I think I need to re-watch both of these shows. Starting today.
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Okay, now the moving is pretty much dealt with (again and hopefully for the last time any time soon) and my AnthroCon prep is about as far as it can go until it comes time to actually put stuff into the car, it’s time to get back into the writing groove.
And, I think, time to come up with something new. I’ve got chunks of Brigid and Greg, I’ve got a giant blorp of Michael Macbeth, but honestly my brain wants a break from those. I want something new and different to think about.
What that is, I’m not sure yet. I periodically consider writing a fairly standard genre fantasy book, i.e. elves and wizards and things, but I would like to find a way to put a fresh spin on the idea so it’s not just “Howard McTolkienface and the Etcetera of Ditto.” I also want whatever it is to be a project I can have fun with. One of the things that I relished about Sky Pirates of Calypsitania was that Verity and Tanya were fun characters to write about, because of the chemistry between them. The fun was a bit hampered by the harrowing circumstances they lived through, of course… those poor gals are going to have some PTSD to deal with in the next book I suspect, assuming there is one.
A new thing would also come without baggage, or at least with different baggage. B&G and Michael Macbeth both suffer a bit from having a “what they should be like” thing I’m trying to stick to… a new project I could just open up and let it be its own thing. A lot of the stuff that’s been bothering me about my older ideas, can inform the direction I go with new ideas right from the start. I can also outline with a view towards writing 100,000 words, instead of coming up with yet another 60,000 word idea and then being stuck for another half a book to tack onto it. 😛
So I think for the next week or so, depending on how long the process takes, I’m going to simply play around with new ideas and brainstorm, figuring out what I want out of a book, what I would enjoy writing, and what I think would suit the market, and find something that covers that part of the venn diagram that intersects all three. As much as I like Sky Pirates, my discussions with professionals on the topic all suggest that it’s going to be a hard sell for a first novel. So I might have to tuck it into a drawer to pull out later once I’m already a name, so to speak.
Thank you for talking about this so frankly. I love a lot of the B&G Fictionlets, and I'm okay with missing out on a novel.
Which is to say: I don't feel like I'm missing out. I trust your judgment.
(Random: can I make an unsolicited suggestion? Been thinking about what you said a little.)
Like ... it feels to me like most of what B&G detest in their yuppie world concerns entitlement, arrogance, and privilege.
There's parts that aren't - the sacral dimples thing, for example - but Treville? Brigid's coworkers?
I feel it wouldn't take much for B&G to realize much of the idiocy they're disgusted with is hurting less privileged outsiders.
And that they can find a lot of people they'd want to support who never took any Latin classes.
...I dunno. I feel like they could be in a story about figuring out what privileges you have and what you can do with them.
“I grow restless,” Ebert said, when the misunderstandings driving a plot “could be ended by words that the screenplay refuses to allow [the characters] to utter.”
This was less of a pitfall in Shakespeare’s day, and even up through Victorian times, when convoluted and capricious mores and manners were understood to prevent those characters from uttering those words. The characters in Pride and Prejudice were constrained by social norms that no longer hold sway. So for that same plot to work in Bridget Jones’ Diary, the characters have to be constrained by something else — some limitations within themselves. Thus Elizabeth Bennett comes across as a smart, capable person who is prevented from being fully honest — to others or to herself — by the stifling rules, roles and expectations of class, gender and manners that shaped her life and her time. Bridget Jones, facing fewer such external rules, just comes across as neurotic and indecisive.
The essence of a romantic comedy is pretty simple: Introduce two characters who belong together, then contrive to keep them apart for about 90 minutes. Again, this is trickier now than it was in Austen’s or Shakespeare’s time. A lot of contemporary romantic comedies are annoying because the only obstacle they can imagine to keep their heroes apart is a kind of mutual immaturity. That serves the need of the plot, but it makes the couple less likable, which means we don’t care as much when they finally get together in the end.
One solution is to find a contemporary setting that still involves something like the kind of stifling social constraints in a Jane Austen novel. That’s what Ang Lee did with The Wedding Banquet, which ... is more of a farce than a romantic comedy. The complications and misunderstandings that drive the plot in Lee’s story could all be cleared up with just a few honest words from the protagonists. But they can’t say those words — not because an arbitrary “Idiot Plot” screenplay prevents them, but because the story involves a closeted gay man in New York and a visit from his ultra-traditional Taiwanese parents.
Oscar Wilde’s novel, The Importance of Being Earnest, is one of the best verbal farces. Just like a typical farce that contains basic elements like mockery of upper class, disgraceful physical humor, absurdity and mistaken identities, this novel also contains demonstrates these features of a farce.