My characterization of "Stephen" gets a lot of attention, so it's really fun to get this analysis of my characterization of Jon.
And, in the same vein, it's with "Stephen" that the tension between what he wants to do and what he thinks he's supposed to do is really pronounced. But it happens with Jon too, in a more subtle way.
It's funny you should mention that now, right as I'm in the middle of writing a round of Formidable Opponent on that exact topic.
"That's no excuse," snapped Stephen. "I have plenty of experience denying myself things I want. What were all those years of marriage for?"
"I didn't do so well then either, did I? How many times did I go to a different city for a field piece and end up with some stranger in a bar? A lot, that's how many."
Aaaanyway.
I'm reading Madame Bovary for French right now, and apparently it was Flaubert in that novel who pioneered the technique of writing thoughts and subjective opinions ("Laugh it off", but also "Jon was so gullible") as if they're part of the objective narrative. There's your useless literary trivia for the day =)
I'm a geek. I know tons of details about these shows. May as well use them. (Every once in a while, I lean on Colbert University too.)
Oh, and, on subplots: When you mentioned that they don't have to be continuations, I realized that yes, there's a subplot. The threads are very tangled together; the central plot is Stephen-versus-himself (with Jon trying to figure out what the conflict is, which side he's supposed to be on, and how to resolve it), and that leads directly to the Stephen-versus-Tracey, which in turn starts inciting Tracey-versus-Jon. But you could probably separate out the stuff with Charlene and call that a distinct subplot.
One thing I can say with certainty: if you like your fics complicated, you won't be disappointed.
no subject
And, in the same vein, it's with "Stephen" that the tension between what he wants to do and what he thinks he's supposed to do is really pronounced. But it happens with Jon too, in a more subtle way.
It's funny you should mention that now, right as I'm in the middle of writing a round of Formidable Opponent on that exact topic.
"That's no excuse," snapped Stephen. "I have plenty of experience denying myself things I want. What were all those years of marriage for?"
"I didn't do so well then either, did I? How many times did I go to a different city for a field piece and end up with some stranger in a bar? A lot, that's how many."
Aaaanyway.
I'm reading Madame Bovary for French right now, and apparently it was Flaubert in that novel who pioneered the technique of writing thoughts and subjective opinions ("Laugh it off", but also "Jon was so gullible") as if they're part of the objective narrative. There's your useless literary trivia for the day =)
I'm a geek. I know tons of details about these shows. May as well use them. (Every once in a while, I lean on Colbert University too.)
Oh, and, on subplots: When you mentioned that they don't have to be continuations, I realized that yes, there's a subplot. The threads are very tangled together; the central plot is Stephen-versus-himself (with Jon trying to figure out what the conflict is, which side he's supposed to be on, and how to resolve it), and that leads directly to the Stephen-versus-Tracey, which in turn starts inciting Tracey-versus-Jon. But you could probably separate out the stuff with Charlene and call that a distinct subplot.
One thing I can say with certainty: if you like your fics complicated, you won't be disappointed.