(no subject)
Somebody on friendsfriends is doing a "describe your work as if it was a madly harlequinesque book blurb" thing.
I found the idea somewhat amusing. So here goes:
“15” Our narrator races against time to trace the true origins of the last great rock and roll swindle before the reunion tour ends and nothing will be the same again.
Only it seems to resemble a big summer blockbuster instead of a romance novel, which as two genres that the whole thing isn't, still amuses me greatly. For no-so-regular readers - I haven't been writing for a while - this is the "short" Hard Core Logo with the goat sacrifice and the three guys rewriting the universe. The preceeding sentence is probably the best summary/explanation I've got. Movie voice-over man nil, buzzy one.
Now, when it comes to "On the Inside, I'm a Poet" the whole enchilada goes out the window. The whole damn project started life as a Mills and Boonean plot, which is not what it is any more. Uh, huge and intimidating covers it much much better, since between the original version (as done for dS Seekrit Santa in 2007) and the current version don't share all that terribly much dna. Think second cousins, kissing second cousins.
The only way to handle anything like that - or so thinketh the buzzy - is to take it all very very seriously. So I did, which is why I now have a huge multi-stranded epic which will hopefully knit itself together, eventually. Much with the hoping there. The only thinking I've done in that regard is to excise a whole chunk of Vecchio material which no longer fits prior events or the whole character arc thing.
I'm telling myself that I will do the thing with "cold, warm me up", the Harley Davision lighter Tony bought Ray one Christmas and the most significant character who doesn't make an actual appearance* and a strong urge to write Irene Zuko her very own prequel called "Philomela's Song".
If you know your Ovid, there is a whole world of bad in the that title.
I also want to write more Charlie, a member of the Zuko mob who is just counting off the days until he gets a little present from the Bookman. I <3 Charlie muchly and would love to get into his part of the story...
...as always, I just need to build the third floor before I get to the fifth, which is a frustrating disappointment.
So, I need to get on that horse again, or leave Ray Vecchio at Stella's apartment, wondering why the set-up on the roof terrace looks so strangely familiar... it's in one of his best loved books and it freaks him... because then he knows who Stella is (except it isn't a matter of "who" - it's a matter of "what" Specifically, that Stella is the most gold coast of girls but only in name - she's been finding her own path since she was old enough to know a poison chalice when she sees one).
*Stella went to the same high school as Irene - she just never paid attention. If Stella knew in the fictive present (and good chances once Ray V realises [everything]), she would now feel rather lousy. However good her planning skills are, however great her skills, however much she feels, Stella needs to realise that she can't save everyone. And sometimes you have to let people save themselves.
I found the idea somewhat amusing. So here goes:
“15” Our narrator races against time to trace the true origins of the last great rock and roll swindle before the reunion tour ends and nothing will be the same again.
Only it seems to resemble a big summer blockbuster instead of a romance novel, which as two genres that the whole thing isn't, still amuses me greatly. For no-so-regular readers - I haven't been writing for a while - this is the "short" Hard Core Logo with the goat sacrifice and the three guys rewriting the universe. The preceeding sentence is probably the best summary/explanation I've got. Movie voice-over man nil, buzzy one.
Now, when it comes to "On the Inside, I'm a Poet" the whole enchilada goes out the window. The whole damn project started life as a Mills and Boonean plot, which is not what it is any more. Uh, huge and intimidating covers it much much better, since between the original version (as done for dS Seekrit Santa in 2007) and the current version don't share all that terribly much dna. Think second cousins, kissing second cousins.
The only way to handle anything like that - or so thinketh the buzzy - is to take it all very very seriously. So I did, which is why I now have a huge multi-stranded epic which will hopefully knit itself together, eventually. Much with the hoping there. The only thinking I've done in that regard is to excise a whole chunk of Vecchio material which no longer fits prior events or the whole character arc thing.
I'm telling myself that I will do the thing with "cold, warm me up", the Harley Davision lighter Tony bought Ray one Christmas and the most significant character who doesn't make an actual appearance* and a strong urge to write Irene Zuko her very own prequel called "Philomela's Song".
If you know your Ovid, there is a whole world of bad in the that title.
I also want to write more Charlie, a member of the Zuko mob who is just counting off the days until he gets a little present from the Bookman. I <3 Charlie muchly and would love to get into his part of the story...
...as always, I just need to build the third floor before I get to the fifth, which is a frustrating disappointment.
So, I need to get on that horse again, or leave Ray Vecchio at Stella's apartment, wondering why the set-up on the roof terrace looks so strangely familiar... it's in one of his best loved books and it freaks him... because then he knows who Stella is (except it isn't a matter of "who" - it's a matter of "what" Specifically, that Stella is the most gold coast of girls but only in name - she's been finding her own path since she was old enough to know a poison chalice when she sees one).
*Stella went to the same high school as Irene - she just never paid attention. If Stella knew in the fictive present (and good chances once Ray V realises [everything]), she would now feel rather lousy. However good her planning skills are, however great her skills, however much she feels, Stella needs to realise that she can't save everyone. And sometimes you have to let people save themselves.