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Now accepting title suggestions
May. 21st, 2010 10:38 pmWell, it had to happen. The noir story, which it really doesn't seem to be much else, has taken root and is growing steadily.
I'm okay with that, I had just rather have gotten going on Little Red Riding Wolf, but can't complain too much because not much has been flowing from that spigot so it's time to try a different tap.
Right now I have a few problems with it. Nothing personal, just story elements that aren't...existent. A title would help, but that's hardly a major issue. I have a view down, as well as the narrator. My brain keeps flip-flopping between telling a good story "normally" or diving into the pulp noir setting I seem to have put myself in. Not that the noir isn't good, but the writing tends to have different characteristics. Then a different part of my conscious slaps the other part and says just write the damn thing and don't get hung up on labels. My brain has turned into high-school cliques, with logic turning into the guidance councilor, wonderful.
I have no names yet. Not for anyone major, I seem willing to throw out titles to the muscle. Martin seems to have jumped from minor to supporting role. But my lead has no name, and like most what I try to come up with doesn't seem to fit. I tried one, and it sounds alright, nothing I'm sold on, but I don't want to be called out on possible self-insert possibilities because it sounds too close to my actual name. The main guy...eh, what do you name a city detective without turning into a true "pulp" name. Everything else I hope will just sound right when it comes.
The actual meat of the story is what seems to be dragging it's heels. The main part is a love story, I think, because I have it in my head to have this mob boss try to keep her two lives separate as so to enjoy the second one with the guy for as long as she can. Granted, we know how that all turns out in the end, but still, it's the journey and not the destination. But I don't want it to be all romance, I want something she needs to fight against to make things hard(er) to hide.
Maybe the fallout from the opening, where whatever it was that guy (see how names would be helpful?) did that made him less than a memory still needs some polish to smooth things over with rival groups. Maybe; might work, needs some more "oomph" behind it.
One thing that keeps popping up whenever I think about dialogue with this story, I keep wanting to have her say one thing, but then have her think either something different or more detailed than what she actually knows. It's funny the first couple of times, but I know it could get really annoying pretty quickly.
Hopefully something will slip into place; maybe if I get lucky, I can blackout and wake up with everything already written for me...or at least have a draft outline waiting.
*Side-Note: Seriously, the spell-check can spell "oomph" correctly but doesn't know what "noir" is? The hell?*
I'm okay with that, I had just rather have gotten going on Little Red Riding Wolf, but can't complain too much because not much has been flowing from that spigot so it's time to try a different tap.
Right now I have a few problems with it. Nothing personal, just story elements that aren't...existent. A title would help, but that's hardly a major issue. I have a view down, as well as the narrator. My brain keeps flip-flopping between telling a good story "normally" or diving into the pulp noir setting I seem to have put myself in. Not that the noir isn't good, but the writing tends to have different characteristics. Then a different part of my conscious slaps the other part and says just write the damn thing and don't get hung up on labels. My brain has turned into high-school cliques, with logic turning into the guidance councilor, wonderful.
I have no names yet. Not for anyone major, I seem willing to throw out titles to the muscle. Martin seems to have jumped from minor to supporting role. But my lead has no name, and like most what I try to come up with doesn't seem to fit. I tried one, and it sounds alright, nothing I'm sold on, but I don't want to be called out on possible self-insert possibilities because it sounds too close to my actual name. The main guy...eh, what do you name a city detective without turning into a true "pulp" name. Everything else I hope will just sound right when it comes.
The actual meat of the story is what seems to be dragging it's heels. The main part is a love story, I think, because I have it in my head to have this mob boss try to keep her two lives separate as so to enjoy the second one with the guy for as long as she can. Granted, we know how that all turns out in the end, but still, it's the journey and not the destination. But I don't want it to be all romance, I want something she needs to fight against to make things hard(er) to hide.
Maybe the fallout from the opening, where whatever it was that guy (see how names would be helpful?) did that made him less than a memory still needs some polish to smooth things over with rival groups. Maybe; might work, needs some more "oomph" behind it.
One thing that keeps popping up whenever I think about dialogue with this story, I keep wanting to have her say one thing, but then have her think either something different or more detailed than what she actually knows. It's funny the first couple of times, but I know it could get really annoying pretty quickly.
Hopefully something will slip into place; maybe if I get lucky, I can blackout and wake up with everything already written for me...or at least have a draft outline waiting.
*Side-Note: Seriously, the spell-check can spell "oomph" correctly but doesn't know what "noir" is? The hell?*