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Another Late-Night Rumination
Apr. 19th, 2014 11:32 pmDrat you, chapter 5! I can't say how much I hate the middle of the story. It's right about then I start losing my momentum and stall out. Chapter 5 is coming; I have about 2300 words of it, provided I don't decide to scrap it and start over. It's just coming so slow. I wish I needed just 5 or 6 hours of sleep to function optimally. That would be great. As it is, I am tired. I have the next scene all plotted out mentally and I'd love to take the time to at least get a first draft down, but I think I'm going to have to stop. I'm such an idiot, when you think about it. This is a terrible time of the year to start up such a large-scale project. Glutton for punishment is what I am. Just couldn't wait for the end of the school year. I'm a little afraid of how this chapter will turn out because it is accomplishing what it needs to, but I don't think it's as much fun as the previous chapters.
Writing Austin with his pinball machine attention shifts and constant motion is difficult. And the more I study the episodes for Mickey's character and mannerisms, the more I recognize the subtle differences in each writer's interpretation of her. For instance, in the pilot and Plan 10, Mickey is a little more cranky with Austin's quirks, and stands up to his bluster tit for tat. But in Black Cats, she assumes more of a hero-worship attitude. In Quit It and to a lesser degree, in Black Cats, she seems to entertain a rather romanticized vision of Austin, and in MAPe Over You and Now You See It, she conveys a protective and almost territorial vibe. There's no particular character arc happening--granted, we're talking about a very small sample of episodes to analyze--but simply differences among the episode writers' particular visions.
Now this is funny. Half an hour ago I was too tired to write another section of a chapter, but that didn't stop me from giving an exposition on the program at my blog.
Writing Austin with his pinball machine attention shifts and constant motion is difficult. And the more I study the episodes for Mickey's character and mannerisms, the more I recognize the subtle differences in each writer's interpretation of her. For instance, in the pilot and Plan 10, Mickey is a little more cranky with Austin's quirks, and stands up to his bluster tit for tat. But in Black Cats, she assumes more of a hero-worship attitude. In Quit It and to a lesser degree, in Black Cats, she seems to entertain a rather romanticized vision of Austin, and in MAPe Over You and Now You See It, she conveys a protective and almost territorial vibe. There's no particular character arc happening--granted, we're talking about a very small sample of episodes to analyze--but simply differences among the episode writers' particular visions.
Now this is funny. Half an hour ago I was too tired to write another section of a chapter, but that didn't stop me from giving an exposition on the program at my blog.
