Title: The Movement of the Earth
Author: audreyii_fic
Fandom: Twilight (Team Jacob)
Rating: T
Characters: Bella, Jacob, Charlie, and others (J/B)
Genre: Romance/Angst/Wolfpack!Humor
Warnings: Language, violence, and references to adult behavior
![](http://pics.livejournal.com/lilabut/pic/001tkqgh)
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She didn't, and as far as I know, still doesn't:
"Who is Embry's father?
I don't know who Embry's father is. I'm aware that this lack of knowledge is annoying to some people. I'm sorry that I haven't been able to explain myself in more detail-that's one of the drawbacks of interviews. You don't know what you will be asked, you don't have much time to come up with an answer, and if you give an answer that is too long, they cut it down into a form that doesn't make sense. So you have to think on your feet and speak in sound bites. I'm not great at either.
I'm going to try to explain what it means when I say that I don't know something, or that a character hasn't revealed some part of himself to me. Those statements are both shorthand answers for a long and complicated explanation that doesn't work for a sound bite or a stage presentation. No two people write the same way, so I don't know if this will make sense to anyone else.
When I write a story, I start out with infinite possibilities. As I describe any character or plot point, I make those characteristics finite. For example, once I decide Bella is a brunette, all of her blonde and redhead possibilities disappear. Once I decide Bella lives in Washington, all the other places she might have lived are gone. There's this huge universe of options that I slowly whittle down into a more focused reality. Until I need to know a certain fact about the character, all the possibilities stay open out there in that universe of possibilities. If I set something in concrete prematurely, it could be a stumbling block later, so I try to keep an open mind about details until they become necessary to the story. If I explore a character too early, that can lock me into a situation that might be difficult to work with later.
So, I haven't explored the three main options for Embry's father this deeply yet. Someday, if it becomes necessary to a story, I'll comb through each character, look at his history and his present, and see which option makes the most sense. I'll more fully sketch out the internal workings of Billy, Quil Sr., and Samuel Sr. and see whose character supports this backstory best. That's what I mean when I say that the characters haven't told me yet. I haven't dug into them deeply enough to see if this information rings true with who the character is.
Someday, if I continue with the Twilight universe, maybe it will become necessary for me to know who Embry's dad is. I'm not to that point, and I don't want to just give a glib, "Oh it's ___________" kind of answer, because I might regret it later."
I have no words for this.
And while I was looking for that, I found this:
"Q. Jacob mentions the pain of the transformation. How painful is it?
A. Jacob is not talking about physical pain. The transformation into the wolf form is not a painful process, only disorienting and mentally uncomfortable. (The only comparison I could think of was my lasik surgery, ha ha. It didn’t hurt at all, but it still freaked me out. I passed out twice under the laser.) The pain he’s talking about here stems from his rather rude awakening to his surprising heritage-guess what? You’re a monster!-coupled with the fact that he can’t see Bella for fear of hurting her and the knowledge that Bella is knowingly in love with an evil vampire."
Umm... so why in the name of all that is holy did he describe it as painful? Surely if it wasn't painful, but disorientating and mentally uncomfortable, you'd say it was disorientating and mentally uncomfortable! Jacob's not a moron. He can say full sentences, so he would be able to describe his feelings with reasonable accuracy.
I'm seriously starting to think that if I ever chance upon this woman, I would feel duty-bound to punch her in the face.
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