Cleolinda Jones (cleolinda) wrote,
Cleolinda Jones

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So I'm a little less blah today

Re: General fatigue-y state of meh: I think I've figured out what the problem is. I was weirdly giddy for a week or two, and what did I do differently? I spent a lot of time outside, in the sun, swimming. This week? Rain. I think it's large quantities sunlight that I'm missing, which is... kind of a bad thing with autumn on the way. (Don't they have--what are they called, full-spectrum lamps? Some kind of lamp that can simulate sunlight? I seriously may get one for this coming winter.) So I sat outside in the sun with the dogs for ten minutes, and while I wasn't exactly giddy, I did go inside feeling somewhat better--good enough to pull out all my handwritten additions to Black Ribbon from June and July (damn, that was a thick stack of paper, by the way) and reorient myself. I also went through this evening and read what I have on the second project, the one set in Paris, in terms of what seeds I'll need to go ahead and plant. This is the advantage of thinking on big-picture levels: details might bog you down, but at least you can play with a really large scope.

Of course, I've still got the issue of what's actually at stake in the first story, and how to give it an end and a climax and not just have it stop dead with the equivalent of a "To Be Continued." You know? I mean, The Golden Compass actually does just that pretty fearlessly (I'd invoke The Fellowship of the Ring, but Tolkien didn't intend for the "books" to be split up, after all), but I just--I don't want the first Black Ribbon story to function as a hallway to another story. I want it to be a room of its own, worth spending time in for its own sake. There are other rooms you will want to visit and explore, and eventually you'll even want to take a look at the house next door (that is, series 2), but I want the first story to have its own, contained value. So... basically, I have to think of a problem, or a set of problems, to introduce and solve by the end of the first story, even if there are others unsolved. The primary "problem" in The Golden Compass is Roger and the other disappearing children; in FOTR, it's getting Frodo to Mordor, if not through it, and realizing that the Fellowship they spent the entire book gathering and maintaining is actually destined to fail. So--okay, the "room in a house" metaphor: I need to be able to close a door on that room, so that when you leave, you have something to look forward to down the hall, but there is a distinct sense of having finished and/or accomplished something in that previous room. I just have to figure out what that is.

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Tags: batman, black ribbon, books, his dark materials, movies, star trek, writing

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