Timing the Trips Once More

Morning to all out in Blog Reading Land.  I’ve been a bad girl again, but not really.  I was thinking about writing last night, but after taking my shot and getting in a nap and then finding I had a real Need For Sweets, I headed out, had wine and cheesecake and another small libation to go with dessert, all the while speaking with someone I know.

You know what this mean:  no novel work last night.  Bad me.  And here I have ten AM appointment to get my nails done, so little writing from here unto the afternoon.

That doesn’t mean I haven’t been working.

Since I was up at seven I decided it was better to start getting into my time lines and begin making adjustments there before I started writing.  And that has been the plan up until about twenty minutes ago.  Yes, I’ve been a busy little beaver getting some of those fixed.  Not everything, mind you, because there’s a lot out there to do.  For example . . .

Is this what I think it is?  Probably.

Is this what I think it is? Probably.

Believe it or not, those green lines under “Book Events” are the time frames covered by each of the novels:  the ones finished, in progress, and to come.  There’s a lot more here that you don’t see–part of which are the events in the A Level book that you see to the left–but I’ve got my times worked out.  More or less.

There has been a bit more work on this line because something I changed here affected another time line:  I have lines within lines, remember?  That meant it was necessary to bring up the other line and begin making adjustments there, and while I was at it I figured that something that was on the second time line needed major changing because of something changed in the first time line.  Does that make sense?  Probably not, but keep in mind that from point of view I’m sort of time traveling here, and one little tweak on one time line blows up event later on in another time line.

Is that why I'm figuring out a route between Germany and Austria?  You'll have to wait and see.

Is that why I’m figuring out a route between Germany and Austria? You’ll have to wait and see.

This isn’t even the major work I discussed the other day where I started I needed to work on a new line.  I may do that work tomorrow afternoon because I don’t actually have anything planed, so why not get in there and start playing with time and locations?  I actually know most of the locations, it’s just a matter of plugging in times.  And in doing this I need to make a major change on my main time line because reasons, that’s why.

Who knew playing with time could be such fun?

I’ll continue the novel this afternoon after I get my nails all prettied up, but I will leave you with this:  I have an important anniversary coming up this Tuesday, and I want to look good for it, so I picked out the outfit, which involves an skirt I picked up yesterday.  And it is–

Excuse the Resting Bitch Face, but that's how I usually look.

Excuse the Resting Bitch Face, but that’s how I usually look.

Given that it’s supposed to be in the 45 F/7 C on that day, I may just be brave and go bare legged.  We’ll see.

Anyway, off to get the nails done.  Ta!

A Day At the Races: Basin Deep, Mountain High

Finally, finally, finally . . . I finished the scene.  With all my note taking and map watching and picture imagining, I finally got the sucker finished–and even managed to dip into the Phil Spector catalog to come up with a witty title for today’s post.  I stand back; I kiss myself.  Maw!

Believe me when I say this was on long and hard chapter to write.  Of everything I’ve put together in two books, this is probably the longest I’ve gone without the main characters speaking to others.  Yes, Kerry does have a short conversation with Vicky, and he yells a couple of times, but that’s all of about a hundred or so words out of the five thousand three hundred total.  It’s all description, and that’s a pain in the butt, at least from where I stand it is, because I have to dream up everything.  It’s always so much easier when Annie’s crashed out with Kerry on a sofa somewhere, whispering sweet Bulgarian nothings in his ear, which reminds me:  does she really do that?  Do they run off to that little hiddy hole they have and sit next to each other, and Annie places her lips close to his ear and whispers, “Ti si moeto malko vkusna tikva,” which is, “You are my tasty little pumpkin,” and then gives him a kiss and–

Hey, that’s a scene for another time, right?  For now let’s get to the end of the scene at hand:

 

All excerpts from The Foundation Chronicles, Book Two: B For Bewitching, copyright 2015, 2016 by Cassidy Frazee)

While Kerry wasn’t a technical flier, there were certain track turns that he loved because of their complexity. Harvey was one of those turns: a difficult “S” turn that climbed three hundred meters to the 4K points of the course in just thirteen hundred meters. He went over the turn five times during the walk-through: twice during the two laps he was allowed to run, and three more times where he flew back from 4K to Cliffside Valley just to get a feel for turns and develop a rhythm.

He used that rhythm now.

With the snow closing in and streaming down the rough cut in the side of Hamlin Peak, Kerry wrapped around the course at the base of the actual ridge, then turned left and flew upward over the exposed rock face. He pushed his PAV up two hundred meters into a near white-out, then yanked the broom to the right flew across the escarpment to the eleven hundred and sixty meter level, then speed off up and to the left at nearly a hundred and seventy kilometers an hours, sliding through 4K as he continued turning to the left thought the light woods above the twelve hundred meter line and into the white out that currently engulfed Hamlin Peak.

 

Kerry loves those turns because, as you’ll find out later, he’s had experience on them–not at this school, but elsewhere.  So what does it look like up close?

I could get closer, but I'd have to fly there.

I could get closer, but I’d have to fly there.

The point at the far left is about where he flipped off Emma while zooming along, then he starts the turn, he turns again, and then it’s up in the air you go.  For just a little bit you’re actually hanging out over nothing, and it has to be kind of freaky to be at the top with all that snow swirling about, and catch a peek at the ground about seven hundred feet below you.  Then you’re across, you turn again, and then it’s up the mountain to 4K, which is just about where this ends on the right.

If you look closely you’ll notice that it would have been easier to go straight at the bottom, following the creek bed, and continue straight on to the top of the mountain, but where’s the fun in that?  I’m here to give my kids a challenge!  Which they are getting . . .

 

The last of trees were replaced by low shrubs, but within a few hundred meters they faded away into the bare rock that made up the mountain summit. Kerry slowed to about two hundred kph, hoping he wouldn’t get run over, and watched as the gates began flashing. He remembered from the day before he’d pass through six before reaching the edge of the peak and the High Dive. The first flashing gate went by, then the second, and Kerry girded himself for what was coming next—

He flew through the sixth flashing gate and watched the ground vanish from below his feet. He angled the broom downward about sixty degrees, then hurled down the flank of Hamlin Peak at close to two hundred and fifty kilometers an hour.

The course from the High Dive to the basin floor was about a kilometer long and dropped about five hundred meters with an interesting twist on the decent: for the first two hundred and fifty meters it stayed at the initial sixty degree angle, then shifted to about an eighty-five degree angle for another hundred before cutting hard to the left and taking an easier decent to the Basin Ridge turn. Given the speeds down this section of the course, it was easy to make a mistake—and any kind of bad weather made the decent that much more perilous.

 

The bit about the side of the mountain sticking out I didn’t get until I started looking at Hamlin Peak in three dimensions, and that’s when I saw the formation as described.  Sort of like . . .

Did you really think I wouldn't show you?

Did you really think I wouldn’t show you?

