Buried in the 300+ comments on the previous Arrow post is a really good discussion on the contract with the reader. We’ve talked about the romance contract here before, but as Pam pointed out, all stories make contracts with the reader/viewer, not just romances.
Here’s my comment on the promise to the reader:
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Deb Blake asked:
I know you’ve talked a lot about your creative process with storyboarding (is that a word?) and collages and such. I don’t tend to use such things, but I’m starting to make Word docs for each novel that include pictures of my protagonists, and other notable stuff (their dogs, cars, motorcycles). Can you talk a little bit about how you create and organize your pictorial “notes”?
I just went back to the draft to this post to reread my answer and realized that I didn’t answer the question Deb asked, I answered the question I thought she asked. So first, here’s the answer to her real question: read more >>
I’m coming to the conclusion that this is just not my show any more. Lots of good writing decisions in this episode, including sticking to only two plots that are tightly related, so excellent, focused structure. I love the Russian, hope he comes back more often. I don’t trust the reverend, but that’s just me and he’s a great character. Slade is fantastic, and Slade with his hand on Moira’s shoulder is better than fantastic. Loved watching Oliver’s head explode (because he knows what that hand on Moira’s shoulder means, having put his hand on many shoulders in the past). So what’s my problem? read more >>
One of the problems of digging up an old, stalled book is that you’ve eliminated so many of your options already. You Again is a murder mystery/romance; the mystery/father hunt/ghost story is the main plot and the romance is the first subplot. The second subplot is Scylla vs her love interest, the secondary romance. But there’s also the third subplot, the plot that Rose is hatching, the bed-and-breakfast plot, which is why she’s lured everybody to the house. read more >>