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lagilmanA small view into the mind of the meerkat:
As most of you probably already know, I tend to write not so much to outline as to synopsis. I know who and where and why, but not always the how. After all, if I knew how, why would I have any interest in writing it to find out?
So I'm working on DAUGHTER OF THE SEA, which is such a boring title I can't stand it, and the words are not flowing like they should, damn it.
And then I get into a small groove, and things are happening under my fingers I had absolutely no clue about bfore I read them on the screen. Sure, I knew the hero did that, but I didn't know with whom, or how he knew about it. And the heroine... lord, she's a new kind of character for me to be writing, and it amazes me that I can understand her at all. Still, emotions come and rule us, willyou nillyou, right? That's the universality, no matter what kind of culture the characters come from. Everyone has needs, and will do things to satisfy those needs.
Anyway, I'm writing, and two new characters come into the scene. And suddenly it's like a window opened and I could see into this whole new landscape. Like watching a black and white movie and suddenly the next frame is in color. The heroine doesn't know what's around her. She may never know. Or it may become a Very Important Part of the Book. I don't know yet.
But I know it's there, bright parrot-reds jumping out of the weatherbeaten browns and golds of the heroine's life. And that's just so totally neat.
I love my job.
(and it helps that I just made word-goal with that scene, so anything that comes after is a gift.)
EtA: and a bit of word-play on my part just explained a boatload about the culture and the evolution of the particular mythology. Damn. I wonder if that's actually how it happened.... 1400 words and rolling...
As most of you probably already know, I tend to write not so much to outline as to synopsis. I know who and where and why, but not always the how. After all, if I knew how, why would I have any interest in writing it to find out?
So I'm working on DAUGHTER OF THE SEA, which is such a boring title I can't stand it, and the words are not flowing like they should, damn it.
And then I get into a small groove, and things are happening under my fingers I had absolutely no clue about bfore I read them on the screen. Sure, I knew the hero did that, but I didn't know with whom, or how he knew about it. And the heroine... lord, she's a new kind of character for me to be writing, and it amazes me that I can understand her at all. Still, emotions come and rule us, willyou nillyou, right? That's the universality, no matter what kind of culture the characters come from. Everyone has needs, and will do things to satisfy those needs.
Anyway, I'm writing, and two new characters come into the scene. And suddenly it's like a window opened and I could see into this whole new landscape. Like watching a black and white movie and suddenly the next frame is in color. The heroine doesn't know what's around her. She may never know. Or it may become a Very Important Part of the Book. I don't know yet.
But I know it's there, bright parrot-reds jumping out of the weatherbeaten browns and golds of the heroine's life. And that's just so totally neat.
I love my job.
(and it helps that I just made word-goal with that scene, so anything that comes after is a gift.)
EtA: and a bit of word-play on my part just explained a boatload about the culture and the evolution of the particular mythology. Damn. I wonder if that's actually how it happened.... 1400 words and rolling...
