I'm making a quick trip to Stockbridge, Massachusetts and will be home, tomorrow evening. That gives me two solid days away from writing on A65, even though it really doesn't. As I drove, ideas kept coming to mind and another logical aspect I needed to address made itself known...but for the most part, the story is set, the characters are set, and the action is in its preferred order.
I also think I'm being overly descriptive in the first chapter or two. I need to be careful about that. I tend to put a lot into the beginning because it's important to the end, but that usually turns off a reader so I'm trying to get out of the habit.
And yet, I need to establish at least the idea of Adam's life before he heads for LA...which happens by page 25 in the current form, meaning about page 14 or 15 once I have it reformatted. And truth is, everything in the first two chapters keeps recurring or being referenced in the rest. So maybe I'm being too critical.
I'm trying to avoid a tendency I'm seeing in more and more mysteries and TV shows where the twist is more important than the story's logic. I like Vera, for example -- a British mystery show set in the Newcastle area of England -- but the last one of Series 3 was ludicrous. One murder is committed by striking the victim with a car, then that car is found and tested and it proves who the killer is.
The problem with this started when the killer found the victim at just the right time in a dark area with no traffic as she's walking, alone. Very coincidental. But then the car didn't have any damage, afterwards. None. If you hit someone hard enough to kill them, things are gonna get smashed -- windshield, headlights, fenders, hood -- hell, you can dent those things just by leaning on them wrong. And that was just one of a half-dozen logic issues in the show. Hinterland, which I don't really like, is the same thing....just with low-rent David Fincher style.
I had a couple of issues with parts of Porno Manifesto working out way too easily. It was lazy writing, but I could get away with it because it was also filled with sex and attitude. However, I cannot do that with A65...Adam's world collapsing around him has to make sense and work out in ways he comes to appreciate.
Again, for example...I have Julie and Manny (parents to the brat who vomits on Adam, in the plane) and Orisi showing up in the most unlikely of places, but I still make it kind of logical. Like how Julie and Manny decide to start pub-hopping in a bar across the street from the premier Adam's attending because Orisi told them about it and they wanted to see how Adam turned out.
Once again, one thing leads to another and another and another and boom -- I've got another crazy-assed story...and I do love that.
I just want it to be a logical crazy-assed story.
I also think I'm being overly descriptive in the first chapter or two. I need to be careful about that. I tend to put a lot into the beginning because it's important to the end, but that usually turns off a reader so I'm trying to get out of the habit.
And yet, I need to establish at least the idea of Adam's life before he heads for LA...which happens by page 25 in the current form, meaning about page 14 or 15 once I have it reformatted. And truth is, everything in the first two chapters keeps recurring or being referenced in the rest. So maybe I'm being too critical.
I'm trying to avoid a tendency I'm seeing in more and more mysteries and TV shows where the twist is more important than the story's logic. I like Vera, for example -- a British mystery show set in the Newcastle area of England -- but the last one of Series 3 was ludicrous. One murder is committed by striking the victim with a car, then that car is found and tested and it proves who the killer is.
The problem with this started when the killer found the victim at just the right time in a dark area with no traffic as she's walking, alone. Very coincidental. But then the car didn't have any damage, afterwards. None. If you hit someone hard enough to kill them, things are gonna get smashed -- windshield, headlights, fenders, hood -- hell, you can dent those things just by leaning on them wrong. And that was just one of a half-dozen logic issues in the show. Hinterland, which I don't really like, is the same thing....just with low-rent David Fincher style.
I had a couple of issues with parts of Porno Manifesto working out way too easily. It was lazy writing, but I could get away with it because it was also filled with sex and attitude. However, I cannot do that with A65...Adam's world collapsing around him has to make sense and work out in ways he comes to appreciate.
Again, for example...I have Julie and Manny (parents to the brat who vomits on Adam, in the plane) and Orisi showing up in the most unlikely of places, but I still make it kind of logical. Like how Julie and Manny decide to start pub-hopping in a bar across the street from the premier Adam's attending because Orisi told them about it and they wanted to see how Adam turned out.
Once again, one thing leads to another and another and another and boom -- I've got another crazy-assed story...and I do love that.
I just want it to be a logical crazy-assed story.
No comments:
Post a Comment