No matter how you look at it, roaring twelve hundred feet/three hundred and fifty meters down a mountain in white-out conditions isn’t a lot of fun.  Kerry’s already thinking this isn’t fun, but he’s feeling that with racing at the school:  it’s almost a job, and you gotta work at it.  And he’s doing that full-out now–

 

Kerry’s concentration didn’t waver, however, and ten seconds after flying over the High Dive the white out dissipated into heavy snow and the ground leveled out among the bare trees of Baxter State Park. He was around Basin Ridge and one his way to Campground, anticipating the slight rise as the course lifted above the trees for the first time as it followed one of the park’s roads towards Hamlin Peak’s southern flank, making it impossible for the placement of elevation gates at ground level. Kerry found this part of the course a bit more difficult to follow, for it didn’t trace the path of the road below exacting, and if one started following the course below instead of the one they were on, they’d soon miss a gate.

He didn’t make any mistakes, however. With the snow picking up Kerry stayed focused on the gates while the ridge line between Hamlin Peak and Mount Katahdin grew closer. He reached Saddle Climb and rushed up the mountainside, rising another three hundred meters in just under five seconds and clearing Katahdin Wave by only a meter as he was once more engulfed in a white out.

With no one near him, ahead or behind, he relaxed as he eased into the right hand turn leading to Hamlin Thirty-six. From this point on it was downhill all the way back to Section 8 and the Start/Finish line. There was only once more major climb ahead, but after what he’d just negotiated in Section 5, he wasn’t worried. He was going to get cold, he was going to get tired, and he was going to do his best to ignore the pain shooting through his left knee and upward into his thigh.

It was necessary, because he was going to finish this race.

 

There you have it:  all five thousand and some words for the posting.

Just like I said I would.

Just like I said I would.

Long and over, and the end is near.  Actually, since the next scene is The Finish, I’d say the end of something is close by.

But what I’m finishing only I know.

A Day At the Races: The Pain Principle

Well the storm is over, and the end total is fourteen inches/forty centimeters of snow dropped on The Burg over a twenty-four hour period.  Some areas around us got more snow, and for a while the Pennsylvania Turnpike was closed because the road was blocked by both snow and cars.  I even read that people hunkered down in the Allegheny Mountain tunnel for the night and part of the day, because there was nowhere to go.

So today is nice and sunny, and the roads are somewhat “clear”, which means I may actually be able to go and get my face zapped today.

Here's the view from my balcony looking north.

Here’s the view from my balcony looking north.

 

And looking south towards I-83 and the Susquehanna.

And looking south towards I-83 and the Susquehanna.

I didn’t go to the coffee shop today because I didn’t know if how clear the sidewalks would be, and I didn’t want to try walking over slippery sidewalks with my computer on my back.  But I managed a lot of words–a little over eleven hundred and fifty since last night–and things are heating up a bit on the course . . .

 

All excerpts from The Foundation Chronicles, Book Two: B For Bewitching, copyright 2015, 2016 by Cassidy Frazee)

For a few seconds Kerry was unable to consider why Emma had raced by so recklessly due to the pain shooting up his thigh. He clenched his jaw and headed off after Emma, because he saw the rest of the back popping out of Twin Peaks and heading toward the switchback. He’d wasn’t sure if Emma tore anything in knee when she crashed into him, but considering it was a nearly identical crash that screwed up his knee the first time, he was pretty sure something was torn again.

The forest and hills closed in over the course as he headed into the section leading to North Climb. He’d not flown for more than a few seconds when Vicky’s voice sounded out in his helmet. “This is Race Control. Warning on course at North Climb: penalty assessed against Number 10, Neilson, for rough racing. Throttle back to one hundred kph for ten seconds and pull to right side of course now.” Kerry pulled to the left to give Emma a wide berth as he sped by the quickly slowing flier. He didn’t glance in her direction during the pass, but it wasn’t necessary: his wingmate was likely pissed. During her ten second penalty she’d cover three hundred meters while everyone else would cover seven to eight hundred meters, dropping her to the back of the pack.

There was good and bad in that. The bad is that she’d have to fight her way through the pack to the front. The good was that she had two hundred and eight kilometers in which to do that, and with everyone bunched up as they were, Emma might find herself back at the front before the end of the first lap. Kerry pulled right through North Climb and continued climbing towards the top of North Ridge. It wasn’t a bad idea for her to find out how much she could get away with early on. He continued pushing upward. It just sucks that she tried that out on my knee . . .

Half way to North Pass two things happened: Nadine and Penny passed him much like he’d passed Manco and Soroushi earlier, and the snow began. As Professor Bashagwani promised it was light, but it was steady, and though it wasn’t enough to cause a problem it was annoying. He’d raced in snow before, but something inside Kerry clenched as he realized that with this weather prediction coming true, the likelihood of racing in a white-out conditions a half a kilometer higher up were good.

Then it was over North Pass and the face dive down three hundred meters of slope to Howe Drop. He fully understood the difficulty of the Katahdan course: once they were into the mountains the elevation chances were constant and extreme, and they were all handled at speeds more comparable with the Green Line. As he reached Howe Drop and zipped over the creek bed he also saw how there were few actual straights; everywhere one found slight bends here and there. Just like with the Red Line it meant the racer needed to keep their attention on the course one hundred percent of the time, and while that was something he’d learned to do racing that course, the longest race on the Red Line covered a total of ninety kilometers—not even one full lap here.

He sighed as he rolled up to Side Cut, turned right and continued up to the summit so he could fly over to East Terrace and Slide—and that was when Rivânia passed him, letting out a whoop as she dropped through the pass.

 

So Kerry is wondering if he is hurt, and he’s been passed by four people, one of whom had to fall back because she’s racing like an idiot again.  Given that the race is being shown in the Dining Hall on multiple holographic screens, you think there’s a chance that someone saw Emma’s action out on the track and had a bad reaction to that move?

You're gonna make Annie angry; you don't want to do that--

An angry witch at Salem?  Whomever could I mean?

I’ll get to it sometime later, but for now we’re out in the mountains, and we’re getting ready to move on . . .

My first attempt at boring the hell out of you.

So now we leave this behind–

Number 12 is pretty much where Riv Went Whoop and kept going, and now that Section 1 of the course is behind us–

Still with me? Good.

And we move on to Section 2.

And this is where Kerry starts doing stuff–and things . . .

 

He sailed down from the pass and negotiated the turn thought East Terrace with no difficulty, but as he made the turn towards East Slide Alex and Rezi Lahood from Åsgårdsreia cut inside and passed him with little difficulty. Kerry blinked twice as if he simply couldn’t believe what he’d just seen. “Yn fab i ast.” He didn’t scream out expletives—at least not during races—but this was too much. Am I going that slow? Only one thing to do

He made his way down the mountain to Ford and Wading, then willed his broom to four hundred kilometers an hour as he began the half-kilometer climb to Tip Over. Ahead, maybe two hundred meters away, he saw Alex and Rezi, which mean they were catchable—and if they were catchable, they were passable. He pushed the PAV to over four-fifty and flew into the first truly heavy snow.

Near the top he caught the girls as they were reaching Tip Over. In the thick whiteness they slowed ever so slightly—

Kerry didn’t. He passed them and soared away from the pass. He slammed down hard on the control column, trying to enter the next elevation gate, but his speed was too great and he missed it by a half-meter. The moment he flew through the next one correctly he heard Vicky’s voice. “This is Race Control. Five second penalty assessed against Number 11, Malibey: missed elevation gate.” He ignored the penalty: it was early in the race and he could handle five seconds.

