Writing stuff
Jul. 15th, 2007 10:49 pmThe end is on sight!
It's right there... on the other side of the canyon.
You see, what's supposed to happen next is everyone runs off to rescue the guy who was kidnapped (who we'll call Tom, because that's his name). The rescue involved going to a cabin in the woods, finding Tom there and untying him. Which is a little dull, straight forward, bit of let down. All right, there is this confrontation with poor Jack afterwards, but he's not really much of a threat and it is a little after fact.
Not a problem though. We can have a confrontation between the kidnapper and the Agent who is one of the rescuers. This involves guns & posturing & lots of tension-type stuff. Good!
Except, why are we doing this?
Because it'll add some excitement.
But what is the story reason?
There'll guns and showing off and goods stuff.
There's no story reason. It's inconsistent characterisation. It takes the tension out of the next scene.
But it's good stuff.
I think I have a workable solution though (bring forward the confrontation with J) that might even involve some of the 'good stuff'. I just have to get the POV on it worked out. (THE kiss needs to be from Tom's POV, unfortunately most of the other action around it, can't be.)
It's right there... on the other side of the canyon.
You see, what's supposed to happen next is everyone runs off to rescue the guy who was kidnapped (who we'll call Tom, because that's his name). The rescue involved going to a cabin in the woods, finding Tom there and untying him. Which is a little dull, straight forward, bit of let down. All right, there is this confrontation with poor Jack afterwards, but he's not really much of a threat and it is a little after fact.
Not a problem though. We can have a confrontation between the kidnapper and the Agent who is one of the rescuers. This involves guns & posturing & lots of tension-type stuff. Good!
Except, why are we doing this?
Because it'll add some excitement.
But what is the story reason?
There'll guns and showing off and goods stuff.
There's no story reason. It's inconsistent characterisation. It takes the tension out of the next scene.
But it's good stuff.
I think I have a workable solution though (bring forward the confrontation with J) that might even involve some of the 'good stuff'. I just have to get the POV on it worked out. (THE kiss needs to be from Tom's POV, unfortunately most of the other action around it, can't be.)