Home is a hard concept for me, or maybe it’s just hard for me to reconcile it with the usual societal notions of home. Maybe that’s a part of growing up, learning that societal notions are rough guildelines and not strict rules, many of which are set up by people who do not have your best interests at heart. I’ve been home in the US since mid-May. I got here in time to spend the little time my dad had left, and for that I’m enormously grateful. And I was able to be here for my mom, and for me. And that’s what I’ve been doing for the past couple of months. Grieving, logistics, supporting my mom, and having a brief getaway weekend to see a ton of friends in New York City. And seeing family from Mexico! People I haven’t seen in years. Home is absolutely awesome, and home … Read on!
I’ve managed a bit of a breakthrough, tightening the pacing on the story (improving the first episode significantly) and getting a much livelier sense of the characters, which is immeasurably valuable. I did it by eliminating/consolidating three characters. Reminds me of a phrase used when it comes to modern media technology: “Just because you can, doesn’t mean you should.” Polyphonic stories require ensemble casts: it is the nature of the tale. But too many characters and you muddy and confuse everything, and no one remembers who anyone else is. Too few, and you have no tension at all. I’ve had to be mercenary about this story, looking at every scene from a screenwriting perspective: no wasted airtime. No wasted words, no wasted sound, no pointless scenes. But the difference here is that in a three-act film, every scene pushes the story forward on the shoulders of the main character (even though … Read on!
So, the good news is the reason I haven’t written about Part 2 is because I’m busy with my script. The bad news is that right now I’ve hit a really crunchy bt and I’m backing off for a moment, so here I am. Procrastinating from writing, by writing. This is a first for me. Anyway, if you take a look at the previous entry, I had three things that happened to shake me out of whatever doldrums had locked me feet down. I’ve talked about one, I’m writing about the second here, and now that I’m re-reading that post, number three may escape me because I can’t remember precisely what it was my advisor said. Anyway. Have some squiggly mind maps. The thing with a story that relies on tensions among characters for its very existence is that it needs characters. I’d been talking about bringing Neyu’s sister Pukka … Read on!
It always feels like this: after a good stretch of feeling at sea and nothing making sense, there’s a pivotal stretch of time, maybe a few hours, during which you begin to work, and you’ve given up feeling bad about things because let’s be honest there’s a deadline looking and folks asking questions and you have nothing left to lose. And it happens. Things fall into place. Things begin to make sense, they have a sensible extrapolation, a kind of logic about them. And you feel like you’ve got your feet on the sand again, even if you’re still shoulder-deep in water. Three things happened to make this so. I went back to Bakhtin, dug around, read up on the context of his life and the political and social circumstances of his time; I took a good, solid look at polyphony again as a structure, as a theory, as a lens, … Read on!
GAH. So I was filling up hot water bottles, getting ready to head to bed (it’s winter here, and while a Brissie winter isn’t terribly onerous, the lack of any kind of insulation where I live means it’s as cold inside as it is outside), and I was thinking thinking thinking. Polyphony. Yeah. I harp on it. Foundational theory for me. Anyway. The original scope of Neyu’s story was quite big and long. …Ignore the double entendre. It was expansive, and had like three to five parts to it divided into smaller chapters. Which is epic, and not a problem when you’re working on something for the long run. And it’s not to say that I’ll never get to those far-flung places. But I won’t get to them for this thesis. Because all those opposing and conflicting and resonating viewpoints? It’s all in the ship. It’s like I said, what, two … Read on!
Finding a voice sucks. Blog writing is hard. I imagine this is the case for a lot of people, but I end up trashing most of my posts in a fit of “who really cares what I have to say?” If this blog is a kind of signposting of my experience, then I’ve forgotten to take pictures of the whole first half of the trip. To be fair, it’s mostly the same — a lot of worldbuilding on the wiki, and then refining and tuning the storyline. I have some broad strokes written out already, and depending on what platforms end up getting chosen for the second half — production — I think we’ll only be able to do maybe an episode a month, including all materials. And by episode I’m not yet sure if I mean primarily an animatic, or primarily a radio-play style podcast. There’s a conference in … Read on!
I’m not the kind of person who usually outlines or plans. I start with an opening idea or scene and just run with it. This is fine if your deadlines are loose and the process is meant to be exploratory. No harm, no foul, in poking into a dead-end idea; just back up to a previous save and try a new path. This isn’t so tenable when you’re working to a deadline. When I’ve done work for hire, I’ve used an outline; sometimes those outlines were provided to me by an editor, and sometimes it was up to me to build the structure. There’s a sense of safety in having an outline. But if your deadline’s close, then veering from the laid out plan can carry some very big problems. I’ve never written transmedia before. It’s a new mode of thinking for me. Because I’m using Bakhtin‘s concept of polyphony … Read on!