 

Kerry has shown that he knows how to swear and he can pop off a phase in Welsh now and then.  “Yn fab i ast” is “Son of a bitch!” and he wasn’t happy when he said this.  This led him to push himself, and he ended up with a penalty in the process.  Like with Emma he did it early and he knows he can come back without any trouble  There’s only one problem . . .

 

What he was afraid he might not be able to handle was the pain in his knee.

As he flew downslope towards Pogy Kerry knew something had torn in his knee from his collision with Emma. Though his legs were held in place by an enchantment in the broom, there was always going to be some flexing due to gee forces brought about by turns and acceleration and deceleration, and those forces were going to work his knees. In his best shape a race on the Blue or Red Lines placed a toll on his body, but the moment one suffered an injury the race conditions did nothing but exacerbate that injury.

Five klicks and forty seconds ahead was the first of a series of hard lefts and rights placed right in the middle of a four hundred meter climb, and Kerry doubted he’d stand the pain the gee forces were going to place on his knee. He felt the twinge of pain as he leveled out in Pory at close to four hundred and fifty kilometers an hour, and this minor pull—maybe a gee and a half—was nothing compared to the two and three gee forces he’d encounter in a few minutes.

Kerry had three choices. The first one involved falling to the back of the pack and running an easy race. He’d score zero points, but he could say he finished. The second choice was to pull up and away from the course and tell Race Control that he was filing as a DNF—Did Not Finish. This way he could return to the Start/Finish line and request a jaunt back to the school and then to the hospital.

He wanted neither of those choices, which left only the third . . .

 

There you have it:  Kerry’s racing along and in pain, and he’s going to do . . . something.  What is this something?  Well . . .

Tomorrow.  There’s always more tomorrow.

A Day At the Races: Only the Climb Ahead

You can blame Skye Hegyes for this post.  Kinda.  It’s always the kinda with stuff like this.  I’m a kinda kind of girl.

But back into the post . . . after yesterday’s post she left this comment, which I point out now that I know was fully tongue-in-cheek:

 

Wait… So you didn’t know everyone’s names, their covens, or even where they’d place behind our beloved ones?!? I’m surprised at you, you slacker, you. :P

 

Like I say it know it was said in jest, but at the same time there’s a kernel of truth there as well.  The last few months have been tiring and stressful, and I’ve been here before and usually get through it, but this time it’s been a bitch of a bitch that doesn’t get the hint that I don’t need this shit in my life right now.

"Stressed stressed, you got my best . . . screw rhyming the rest of this crap."

“Stressed stressed, you got my best . . . screw rhyming the rest of this crap.”

So when I started putting this current chapter together I did slack in some areas–like knowing who the hell everyone was.  It was a lot of work, and given what I put into laying out the track I didn’t much feel like getting down a name on everyone there.

However . . .

I also felt bad because I usually have this stuff worked out.  I mean, that’s what I do:  I get all the details worked out.  I didn’t this time, and I didn’t like it.  In fact I started thinking about it at work, and thinking turns to obsessing, and obsessing to the Dark Side turns, and . . . sorry, wrong world.

You know where this is going, don’t you?  Damn right you do, because if you’ve read this far into this blog–and that would be a long time, as today is blog post one thousand, seven hundred and fifty–you know exactly what’s coming–

Ladies and Gentlemen, the current Salem Coven Racing A Teams:

 

Salem Coven Racing A Teams (Current rosters, March 2013):

Åsgårdsreia

Rivânia Suassuna — E — Uruguay — Captain
Getasew Berhanu — C — Ethiopia
Rezi Lahood — C — Lebanon
Lisa Glissandi — B — United States
Anna Laskar — B — Germany

Blodeuwedd

Tsuchiya Ryoko — E — Japan — Captain
Sofie van Lanen — D — The Netherlands
Soroushi Amouzegar — D — Iran
Maritza Iglesias — C — Argentina
Felisa Ledesma — B — Mexico

Ceridwen

Lee Fang Qing — E — Singapore — Captain
Fana Okeke — E — Senegal
Amitee Jaramillo — D — Chile
Sudarat Chiangmai — C — Thailand
Burney Shaw — C — Ireland

Cernunnos

Manco Mamani — D — Peru — Captain
Darius Roy — D — Canada
Penelope Rigman — C — England
Alexandria Chorney — C — Ukraine
Kerry Malibey — B — Wales

Mórrígan

Malaya Lacsina — F — Philippines
Nadine Woodley — D — United States — Captain
Argus Pelham — D — Tasmania
Nattat Adriano — C — Angola
Emmalynne Neilson — B — United States

 

A few things to point out.  First, Mórrígan is the only team where the team captain is not the oldest person, and they have two members from the United States; they also have the greatest spread of talent, from the F to B Levels.  Blodeuwedd is the only all-girls team:  everyone else has at least one boy.  Cernunnos has the only male team captain, and has three fliers from the same continent, while Blodeuwedd and Åsgårdsreia have all five racers from five different continents.  Also, in researching Getasew Berhanu’s name, I discovered that Ethiopians don’t really have last names, and in his case his last name is actually his father’s given name.  So there.

And given this, here is the lineup for the current race with the best last and the not-best first:

 

Mount Katahdin Cross Country Race 2013

16 — Nadine Woodley (Mórrígan)
15 — Rivânia Suassuna (Åsgårdsreia)
14 — Penny Rigman (Cernunnos)
13 — Rezi Lahood (Åsgårdsreia)
12 — Alex Chorney (Cernunnos)
11 — Kerry Malibey (Cernunnos)
10 — Emma Neilson (Mórrígan)
9 — Fana Okeke (Ceridwen)
8 — Getasew Berhanu (Åsgårdsreia)
7 — Tsuchiya Ryoko (Blodeuwedd)
6 — Nattat Adriano (Mórrígan)
5 — Maritza Iglesias (Blodeuwedd)
4 — Amitee Jaramillo (Ceridwen)
3 — Manco Mamani (Cernunnos)
2 — Soroushi Amouzegar (Blodeuwedd)
1 — Anna Laskar (Åsgårdsreia)

 

Now we know, and so do I.

All that took up about ninety minutes and two hundred words, which means I didn’t have a lot of time for real writing.  Why is this?  I fell asleep when I got home, and I was fighting the Return of the Cold last night, so for a while I had dope head from the medication.  I feel better now, but today we start the watch for Snowmageddon 3:  This Time It’s Personal, and people in The Burg are starting to lose their shit bad.  We’re expecting about a foot of snow by the end of Saturday, and this means I’ll have to go out tonight and pick up staples to help me get through the weekend and into next week.

