demiurgent (
demiurgent) wrote2006-05-22 01:15 pm
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Then and now.
Thirteen years ago, I could cheerfully write any Superguy story I wanted, asserting the most banal bullshit and getting things wrong gleefully with a toss of my head and saying (in my best Ed Wood, Jr. voice) no one's going to pay attention to the little details.
Today, I work on a super hero story and have to stop and think oh shit. I have a throwaway sentence about close up magic. Now I have to buy and read seven books -- including books by Bill Severn and Penn & Teller.
I'm not sure I've gained anything.
Today, I work on a super hero story and have to stop and think oh shit. I have a throwaway sentence about close up magic. Now I have to buy and read seven books -- including books by Bill Severn and Penn & Teller.
I'm not sure I've gained anything.
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'Course, you might never make it back to your manuscript, but hey.
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There's an advantage to writing in a genre which has a fifteen-hundred-year history of redactor errors.
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I'm pretty sure you haven't.
I've been going through much the same sort of thing lately - in fact, I've been finding it more or less paralyzing. It's most bothersome.
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Just give your narrator permission to get the throwaway sentences wrong. Unless your narrator is a master of close-up magic who refuses to simplify the topic for his clueless audience, in which case, get readin'.
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YOU GAINED SEVEN BOOKS.
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My suggestion:
* You get one book for a throwaway sentence like that. Tops. (Better off with a bit of Google-Fu or Wikipedia-Fu.)
* You get one to three books for a minor plot or characterization point.
* You get five books for a moderate plot or character point.
* You MUST read five-plus books if it's a major plot or character point.
cu
CU
no subject
For the scenery in a single event of the story.
For an unnamed city in a very vaguely specified location.
For fanfic.
I also have about three books on blacksmithing and pottery-making sitting on my shelf due to a character in another story (who was, I might note, a demigod, and thus could have rightfully glossed right over the practicalities of these arts). I have not yet reached your level of commitment, but by golly, I'm heading that way.
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So, like, I've been told that you're looking for me, and have hence been looking for you. If you see this today, before end of con, I'm the blonde in the 'I am a pretty pink princess, motherfucker' shirt.
Ta!
superguy
(Anonymous) 2006-07-14 11:13 pm (UTC)(link)Re: superguy
Re: superguy
(Anonymous) 2006-07-15 09:09 pm (UTC)(link)Re: superguy
(Anonymous) 2006-08-03 09:52 pm (UTC)(link)Re: superguy
Like I said. What do you want to know? Since I don't have an e-mail address or contact method, I'd like to help if I could, but I can't do that without better knowledge.
Re: superguy
(Anonymous) 2006-08-04 07:23 pm (UTC)(link)Re: superguy
To my knowledge, no. A very not-based-on-Burt-Ward Burt Ward appeared in Superguy, and Andrew Goodwin did as well, but this was an "Andrew Goodwin" that the author of that series in question, Dominic White, went to the University of Hartford with in the late eighties and early nineties. It seems unlikely that Andrew Goodwin went on to manage Burt Ward.
Not impossible, mind. But unlikely.
Re: superguy
(Anonymous) 2006-08-05 04:58 am (UTC)(link)