I don't mean in a nasty sense -- like snitching. It's helping me see a problem that's been building in the Vanishing of Owen Taylor...and even in Place of Safety...that I'd been all but ignoring. I keep trying to play it safer than the story and characters want to because it makes me uncomfortable.
With Underground Guy, not happenin'. This little beastie is running headlong towards anarchy and anger, and intends to show how hate is manipulated by people for their own reasons...which aren't, necessarily, based on fear or even hate. And it's running so fast, it's all I can do to keep up.
I was aiming for something similar in OT...except it did still have more hate in it than I kept thinking ought to be. I excused my uncertainty by saying it was becoming too complex and expansive and wordy...but now I see I was pulling back because of the implications of what the story is saying...and I didn't want to have to deal with those. Jake's willing because he doesn't really understand what's happening until the very end, and it changes him. Bigtime.
It's the same with Brendan in P/S. Building the center section, in Houston, was the real problem. I had no trouble with where I know the story needs to go; it was getting there that troubled me. Now I don't think it will. At least, I hope it won't.
Most writers like to think they can control their work...and for the most part, they can. If they don't mind turning out crap. I've done that...and one of the biggest battles in my work is me trying to find out how to stop that sort of habit. It ain't easy...if it's really possible. But I keep finding that if I let the story go and just follow the characters to wherever they lead, I'm happy with what I wind up with even if others aren't. And sometimes others have been VERY unhappy with some of the things I've written.
Guess that's part of the writer's crown of thorns -- hate from those who have no idea what hate truly is.
Hint: this is NOT cause for it, nor is it an excuse.
With Underground Guy, not happenin'. This little beastie is running headlong towards anarchy and anger, and intends to show how hate is manipulated by people for their own reasons...which aren't, necessarily, based on fear or even hate. And it's running so fast, it's all I can do to keep up.
I was aiming for something similar in OT...except it did still have more hate in it than I kept thinking ought to be. I excused my uncertainty by saying it was becoming too complex and expansive and wordy...but now I see I was pulling back because of the implications of what the story is saying...and I didn't want to have to deal with those. Jake's willing because he doesn't really understand what's happening until the very end, and it changes him. Bigtime.
It's the same with Brendan in P/S. Building the center section, in Houston, was the real problem. I had no trouble with where I know the story needs to go; it was getting there that troubled me. Now I don't think it will. At least, I hope it won't.
Most writers like to think they can control their work...and for the most part, they can. If they don't mind turning out crap. I've done that...and one of the biggest battles in my work is me trying to find out how to stop that sort of habit. It ain't easy...if it's really possible. But I keep finding that if I let the story go and just follow the characters to wherever they lead, I'm happy with what I wind up with even if others aren't. And sometimes others have been VERY unhappy with some of the things I've written.
Guess that's part of the writer's crown of thorns -- hate from those who have no idea what hate truly is.
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