But I did add to the story–three hundred words exactly.  And now we know is who and what they are doing:

 

All excerpts from The Foundation Chronicles, Book Two: B For Bewitching, copyright 2015, 2016 by Cassidy Frazee)

The field ahead began slowing, indicating they were coming into Crossing. Anna quickly whipped to the right; Soroushi tried to do the same and Manco pushed hard to her left trying to get around the Iranian girl, or at the least race her side-by-side up the South Branch section of the course. Iglesias pulled along side Jaramillo as Okeke went wide and almost flew outside the elevation gate. She pulled back hard to her right and sailed back into the middle of the course, causing Iglesias and Jaramillo to nearly crash into her. This was the opening Kerry needed. He dove low and took the turn as hard as he could while keeping good speed. Jaramillo was close enough on his left that he thought she might bump him, but it didn’t happen.

What did happen was his finding four fliers threading the line directly behind him. Tsuchiya Ryoko from Blodeuwedd had managed to reach his six once more, but she was being pressured by Emma, Alex, and Penny behind Ryoko. He didn’t see Rivânia or Nadine, but there wasn’t time to look—

It was time to begin climbing up South Branch.

Technically the only section of the course ahead of Kerry that one could legitimately call South Branch was the long, slow left following the quick right, but all the fliers refereed to this stretch by that name because it more or less followed the stream of the same name on the right and the road to left. It started a hundred meter climb to the turn fast turn. By the time Kerry was ready to leave Section 1 of the course he’d find himself six hundred meters higher than he was now—

But it started here. It was time to make the climb.

 

There you have it:  I’ve got names, I’ve got places.  What I don’t have are faces, but give me time:

I’ve been known to find those as well.

A Day At The Races: Trout Angling

A couple of things about yesterday’s post.  First, as I was reminded by follower and fellow writing James Pailly of the Tomorrow Network News, O.S. should be “Off Screen” and not “On Screen.”  He’s absolutely correct, and in my “screenplay” there should have been only a few O.S. moment.  As he told me, “At least you were consistent,” so I’ll give the play that.  I’ll watch that in the future.

Second, while the screenplay was cleaned up, the interesting question remains:  if there was a movie made of this magnificent pairing of witches in the wilds of Cape Ann, what sort of rating would it get?  That’s an easy one:  it’d get an “R” rating, and that would come about for a couple of reasons.  First and foremost, the Walking Tests/Kill the Zombies scene would likely get nailed for being too bloody, and Deconstructor Death by Head Exploding, Arm Removal, and Exsanguination would probably be a no-no, not to mention the death are coming from an eleven year old boy and twelve year old girl.  Sleeping together, even innocently, would be frowned up, and Annie’s vision–the one where she got out of bed naked and never dressed–would likely need changing.

The biggest reason, though, is the dumbest:  the word “fuck” is said more than twice.  I was told long ago that a PG-13 is given two “fucks” said or seen, and when it hits three, that’s an automatic R.  The Martian used the two-times rule:  Matt’s character said the word twice, and each time after that it wasn’t heard or spelled out, even when it was seen by others.  The Aviator says the word once, thereby keeping its PG-13 rating.

However, in my story, Erywin drops the word at least once, as does Helena–the “We’re that team, remember?” line in the screenplay had the removal of one word, if you get my meaning–and Wednesday says it to Isis during the Day of the Dead attack.

And then there’s Lisa . . .

 

(From The Foundation Chronicles, Book One: A For Advanced, copyright 2013, 2014, 2015 by Cassidy Frazee)

Lisa jerked out of Erywin’s arms and launched herself at Kerry. She was on him in a second, pummeling him with her fists. “You stupid dick. Rotten bastard.” She punched him in the shoulders and chest while Kerry held his arms up, warding off her blows. “Smug prick, I’m going to get you. I’m going to—let me go.” Helena grabbed Lisa from behind and pulled the struggling girl away from Kerry. “I’ll get you, bitch. I’m gonna make you sorry.” She tried jerking out of Helena’s grasp with little successes. “I’m gonna to mess you up. I’m gonna to hurt You.” Lisa spit at Kerry. “I’m gonna bash in your head with a Fucking POT.”

Helena handed the struggling girl to Erywin. “Get her into the office and give her something.” As Lisa was pulled away, Helena motioned to Kerry. “You can sit down.”

“Thank you.” He headed back to his seat, back towards the proudly smiling Annie, trying his best to ignore the screaming and cursing Lisa—

Something hard stuck him in the back of the head, liquid splashing all over him. He turned and saw Lisa once again out of Erywin’s arms, standing next to the work bench where the various mixtures sat. “Fuckin’ prick.” She picked up another vial and hurdled it towards him to crash against the wall. “I’ll fix you and your fuckin’ slut.” She threw another and struck him in the forehead before he could duck. “Motherfucker.”

 

"Remember when Kerry dominated Lisa in Sorcery class and she lost her shit and was going to hit him with a fucking pot?" "Those were good times, weren't they?"

“Remember when Kerry dominated Lisa in Sorcery class and she lost her shit and was going to hit him with a fucking pot?” “Those were good times, weren’t they?”

Okay, then.  Just that little outburst alone puts me over the limit, and I’d have to keep two of those four F-Bombs in, so . . . fuck it.  R It Is!

But no fucking pots today–it’s race day!  Again!  And let me tell you, almost six hundred words to start the scene isn’t easy when you’re checking your maps and then, right in the middle of writing, you start wondering, “So, what covens to all these fliers come from?”  So I had to sit down and figure that out, and at some point–probably tonight–I’ll start getting crazy and wondering who the hell they are and give them names.

But that’s tonight at the least.  Not now.  Now you get racing!

 

(From The Foundation Chronicles, Book Two: B For Bewitching, copyright 2015, 2016 by Cassidy Frazee)

Slamming his broom hard to the left, Kerry lay down over the control column, pushed forward, and willed as much acceleration as his body could stand. He shot past tenth and ninth places before cutting to the center of the course to pass eighth on the right so closely that he felt the change in air pressure as he cut through the other flier’s burgeoning slipstream.

Seven fliers in front of him, and Lisa was still in the lead heading towards a slight bend to the right that was the set up the short straight going into the Trout chicane. She was getting pressured by both Soroushi, who was right on her tail, and Manco, who was trying hard to get around both girls. Manco was being pressured hard by a flier from Blodeuwedd and the two lone racers from Ceridwen, but the back of the pack was moving forward fast, and it wouldn’t be long before there was a jam-up—

The gates turned from a solid color to flashing, indicating the approach of a turn. Trout was a S chicane and a flyover much like the Green Line’s Reservoir. It turned back to the right, first down and then up over both the local road and Trout Creek, then dropped back into the woods and turned hard to the left for a fast, straight run to the next turn. The front five fliers entered the turn smoothly and gave each other enough space so they didn’t crash into each other.

Kerry cruised past the seventh place Mórrígan as he entered the turn a little harder than necessary, but there wasn’t going to be a problem pulling hard gees through the turn. He completed the turn on the outside and popped up over the road before sliding downward towards the creek. Just like with the first part of the chicane he stuck to the outside and started turning on speed at the apex of the turn. He carried enough momentum through the second part of Trout to zoom past one of the Ceridwen fliers to take over sixth.

Trout was the lowest portion of the course: two hundred and thirty-five meters above sea level. From here it was all uphill, so to speak. It was a nice flat run to the next turn, Crossing, which was deceptively difficult because it was a one hundred five degree turn to the right before starting a fast, one hundred meter climb to a wide, fast one-eight turn that started with a quick flyover.

