Hee, don't encourage me to ask too many - I've only really written one shots before, and have only just finished my longest fic ever (at a fairly unimpressive 16,500 words, LOL, small potatoes to you!) and it's been in a pre-structured, five things format! So hearing about how longer plots get structured is super useful for me.
So, you've got your basic idea, and wanted to mix the idea of Tony's father with the training (worked well, BTW; being a fairly vanilla soul, the emotional slant is what reeled me in and the hot sex was a total bonus, and by the re-read I no longer blushed quite as badly as I did initially and was really enjoying the raunchier parts!), but did you have kind of, like, a start, and a begining, in any more complciated terms than getting the pair of them together with honesty? That thing about hooks totally makes sense, there needs to be questions to keep it going, and I'm guessing that although maybe one hook <could work, it's difficult to sustain a really long story on just one? (Sorry, by the way, there's absolutely no need for you to indulge my confused questions, so thank you for explaining what you did so far!)
LOL, driving is the place I tend to think of most of the scenes I'm planning, but I usually do rush to scribble them down, usually on my phone (once I'm pulled over!) so that I don't forget particular lines that I like or something. That bit about getting from one point to the other is really interesting, though, that's totally cleared that up a little bit in my head about how to kind of narrow down bits of plot, if that makes sense, so thank you! And I need to learn to delete things more, you know, to recognise when something isn't working for the story and is maybe just a scene I thought up that was cute at the time, but isn't necessary in the story.
Ooh, POV, that is something else I am all over the shop with - well, not so much all over the shop as totally boxed in, so far I haven't even attempted getting into Tony's head, I'm completely in Gibbs'. Probably because from watching the show, I feel like I have a fairly decent handle on why Gibbs acts like he does, but with Tony I'm always in two minds about him. He's so deliciously interpretable, and I'm indecisive. But I'm definitely going to attempt him soon - right now, I have no ability to switch between them, I don't think. How do you judge which character's emotions are more important to see in a scene? Is it more just a feel for it, or is that planned fairly carefully? Do you worry about spending too much time in one head and not in the other?
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ninetydegrees
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on Nov. 8th, 2009 06:47 pm (UTC)So, you've got your basic idea, and wanted to mix the idea of Tony's father with the training (worked well, BTW; being a fairly vanilla soul, the emotional slant is what reeled me in and the hot sex was a total bonus, and by the re-read I no longer blushed quite as badly as I did initially and was really enjoying the raunchier parts!), but did you have kind of, like, a start, and a begining, in any more complciated terms than getting the pair of them together with honesty? That thing about hooks totally makes sense, there needs to be questions to keep it going, and I'm guessing that although maybe one hook <could work, it's difficult to sustain a really long story on just one? (Sorry, by the way, there's absolutely no need for you to indulge my confused questions, so thank you for explaining what you did so far!)
LOL, driving is the place I tend to think of most of the scenes I'm planning, but I usually do rush to scribble them down, usually on my phone (once I'm pulled over!) so that I don't forget particular lines that I like or something. That bit about getting from one point to the other is really interesting, though, that's totally cleared that up a little bit in my head about how to kind of narrow down bits of plot, if that makes sense, so thank you! And I need to learn to delete things more, you know, to recognise when something isn't working for the story and is maybe just a scene I thought up that was cute at the time, but isn't necessary in the story.
Ooh, POV, that is something else I am all over the shop with - well, not so much all over the shop as totally boxed in, so far I haven't even attempted getting into Tony's head, I'm completely in Gibbs'. Probably because from watching the show, I feel like I have a fairly decent handle on why Gibbs acts like he does, but with Tony I'm always in two minds about him. He's so deliciously interpretable, and I'm indecisive. But I'm definitely going to attempt him soon - right now, I have no ability to switch between them, I don't think. How do you judge which character's emotions are more important to see in a scene? Is it more just a feel for it, or is that planned fairly carefully? Do you worry about spending too much time in one head and not in the other?
Aren't you sorry you answered? *g*