonder why.  Needless to say, I’m becoming less afraid of Annie and more willing to write her as she should be–just as I’m doing with Kerry.  The juxtaposition of personalities is happening, and it’s forcing me to go slow with my scenes and get their out the way they should.

But with all things slow and steady, in time you reach the end.

Usually in once piece . . .

11 thoughts on “Fear For Your Lives

  1. I can relate. I stepped on a character’s toes the other day, and now I’m stuck with a scene where I literally have to act like I know her, and I know her life, and I’m afraid I’ll write it “wrong” and she’ll never come back again. :/

    • Well, this is why were go through first drafts and have people tell us what’s wrong. I wrote the first draft of the character wrong, and had someone lay it all out for me in painful detail. You take it to heart, and you try to adjust. I’ve adjusted because I did a huge mind map of the character before starting again. That really helps to get things back on track.

      • It certainly makes a huge difference having someone else’s perspective, doesn’t it? I’m so glad I have my writing partner to help keep me on track, though we are going to be looking for Asylum beta-readers soon. It’s finally time, I think.

        Best of luck with Annie!

          • As some have pointed out, writing is one of the hardest endeavors around. You’re not only building characters, you’re building worlds. I’ve worked on this story, off and on, for almost two years now. You should see the maps of the school I’ve created, and the background for the stuff that no one will likely every see (such as the locations of other teaching facilities, officers, headquarters, and so on). It’s not just selling the story, but the world in which the story takes place.

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