He checked the course ahead. The top three were still Anna, Soroushi, and Manco being followed by their Blodeuwedd and Ceridwen shadows, but Kerry felt the pressure coming from behind. Emma was only two positions back, and he saw Alex, Penney, Rivânia, and Nadine close behind her. He figured once they were through Crossing those in the back were going to turn up the pressure and make they way to the front before heading into quick wraparound that was Twelve Cut, Barrell Around, and Twin Peaks.

All the top fliers wanted to get around the slower fliers before they began the climb into the mountains and the racing grew serious.

 

There you are.  Heading into the second of a buttload of turns–well, actually third if you were paying attention, and now Kerry’s moving up with racers hot on his six while he’s hot on the sixes of the racers at the bottom of the pack who started at the front barbecue it’s an inverted start–did you get all that?

If you didn’t get it, you soon will, ’cause you’re getting more tomorrow . . .

Coming to a Theater Near You–

Yesterday I mentioned that I was thinking of doing something that was a bit crazy, as in, “I’ve never done this before.”  Maybe there were a few of your who went, “What’s this loony bitch talking about, everything she does is crazy,” but I’m thinking only a few of you actually think that.  Well, maybe more than a few.

Anyway, what did I do yesterday that may seem so crazy?  Well . . . I wrote a screenplay.  Kinda.  Allow me to explain:

As I’ve stated on a few occasions I usually see my stories in cinematic terms.  Towards the end of last week, when I knew the writing of this big race was coming, I began forming these images in my head about how it was going to look, and from those images I would write.

But something else happened as well:  I started imagining my first book once more, and I was wondering, “If this really were a movie, it’d need a trailer.  And if I had a trailer, how would I want it to look?”  ‘Cause these days trailers give away a ton of shit–like, you know, everything.  Half the time you don’t need to see a movie ’cause it’s all there in the trailer.  That means if there were a trailer, I’d want to make sure it was right.  As in not giving away too much while, at the same time, showing you enough to get you interested.

So . . . I wrote the screenplay.

While I’ve never actually written a real screenplay, I’ve read a few.  Also, decades ago, I’d seen a couple of screenplays written by Harlan Ellison–who won awards for four of his screenplays for television–so I had a good idea how they look.  After going into work and getting some shopping done, and even while taking a nap in the middle of the endeavor, I pushed it out:  3,360 words of how a shooting script for the trailer would appear.  Or at least close enough that someone who knows about writing screenplays could look at this and fix it with only a few corrections here and there.

Now, some of the terms.  A Fade In and Out are what movies more or less do.  The images fade in at the beginning and fade out at the end.  A Quick Cut is a transition from one scene to another, while a Smash Cut is a quick shot into another scene for only a second, or a normal process in a Micheal Bay movie.  Dissolve To indicates a slower transition to a scenes, usually as a quick fade in.  In the dialog lines you’ll see “V.O.” and “O.S.”; this means “Voice Over” and “Off Screen,” indicating how the person is speaking.  A voice over is where you hear the person’s voice but they aren’t present in the section of the movie being shown.  EXT. and INT. are Exterior and Interior, where the shot is taking place.  Intercut are one of those things where a group of interrelated scenes are shown in a montage, sometimes with dialog, sometimes without.  It’s use as a way of telling the director these need to be shots without having to tell them that you’re going to cut to these scenes all the time.  Pan Over means that:  the camera is panning.  Angle On, means the focus is on a particular person or thing.  Extreme Closeup is pretty simple as well.

The first time a person’s name appears in the screenplay it’s in all cap letters.  Also, at the beginning, you’ll notice that the conversation between Annie and her mother and father say “In English”.  This is because if this ever were a movie, all the dialog between Annie and her parents, while they are together and alone at home, would be in Bulgarian and subtitled.  For a trailer that would be a bit too confusing.

You’ll notice a couple of things.  One, there are almost no external views of the school.  That’s deliberate.  Two, just about everyone gets seen.  And I do mean everyone.  And lastly:  all the dialog is genuine, though, like with most trailers, it’s been edited slightly.  Some things cut here and there, and a few things may seem out of order, but it’s all right out of the book.  You will also notice that the “W Word” is mentioned one time, and it’s in a particular context.

Given all this, it’s time to sit back and enjoy the show . . .

 

The Foundation Chronicles, Book One: A For Advanced

by Cassidy Frazee

Copyright 2016

FADE IN:

EXT. LAKE SHORE — DAY

A young girl is standing with a tree to her right looking out over a peaceful, still lake with a mountain in the background. She’s dressed for summer and looks comfortable. From the back it’s easy to see her just over shoulder-length chestnut-colored hair.

WOMAN’S VOICE (O.S. IN ENGLISH)
It’s almost ten o’clock.

QUICK CUT:

A woman perhaps in her late twenty or early thirties standing on the deck of house. PAVLINA KIRILOVA waves to the girl.

PAVLINA (IN ENGLISH)
It’s getting close to the time to leave.

QUICK CUT:

The girl turns to her left, facing the person calling to her. This is ANNIE KIRILOVA. She brushes a strand of hair from her face.

ANNIE (IN ENGLISH)
Coming, Mama.

INT. — KITCHEN KIRILOVA HOUSE

There is a tall, well dressed man leaning against a counter. This is VICTOR KIRILOVA. He smiles.

VICTOR (IN ENGLISH)
Did you believe I would miss—

INTERCUT TO ANNIE SMILING

VICTOR (O.S. IN ENGLISH) (CONT’D)
—my only daughter leaving home for the first time?

DISSOLVE TO:

INT. LIVING ROOM — DAY

MR MAYHEW, wearing an impeccable suit, sits in a nice chair speaking with husband and wife, DAVYN and LOUISE MALIBEY.

PAN AROUND DAVYN, LOUISE, MR MAYHEW

DAVYN
They want him to attend this private school in America, house him, feed him, give him an education—

MR MAYHEW
One of the best he could ever have.

DAVYN (O.S.)
And they’ll pay for everything?

MR MAYHEW
Your son is being given a chance at something that is only offered to an extremely small number of people throughout the world every year.

DAVYN
And they’ll pay for everything?

LOUISE
I’ve never heard of this group—

MR MAYHEW
There are many organizations that prefer to work with as little fanfare as possible. They find it’s better that way.

QUICK CUT:

A young boy dressed in black jeans, blue tee shirt, and sneakers stands in the doorway. He has short, red hair, freckles, and wearing rectangular wire-rim glasses which he adjusts. This is KERRY MALIBEY, the object of the conversation.

QUICK CUT:

Kerry sitting in a chair, a pamphlet in his hands.

KERRY
It seems like a pretty interesting place.

DAVYN (O.S.)
Maybe it is time to see something of the world beyond our home . . .

QUICK CUT:

INT. FOYER MALIBEY HOME — DAY

A young black woman wearing an impeachable dress suit is standing with her back to the open front door. MS RUTHERFORD adjusts her large bag on her shoulder.

MS RUTHERFORD
I’m Ms. Rutherford. I’m your escort to London and beyond.

