Ha, I know. It’s so boring around here. I may have other thoughts someday, again, but for the next little while it’s going to be “walked the dog,” “worked on the afghan,” and “Project X blah blah blah.”
The part I’m working on now is not very easy. Basically because the main character has to do something so monumentally stupid in order for the last story to take place that I am already annoyed with her. And yet, I want it to make sense that she does this monumentally stupid thing.
If you imagine the structure of the whole piece, it goes “strange, beautiful clues you have no context for,” “fragmented hints of something very bad happening,” “stories of other bad things you thought might be this bad thing but maybe aren’t,” “Oh, here’s the bad thing, and it’s kind of wonderful,” “Oh, here’s the bad thing and it’s kind of terrible,” “Oh, here’s the bad thing and, oops, that’s a foreseeable tragedy I failed to foresee (even though I am a psychic) and now I’m dead,” and “Here’s a hard lesson I learned in dealing with a bad thing.”
So, like a good horror story, it goes on a downward slope and then levels off in Unsettling-ville. But each story, I hope, still has rising action and a culmination of things that makes sense. In other words, just because she’s sitting at the bottom of the slope of horror doesn’t mean her story has to feel inevitably… well, inevitable. There still must be a sense that, even though the story has a place in this larger structure, it works as its own story.
We’ll see. I’m kind of struggling with it. It should get easier once I decide if she’s going to rob the TSLA or the State Museum.
Oh, lord. Did I mention she’s going to rob a huge state institution? I do kind of love that about her.