Oh, but you make it very easy to feel for Ariadna! I'm in complete awe of her strength and courage- to dare to let him in (into her home, her heart) in a state like that, when it is crystal clear that he is not nearly over his last relationship that has lasted so many years. And yet, she open her arms wide and jumps despite the fact that she is going to fall and that Viggo won't be there then to pick up the pieces but nevertheless she helps him mend what there is to meant of his heart with Sean not around. This gesture is so beautiful and so sad, and to me it shows so much insight into the mechanisms of life in general and love in particular- you can only win if you dare to open your heart to someone, and maybe you'll discover that you can fly, maybe you'll discover that you can't, but it always is worth trying because- and this is what fascinates me about her (the way I read her in your fic)- you can win so much more than you can loose (if the person you're offering you heart to is chosen wisely). She seems to know that she won't do as a replacement for Sean, already there and then, and yet she has to try because life wouldn't be worth living if she'd forsake herself to- and there it is, just as strong as in Sean- hope, and has the wisdom to withdraw in time to land on her feet, mourn her loss and continue living, all the good moments with Viggo beautiful memories no one ever can take from her. Hmmm, don't know, am I making any sense?
You're making a lot of sense! And yeah, that's what grips me so hard about her too. It's twice now that I've made her lose Viggo to Sean after she had him for a while, and it just strikes me how strong she is - the way I write her, that is - that she's capable of letting him in. Better to regret what you do than what you didn't do. Like Tracie said: Ya can come in wi' me right now and satisfy yer curiosity, or ya can go home and spend the rest of yer lifetime regrettin' it. It's a hell of a risk and she doesn't have much of a chance, but- if she doesn't, it's a regret she'll have that she can't ever take back.
(Also, this makes me think about the differences between FPF and RPF again - that there's just so much depth to be delved into for RPF, because in all honesty I'm writing about real people with their own motivations. In FPF, I can dismiss Ariadna's presence as a plot device and never thought about her so deeply. These characters are characters, but because they are based upon real people, there's this necessity for greater depth, I think.
Course you make sense :) I don't necessarily agree on the RPF/FPF question... for me it's the same- it's all about human behavior and relationships and my approach is identical- I try to create a person with thoughts and emotions and feelings. To me there is no difference if this is a person derived from an actual living person or from a fictional character to begin with because I think, when you are writing it's always assumptions/imagination, even if I knew them personally I would never be able to create an image of them that would do them justice. For me, it's not about actual one-to-one authenticity but about credibility- can I relate to the person I have been creating, can I feel for them, identify with them? Big questions indeed- supper first ;)
it's not about actual one-to-one authenticity but about credibility- can I relate to the person I have been creating, can I feel for them, identify with them?
That's less of a question for me always because the answer tends to be 'no'. I'm incredibly apathetic as a person in general, and I can't use the gauge of my empathy to judge if my characters are credible because if I do, I'll end up writing emotionally-dead characters all the time. Or characters with my extremely specific issues. Because my life is generally so different from the medias I write about, you see?
So, honestly, I just try for authenticity - of what I have seen men behaving like, how they might act like, and try to look at my characters three-dimensionally in all possible ways. RPF really makes me very disciplined in that because I cannot forget that there's always many, many sides to one story, and every single person has their own side to tell - so there might be assholes and bastards and jerks, there might be people who make mistakes, there might be people whose purpose seem to just be there so something can happen (Emilia in this part is a good example - I fretted like mad over including it =X), but I think about what they might see, what their perspective is. I think Viggo once said that a really necessary skill of an actor is to never judge and to be able to look through other people's eyes. I'm not an actor, but I try that anyway. 8D
Hmmm, don't know, am I making any sense?
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(Also, this makes me think about the differences between FPF and RPF again - that there's just so much depth to be delved into for RPF, because in all honesty I'm writing about real people with their own motivations. In FPF, I can dismiss Ariadna's presence as a plot device and never thought about her so deeply. These characters are characters, but because they are based upon real people, there's this necessity for greater depth, I think.
... Christ I don't know if I make sense.)
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Big questions indeed- supper first ;)
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That's less of a question for me always because the answer tends to be 'no'. I'm incredibly apathetic as a person in general, and I can't use the gauge of my empathy to judge if my characters are credible because if I do, I'll end up writing emotionally-dead characters all the time. Or characters with my extremely specific issues. Because my life is generally so different from the medias I write about, you see?
So, honestly, I just try for authenticity - of what I have seen men behaving like, how they might act like, and try to look at my characters three-dimensionally in all possible ways. RPF really makes me very disciplined in that because I cannot forget that there's always many, many sides to one story, and every single person has their own side to tell - so there might be assholes and bastards and jerks, there might be people who make mistakes, there might be people whose purpose seem to just be there so something can happen (Emilia in this part is a good example - I fretted like mad over including it =X), but I think about what they might see, what their perspective is. I think Viggo once said that a really necessary skill of an actor is to never judge and to be able to look through other people's eyes. I'm not an actor, but I try that anyway. 8D
/babbles forever
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