INTERCUT TRAVELING IN CAR

MS RUTHERFORD (O.S.)
We’re meeting the rest of the new European contingent there—

CLOSE UP ON MS RUTHERFORD — IN CAR

MS RUTHERFORD
Are you excited?

KERRY
I’m definitely hoping this is going to be a lot different than here.

SMASH CUT:

BLACK SCREEN

MS RUTHERFORD (V.O.)
You’ll find Salem is like nothing you’ve ever seen.

DISSOLVE TO:

EXT. VIEW OF LONDON — DAY

PAN OVER CITY FROM AIR

QUICK CUT:

INT. VIEW OF RESTAURANT — DAY

Ms. Rutherford and Kerry talking over breakfast.

KERRY
Where are the others?

MS RUTHERFORD
The others have already eaten and gone on their way.

INTERCUT KERRY IN LONDON

MS RUTHERFORD (V. O.)
You have an assignment today.

Kerry wanders the streets of London, looking at intersections.

MS RUTHERFORD (V. O.)
You—as well as the others—have some prep work to do.

Seen from behind he walks through a book store, his every-present backpack secure behind him.

MS RUTHERFORD (V. O.)
You’ll need to go and order your texts.

Kerry looks over and sees Annie sitting in a chair that is mostly engulfed in shadow. She looks up and sees him.

MS RUTHERFORD (V. O.)
They’re familiar with our more esoteric textbooks.

Annie is now standing, speaking with Kerry.

ANNIE
You must be the boy who missed breakfast.

KERRY
That’s me.

ANNIE
I’m from Pamporovo, Bulgaria.

KERRY
A couple of years ago my family moved to Cardiff—

ANGLE ON — ANNIE

She holds out her hand to shake

ANNIE
I’m sorry; I’ve been so rude. Annie Kirilova.

ANGLE ON — KERRY

She holds out her hand to shake.  Kerry shakes.

KERRY
Kerry Malibey.

ANGLE ON — ANNIE

She begins to look perplexed.

DISSOLVE TO:

INT. VIEW OF LOBBY AREA — DAY

Ms. Rutherford and Annie are speaking quietly.

MS RUTHERFORD
I’ve been called into the office; please tell the others they are free to do whatever they’d like—within legal limits, of course. You can even leave the hotel if you want to take in the city.

ANNIE
Why are you giving this to me?

MS RUTHERFORD
Would you rather I give this to one of the Normal children?

QUICK CUT:

INT. VIEW OF RESTAURANT — DAY

Annie and Kerry are sitting at a table. Annie is on Kerry’s left: she’s ALWAYS to his left.

ANNIE
Ms. Rutherford left prepaid debit cards with £200 on them for each of us to use.

PAN FROM — ANNIE TO KERRY

ANNIE
Would you like to do something? Would you like to go somewhere with me, Kerry?

DISSOLVE TO:

EXT. LONDON

INTERCUT ANNIE AND KERRY WALKING THROUGH LONDON

Various scenes of Annie and Kerry walking through London, on a boat, walking though parks. Annie is always on Kerry’s left and he carries his backpack. They seem friendly, and there’s at least one time when they have someone take their picture with Kerry’s phone while they stand shoulder-to-shoulder.

DISSOLVE TO:

INT. BUSY RESTAURANT IN LONDON

They sit at a table close to a window.

ANGLE ON — KERRY

KERRY
Can I ask you something?

ANNIE
You may.

KERRY
Do you think it’s a little funny that Ms. Rutherford just let us go out on our own without supervision?

ANGLE ON — ANNIE

KERRY (O.S.)
She’s testing us.

DISSOLVE TO:

INTERCUT ANNIE AND KERRY TRAVELING

The are getting on a 747 and taking their seats. As they fly they are reclining and looking at each other. They walk with others through a train station, riding with other passengers. They wait on an empty platform with other children before boarding an empty passenger car.

QUICK CUT:

INT. OF TRAIN CAR — NIGHT

ANNIE
Where do you think we’re headed?

KERRY
I’m not sure.

EXTREME CLOSE UP — KERRY’S COMPUTER SCREEN

KERRY (O.S.)
We’re sort of heading northeast. I don’t think there’s a lot of land left before we run out of places to go.

QUICK CUT:

EXT. TRAIN STATION— NIGHT

INTERCUT ANNIE AND KERRY TRAVELING

They get off the train and on to a bus, traveling in darkness. The bus stops before a set of enormous gates, they open and the bus goes through.

KERRY (V.O.)
End of the line.

QUICK CUT:

INT. BUS — NIGHT

A woman in a light gray business dress stands at the front of the bus and faces the students. She speaks with a French accent. This is Headmistress MATHILDE LAVENTURE.

MATHILDE
Children, once outside please stay close to the bus. I assure you, we’re almost through for the night.

QUICK CUT:

EXT. PARKING LOT — NIGHT

Another woman in a dark business dress stands before the students with a tablet in her hand. She wears stylish red glasses. this is ISIS MOSMON.

ANGLE ON — ISIS

ISIS
My name is Isis Mossman; I’m the Director of Security. On behalf of Headmistress Laventure, the staff, and the instructors, I welcome you girls and boys to your new home-away-from-home.

PAN TO — ANNIE AND KERRY

ISIS (O.S.)
Welcome to Salem.

DISSOLVE TO:

INTERCUT ANNIE AND KERRY AT SCHOOL

Kerry opens the door to his room and finds Annie waiting for him. They walk through the commons, seen from above. They head down the covered walkway towards an open area. Beyond them a garden is visible. There are no buildings visible. They are seen from above entering a large open area. They head into an enormous, nearly empty, dining hall, and sit at a table that has their names on a card.

PAN TO — FRONT OF HALL

A number of long tables tables are set at the front, with a podium behind them. People enter from one of the entrances and take their seats; most of these people are women. Mathilde accedes the podium.

MATHILDE
Good morning, students.

PAN AROUND — MATHILDE AT PODIUM

MATHILDE
I am Mathilde Laventure, Headmistress of the Salem Institute of Greater Education and Learning. I am certain each of you have many questions about what you have seen up to now—and they will be answered soon, I assure you.

DISSOLVE TO:

INTERCUT OF DIFFERENT CLASSES

MATHILDE (V.O.)
By now I’m sure that all of you suspect The Foundation recruiter who spoke with you and your parents wasn’t completely honest about the true mission of this institution.

WEDNESDAY DOUGLAS makes things appear and vanish, and levitates a student in class.

MATHILDE (V.O.)
Salem was founded to offer safe harbor for others like them.

JESSICA KISHNA transforms from her usual dark complexion to blue skin and near-glowing eyes.

MATHILDE (V.O.)
Here we teach the incredible and the impossible. We take reality, strip away the protective veils that have existed for centuries, and expose the real truth.

ERYWIN SLADEN tips over a petrified student who crashes to the floor.

RAMONA CHAI sails backwards through the air before gently floating to the ground.

MATHILDE (V.O.)
You are here because you are not one of the Normal—you are one of us.

CORALINE GALLAGHER sits in front of Kerry, a device in one hand and an orange glow in the palm of the other and speaks before she winks at Kerry.

