Here’s Wolfie. He’s very old and he naps a lot. He was a rescue–they’re all rescues–but we’ve been together for thirteen years, so he’s fairly Zen now, except for the times he goes vamp face on me and I have to remind him who’s the Alpha around here. Not that there’s much doubt. I outweigh him by a hundred and fifty pounds.
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That title has to be the most jargon-y post heading in my history. A WIP is a work in progress; retconning means “the alteration of previously established facts in the continuity of a fictional work” (that’s Wikipedia). I am retconning like crazy, including that DSP (Damn Stupid Premise) we were talking about.
Here’s what’s going on (this is all about what I’m working on, so if you’d like to skip to something more interesting, there’s always good stuff on io9):
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I was thinking of Magnum PI today because I’ve just read that Glen Larson died. Magnum was only one of his many creations, but it sticks in my mind because of one moment that was so devastating, I even remember the name of the episode. And it makes me think about what makes a story moment so powerful, so iconic, that it stays with you forever. I think most examples probably come from film, but there have been moments in books when I sat up and gaped at the page, not just because they were such plot game-changers, but because their impact was so huge on my perception of that character.
If you haven’t watched “Did You See the Sunrise?” skip the next couple of paragraphs. read more >>
There’s an old Wile E. Coyote cartoon that I wish I could find again for one two-minute segment. Wile E. is in the desert, standing under a flat outcrop of rock with a stick. For some reason, he’s poking at it. Over and over and over. Then you hear a crack, and Wile E. looks at the viewer and pulls out a sign that says, “In heaven’s name, what was I thinking?” Then the rock collapses on him.
This isn’t the same one, but it’s very close . . . read more >>
We’re getting far enough along now that we’re looking at our cast of characters and trying to figure out who’s needed and who needs to go; who we’re missing and who we wouldn’t miss if they walked off the page and never came back. My theory of character casts is that you basically have four kinds of characters. This is not a rule, it’s not even a tool. It’s just the way I sort characters. read more >>