Pines

Or, "Why the New A Fine Frenzy Album Is Forever Endeared to Me Even Though I Have Not Yet Listened to It."

I WILL get this. Soon, hopefully.

Honestly, I think I need to start a running tally of what has become endeared to me this October, because I feel like it's going to be one of those seasons. Those ridiculous perfect storms of writing where stuff just starts popping left and right. Which I suppose for Wonderfall is fitting, because epiphanies are kind of magical in their own way. But, really now? First Lowe's and now a CD I haven't even heard. Which I want. Because A Fine Frenzy's stuff is like, "Magical Realism, The Music." I'm playing the first album right now, and "Borrowed Time" and "Rangers" are on my Wonderfall playlist.

Anyway, why Pines? This morning I was sitting at the dining room table, trying to refine Wonderfall's plot because I had fallen into one of my regular pitfalls: overcomplicating things. It wasn't that the story had too much going on, it was that it had too much going on for the tone I'm aiming for, so I was either trying to pare it down or reframe it. Things were going uncharacteristically well, actually - I had adjusted the plot so basically the same things were going on, but in a different context. I was working on character motivations, then - what Elias, Lorelei, and Connor each really wanted, and what the antagonist (ostensibly not a real villain this time) wanted. It was taking so long to come up with that I stopped thinking about it after a while, and moved on to other things.

Now, part of the problem that arises in the story is that Connor and the antagonist want close to the same thing, though not exactly. I knew what Connor wanted, but the antagonist's motives were still vague. I knew he or she wanted an event called "Wonderfall" to occur for a specific purpose, whereas Connor was just waiting for Wonderfall for the sake of it. The question was, what specific thing did the antagonist want Wonderfall for?

Later on, I got up to make toast, mulling it over, when it hit me. The thought process looked like this, though of course the details aren't really that simple. Um, SLIGHT VAGUE KINDA SPOILERS:

Haha, spoilers, yeah, I guess. A magical garden is in some way involved. But anyway, what the antagonist is going for versus what everyone else in the story wants just fit so perfectly with the tone. And then I just fell in love with the story all over again. Plus, I did want to keep the story a bit on the shorter side, by my standards, and the garden idea made a bunch of things fall into place.

*Sigh* I do love October. 

People in My Head

I've never really noticed this before, but when I'm coming up with characters - not particular ones, really, but just the odd fellow for a new story or drabble or what have you - the first two things I tend to come up with are a mental image of them, and how they move. Which is funny, because I've never given a second thought to how a character moves - it just comes about all unconscious-like, and I run with it.

Take, for example, the girl I'm going to drop onto the page tomorrow, who has since yesterday decided she's called Cassiopeia, possibly Opal for short. The very first thing I got of her was her hair (this whole two days, she's kind of been sending little snippets of herself to me), which is super-straight and shiny and copper-colored. It ripples over her shoulders and looks like melted amber when she runs. Then she's topped off by this grey beanie of hers, which looks like it ought to be old and threadbare and holey, only it's relatively new and rather soft. And well, there was my first impression of Opal. The rest just kept dropping into place.

She wears a heavy, army green canvas jacket. The collar is usually up. Underneath that is a long, close-fitting, long-sleeved black t-shirt. Dark skinny jeans, or some days denim shorts with black leggings (but that's mostly when she's hanging around the house). Shoes are usually what's closest to her door at the time - sneakers, sandals, boots. Whatever.

Her face is narrow. Very thin nose, eyes that look too big in her head. I'd say she's rather average-looking, in most cases, but then you see her from a certain angle or temperament or light, and she's lovely. It's that sort of off-prettiness. I think she looks at people sideways a lot - it might actually be kind of her trademark. 

After that, I just sort of see her moving. I don't think about it. But Opal's light on her feet. She doesn't really dance around though, instead moving swiftly in whatever direction she's headed. She doesn't flounce, unless she's being purposely flippant. I don't think that's very often. Her reflexes are quick. I have a very solid image of her spinning gracefully on her heel, fluidly pulling a handgun from where it's tucked at the small of her back.

And then, from all that, I sort of have a feeling of what she's like. I haven't though too purposefully about her personality, because it will just come to me as I get about telling her story. I know that when she smiles for photos she has this smug little smirk, and with her whole get-up she looks like a right little smart-arse, but when she smile-smiles it's very sweet and simple and warming. I know that she's says what she thinks and is very frank about things, but she's very physically contained - her hands at her sides or in her coat pockets. Everything about her says slender. But she laughs easily, just not loudly.

That would be my character creation process, on most days. For me it's pretty much the case that the character is already a person, somewhere, and myself as a writer just drew the lucky card of getting to meet her and figure her out. It's fun when they have mind of their own, after all. It's all about making the writing exciting, and it helps when you haven't a clue what your character is going to pull next.