CORALINE
It’s a kinda magic.

DISSOLVE TO:

EXT. PATH IN THE WOODS — DAY

ANNIE (O.S.)
Keep an open mind today. Listen to the instructors. Ask questions. Please?

KERRY (O.S.)
Okay. Just for you.

INT. CLASSROOM FILLED WITH PILLOWS — DAY

DEANNA ARRAKIS looks to her left.

DEANNA
Kerry, would you be so kind as to prepare tea?

KERRY
How did you really know we were coming, Professor?

DEANNA
I told you, I saw you both coming.

KERRY
When?

DEANNA
Before breakfast.

EXT. COVERED PAVILION SEATS — DAY

Annie and Kerry watch students fly by on PAVs, high-tech brooms that look like old-time witch’s brooms, but look far more modern.

KERRY
You’re like the instructors. I suspected something last night, but today I knew for sure. That’s what we are, isn’t it?

ANNIE
The Aware? That’s what we’re called, yes. We’re the special, the ones who can see everything that’s invisible to the rest of the world. The ones who are Normal.

KERRY
Like I was.

ANNIE
No. You were never normal, Kerry.

DISSOLVE TO:

INTERCUT OF DIFFERENT CLASSES

Annie and Kerry go through various situations. They learn simple spells in class. They are seen putting large bags inside greenhouse. They are scene snuggling under a blanket in a chair looking up at the stars during Astronomy Class. Annie and Kerry are seen flying over a large building surrounded by woods that looks like a covered sports arena. Beans are seen turning into beetles. Dressed in pajama they walk through a huge hall filled with kids in pajamas, and are seen sitting on a sofa eating snacks, drinking from steaming mugs, and laughing.

QUICK CUT:

INT. ROOM WITH LOTS OF CHAIRS — DAY

All the students are dressed in leather flying gear reminiscent of WW II pilots. Annie and Kerry sit in the front row and to the left of the podium. VICTORIA SALOMON, dressed the same way as her students, stands at the podium.

VICTORIA
Good afternoon, students, and welcome to the first day of flight training.

QUICK CUT:

INT. ROOM WITH LOTS OF STORAGE CABINETS — DAY

Victoria stands with the students around her.

VICTORIA
Here is some of best equipment you’re ever going to find.

Annie stands before a hovering broom with Victoria standing next to her.

VICTORIA
You want to try and be as normal as possible when you fly one of these. If you’re nervous or a little anxious, it’s okay, you can work out of that, but your broom is gonna act a little jittery for a bit until you settle down.

Annie begins to tentatively mount the broom—

QUICK CUT:

INT. ROOM WITH SOFA AND CHAIRS — NIGHT

Deanna sits on one side of a sofa while TREVOR PARKMAN sits opposite her. Annie and Kerry sit on the sofa between them dressed in pajamas with an comforter across their legs and waists.

ANNIE
I take it you have Trovell’s Study of Sight?

TREVOR
Yes, naturally.

ANNIE
And you have Vijoni’s Interpretation of Visions, Awake and in Dreams?

KERRY
You getting ready to start studying up on improving your sight?

ANNIE (SMILING)
No—you are.

QUICK CUT:

EXT. GARDEN PATH — NIGHT

Kerry stands next to Annie and looks around, bemused.

KERRY
This has been one strange week.

DISSOLVE TO:

INT. CLASSROOM — DAY

HELENA LOVECRAFT stands at the front of her class, glaring darkly at her students.

CLASS POV — HELENA

HELENA
I’m a damn good sorceress and that’s not just a brag—that comes from over twenty years of working for The Foundation as one on the outside, away from Salem.

PAN TO — HELENA PACING

HELENA
Whereas one can use the other disciplines against another person, sorcery is meant to work against a person, whether directly or indirectly. Sorcery is all about dominating people, controlling them, hurting them—even killing them.

STUDENT (V.O.)
Is there like a main spell used for killing people?

QUICK CUT:

HELENA POV — ANNIE

HELENA (O.S.)
Miss Kirilova. What is the name of the category that defines the sorcery spells used to kill someone?

ANNIE
It’s known as Morte.

HELENA
Have you read any books on the subject?

ANNIE
Yes. I was given a book on the subject for my ninth birthday, actually.

QUICK CUT:

INT. BARE STONE WALLED ROOM

KERRY POV — ANNIE

He watches her create a ball of blue fire about twice the size of a basketball that floats in the air before her.

KERRY (O.S.)
That’s cold fire?

ANNIE
It is perfect, isn’t it?

KERRY
I’d expect nothing less from my Dark Witch.

Annie beams.

QUICK CUT:

INT. HEADMISTRESS’ OFFICE — DAY

MATHILDE
My Mistress of Spells, what is ever the problem?

WEDNESDAY
I think we have a situation that requires our attention.

INTERCUT OF ANNIE AND KERRY PERFORMING MAGIC

MATHILDE (V.O.)
Our Cernunnos A Levels? The ones the instructors are talking about?

Annie performing an invisibility spell and being mostly successful. Kerry levitating a doll and drawing it towards him.

WEDNESDAY (V.O.)
One and the same. Watch.

Kerry transforms a pile of wood from a single log. Annie creates ice floating in the air from a bucket of water.

WEDNESDAY
Everything they did is well beyond their level. There is no way they should have even tried those, much less make them work.

QUICK CUT:

INT. LARGE ENCLOSED AREA — DAY

WEDNESDAY (V.O.)
Oh, I’ve saved the best for last.

EXTREME CLOSE UP — ANNIE’S FACE

Face half-covered in blood and gore, Annie tosses what looks like a sword to the side with her left hand as she walks with determination towards the camera.

QUICK CUT:

PAN TO — KERRY ATTACKING SOMEONE

He takes what looks like a long sword and cuts up and through someone, splattering himself with blood in the process.

QUICK CUT:

INT. HEADMISTRESS’ OFFICE — DAY

WEDNESDAY
This is more than talent.

DISSOLVE TO:

INT. HEADMISTRESS’ HOME — NIGHT

Mathilde stands in her living room with Helena, Erywin, and Jessica. On one side of the room stands a man in a dark suit and overcoat. This is MR GABRIEL.

MATHILDE (O.S.)
What answers do you require, Mr. Gabriel?

MR GABRIEL
We’re interested on the progress of some of your students. A Levels.

QUICK CUT:

INT. PRIVATE LAB — NIGHT

Annie creates ribbons out of shadow in front of Kerry.

QUICK CUT:

EXT. PARK — DAY

Kerry produces ball lightning in his hand.

MATHILDE (V.O.)
Do these A Levels have names?

DISSOLVE TO:

INT. DARK CORRIDOR — NIGHT

Helena speaks in a threatening tone to Gabriel.

HELENA
Annie and Kerry may be extraordinary kids, but they are kids.

INTERCUT OF ANNIE AND KERRY TOGETHER

Annie in her night clothes, smiling and singing; Kerry dressed in his flight clothes, standing at the railing of a high building, looking at other buildings some distance away poking up through the trees.

HELENA (V.O.)
Being minors doesn’t matter—

Kerry leads Annie into a dance; Annie walks along side Kerry as they enter a grove of pine trees.

