| Can an unabashedly trashy screenplay have a redeeming ending?
Or is that contrived/trite/boring? Good point. Do I want Trisha to win
or lose? And what is the definition of each, in such a context?
Winning, I think, means getting through the situation with soul and
conscience intact. Not so easy when murder is seething inside one's
soul. But how can one make that exciting, without the story coming
across as a fallen souflee? This is why good writers get the big bucks. They can figure this
stuff out without months of agonizing beforehand. (Months? Try years)
One of these days, I've really gotta figure out the final, oh, half of the story.
I really need to figure out what my Great Trashy Screenplay is about (aside from providing entertainment) before I'm going to get any further. Y'know, figure out how the story is going to end, that sort of thing. I also need to pay some attention to my almost non-existent B-plot, particularly as I think Must-Be-Renamed Cop is going to be way more important than I initially envisioned. It's quite possible that by giving him some brain time, I might be able to sort out some other issues.
I need a collaborative brainstorming session. I love sitting down with other, insanely creative people and we all throw our pet problems onto the floor and kick them around together. All kinds of amazing stuff can come out of that sort of interaction. The tough part is in peeling one's focus away from one's own darlings and applying it to the other juicy problems needing attention. And of course, no-one cares about your darlings as much as you do.
The other key part is letting go of my darlings and my pride enough to accept criticism. It's taken me years to get as far as I have in that regard, and I've got a long way to go, yet.
...Yvette and the Driver are still on the road for Paris and have been for several weeks now, waiting for me to figure out what happens next. I'm afraid that Yvette is in for disappointment. Take the Driver out of the car, and he's got nothing. He's not around to be humanized, he's around to do a job, and that features four wheels. So, no fun for Yvette, I think.
Paul's making noises in favor of being in Paris when Yvette gets there, which makes sense. I just need to figure out her reaction when she sees him. Granted, she loves him beyond reason (gotta love the blood bond) but she's also very angry at him for what he and his sire did. Allowing her that anger, within the confines of the Bond is going to be interesting - ditto for Paul's reaction. Both of those characters have been throwing me for a loop lately, so I'll be interested to see where this latest bit of mental doodling takes me. I never, ever expected Paul to really care about Yvette, but he does. In his way. Which is rather strange, to be honest.
But strange is fun. I write RPG fiction for fun, not out of some Joycian desire to forge in the smithy of my soul the collective experience of our times, or whatever the hell it is that literary types go on about at the slightest provocation.
Yvette's going to be angry and relieved and Paul...? Paul might be a little embarassed, but can he admit that? And how will he react to his ghoul's irritation? Last time, it was patronizing pride, but now? Would shame actually be invoked? And what might he do other than immediate retreat behind a defensive shell of snarky prickliness? That would be about par, methinks. No-one likes admitting they've been caught without a leg to stand on - and Paul's worse than most.
Snarky prickliness is just about the last thing Yvette wants at any time, least of all from her domitor. This could be interesting.
Writing for fully-Bound characters (Sally doesn't count, she has the advantage of the Awareness of False Love merit) is always a challenge. Within the bounds of WW canon, the blood bond invokes love beyond reason - at least, that's how I read it - but that can make for very boriing writing:
Domitor: I just parboiled your entire familiy.
Thrall: Gee, really? Well, I'm sure you did it for a good reason.
It makes real honest-to-gosh conflict a bit difficult to create. And there's only so long I can spend in Angst-Land before I start getting nauseous. Conflict can happen, but it's tricky. It's a balancing act to keep the conflict and the thrall's reactions plausible and within the boundaries set by the Bond.
Damn, it was so much easier when it was just a series of kinky get-togethers between Rachel and Herr Viersan. But this is more fun, really.
I just need to be careful. I'm at the time of the month when I want to write smut (hormone cycles, sigh) so all of my characters' motives have to be very carefully scrutinized for Johanna-drift. I'm also no good at self denial right about now, so it's even worse.