Sunday, January 6, 2008
Friday, January 4, 2008
1231...(700)...556
I don't know how the other 260,000 are working, but these words made me laugh: "Shooting at the truth will not stop the truth, comrade." But that's just me.
Wednesday, January 2, 2008
Tuesday, January 1, 2008
1236...(556)...489
A calm. Reigning things in a little, a thousand-yard sailor stare, not because he is empty but because he is roiling and has learned not to let it show. "I never cried. It wasn't worth it."
Sunday, December 30, 2007
Thursday, December 27, 2007
1254...(556)...311
Those three numbers will eventually all line up.
Convinced today that most of the problem relates to how a character is composed. If you make someone up in service of a storyline, it goes like this: I know person X has to do the following things, and I know thematically he should change some way, and then you hang traits off him like clothing on a scarecrow. The other way is to say "How would I feel if...?" And that's more frightening, because it makes your characters equal to you or, if you're firing on all sixes, they're slightly better than you are. You have to trust that they'll bend to the plot (or the other way around). You also risk looking like an idiot. Not that you weren't risking it already. You risk looking like an especially vivid, nude idiot.
But this error can lead to moments where a character vanishes and all that's left is spectacle. Spectacle is the refuge of those afraid of emotional engagement. It's profoundly safe, in that the noise and the light seem like they should distract the audience into forgetting they aren't enjoying themselves. "My word, that explosion was tremendous" is rarely heard outside the theater, or the moment the book is put down. If you have the emotions alone, that's good enough, but if you feel them and THEN thrill through a spectacle, that's much more satisfying.
Convinced today that most of the problem relates to how a character is composed. If you make someone up in service of a storyline, it goes like this: I know person X has to do the following things, and I know thematically he should change some way, and then you hang traits off him like clothing on a scarecrow. The other way is to say "How would I feel if...?" And that's more frightening, because it makes your characters equal to you or, if you're firing on all sixes, they're slightly better than you are. You have to trust that they'll bend to the plot (or the other way around). You also risk looking like an idiot. Not that you weren't risking it already. You risk looking like an especially vivid, nude idiot.
But this error can lead to moments where a character vanishes and all that's left is spectacle. Spectacle is the refuge of those afraid of emotional engagement. It's profoundly safe, in that the noise and the light seem like they should distract the audience into forgetting they aren't enjoying themselves. "My word, that explosion was tremendous" is rarely heard outside the theater, or the moment the book is put down. If you have the emotions alone, that's good enough, but if you feel them and THEN thrill through a spectacle, that's much more satisfying.
Wednesday, December 26, 2007
1254...(507)...311
I am honing in on my fears. There's this continuum of what you feel for your characters, and it runs from sympathy to contempt. "Contempt" makes you seem like a genius, because who wants to feel compassion for losers, anyway? But sympathy is always the way to go. And always the harder way. Right now there's a hard candy shell that if I crack will solve, like dominoes falling, about 75% of my problems. I think. I fear.
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