HELENA (V.O.)
You will find a way to get them out in the field, you will find a way to see how they operate.

Annie faints and Kerry rushes to her side; Annie comforts a crouching Kerry who seems to be in pain.

HELENA
When that happens, I want to make certain they don’t come back in body bags.

An enraged Annie stalks across the Rotunda with a dark ball of energy in her hands; Kerry drops pass the camera on his broom, which follows him down towards the dark forest.

QUICK CUT:

INT. HOTEL ROOM — DAY

ERYWIN
You need to bring in a team that—

HELENA
That knows what?

QUICK CUT:

EXT. PARK — DAY

KERRY POV — ANNIE

Annie levitates and smiles down at him.

QUICK CUT:

INT. SCHOOL OFFICE — DAY

Kerry quickly changes the color of his hair from red to blond, then points at his head.

HELENA (V.O.) (YELLING)
We’re that team, remember?

QUICK CUT:

EXT. FIELD — NIGHT

Annie and on the left and Kerry on the right, both create huge balls of fire they each hold before their bodies.

DISSOLVE TO:

INT. BEDROOM — NIGHT

Erywin and Helena are sitting up in bed; Erywin cradles Helena in her arms.

ERYWIN
That leaves those two in the other room. Any concerns there?”

HELENA
Only one.

QUICK CUT:

INT. DINING HALL — NIGHT

Kerry is dancing with Annie, holding her tight.

KERRY
I’ll catch you before you fall.

QUICK CUT:

EXT. GARDEN — NIGHT

Annie runs her finger down Kerry’s left arm.

ANNIE
Moyata polovinka.

QUICK CUT:

INT. OVERHEAD WALKWAY — DAY

HELENA (V.O.)
Hoping they can handle what comes after.

PULL BACK — ANNIE AND KERRY CRAFTING MAGIC

Kerry on right of screen, Annie on left, He concentrates, his hands slightly raised, as the air shimmers across the width of the walkway. Annie looks grim and serious as something dark seems to swirl in her right hand.

SMASH CUT:

BLACK SCREEN — RUN TITLE

The Foundation Chronicles: A For Advanced

DISSOLVE TO:

INT. WIDE CORRIDOR — NIGHT

Coraline stands with a visibly upset Annie. She places her finger across the girl’s lips.

CORALINE
Don’t think the worst.

SMASH CUT:

EXT. FIEND — NIGHT

EXTREME CLOSE UP — BODY

A scaly body fills the screen. As it slowly turns a tentacle whips across the screen. There is a low growl (and use an ULTRA LOW FREQUENCY layer in the soundtrack so the audience feels this) as the hint of an eye slides into view . . .

SMASH CUT:

EXT. FIEND — NIGHT

SLOW ZOOM ON KERRY

Dressed in his flight gear he sits on his broom, holding what looks like another PAV. As the camera moves in on his face, he’s frightened and hyperventilating. As soon as the focus is tight on his shoulders and head he switches the PAV to his right hand, screams, and charges towards the camera.

SMASH CUT:

BLACK SCREEN — RUN TITLE

Classes Start 1 September

FADE OUT:

 

And there you are.  Hope you enjoyed this, and hope you have questions.  Believe me, I had a good time putting it together–

Look how satisfied I am after writing this.

You can tell just by how I look here after I finished.

Seeing Down Into the Past

Today there isn’t any writing to show, because you got it all yesterday morning.  The rest of the day involved being out almost the whole day, and once I was safely back in the confines of Casa Burg, I didn’t feel like starting on a scene that will be difficult to write.  Not to mention I have to start getting ready for work in about twenty minutes, because while it’s a holiday for state employees, as a contractor I only get paid when I work, so I need to roll in about eight and put in at least four hours.  Those bills don’t give a shit if I get a day off or not.

Walking around the city yesterday gave me plenty of time to think about where my kids are going.  Not that I don’t already know, but still, sometimes you want to get things down in your head a little clearer, while at the same time you go back over events that have occurred and you put a different eye on those matters.  Like last night I was reading an excerpt where Kerry said something, and for a few moments I had to think, “Okay, what was he saying there?” and then it came to me because I’ve been living in their heads for way too long.

Also, I have their Timelines.

The timelines for these stories have become almost mythical, at least to my thinking.  They’ve been in place for about a year and a half, and I’m still adding to them whenever I get an idea.  It’s my way of keeping track of things, like when they did meet, when did they have their first dream together, when does Annie have her first little witch–oh, wait.  I shouldn’t talk about that.  Spoilers!

Well, guess what?  I’m far enough along on this trip that I can now show some of things of which I’ve discussed.  Because why not?  You’ve already ridden with my kids for a year and a half, so why not see how they arrived at where they are today?

It’s funny how I’ve had to keep these hidden and secret, because there are things on here that do give away a lot of the what’s coming.  At the same time I’ve really wanted to bring them out in the open, because putting them together was great fun, and I’ve always wanted to share.  With the A Levels behind me, and a good chunk of the B Levels, too, it’s time to show you how it got to where I am.

First with Aeon Timeline, it’s possible to segment things into different groupings.  So you can have a “Global” area showing events that affect your world and everything in it, and then you can create little areas that show events for that particular section.  What I did, besides having a global event, is set up sections for Annie and Kerry individually, so if there is something particular to them, it stands alone.

Like this:

As you can see, each kid is special to me.

As you can see, each kid is special to me.

There you see Annie’s Story and Kerry’s Story, going back to when they not only started school, but they were first introduced.  “Annie and the Tree” and “Kerry Gets Picked” were the first two scenes in the first chapter of the first part of the first act, and it only went from there.  If you’re watching the points you see they start in 2011, but end in 2013, which is where we’re at now in the second novel.

But don’t I have things they do together?  And what about the school?  Glad you asked:

Because here they are.

Because here they are.

Here are all the things they do together, and below that are all the normal school events, like the duration of racing season, the beginning of classes, when the first and last Madnesses occur, and the dates for Samhain and Ostara celebrations.  You also see the duration of each Level:  A you see from start to finish, and B is still on-going.  You can see the start of their loving one another, Kerry’s trip to the hospital in what turned out to be their first night together, and while you don’t see the timeline for the attack on the school, you see a little mark next to the point, “Kansas City”, and clicking on that opens up another time line showing what they did there.

When you look at the top and bottom pictures–which, in Aeon, are directly above and below each other as illustrated–you may see some points above matching up with those below.  That’s because I’ve pointed out individual things that happen within something that happened to both kids:  Kerry’s Fifth Time in the Hospital and Annie Goes After Lisa is one example of that.  There’s also some detail in some points that doesn’t show up here, but I can access it if I open up the segment in the program’s Inspector.

Here’s one of my guides, and you finally get to see a small segment of this.  Believe me when I say it goes back in time several hundred years, and also forward in time about the same distance.  I’ve used this for a long time, and you have no idea what I have set up ahead–or some of the things I need to add.  It’s all so very strange.

And speaking of strange, this afternoon I’m going to try something that I haven’t done in a long time–and it may just be the strangest thing I’ve attempted yet.