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The White Lily
14 July 2016 @ 11:44 pm
So, I haven't posted for a while.

A few things:
1) I am writing like the blazing blazes, doing watsons_woes July Writing Prompts month, one fill for every day. Seriously. I don't think I've ever written like this, and I won NaNoWriMo one year. It's not so much word count output I mean, but idea-execution output. Not saying I'm posting Shakespeare every day, but completing, writing things good enough to be happy with them without skipping over some bits and obsessing over others, and some things have been surprisingly good. This is working. It's awesome. Writing 90% decent stuff is getting faster--and easier--and while I'm still working on the not-obsessing over it part, I'm hoping that'll get easier too. There's only so much it's possible to obsess when you're posting every day. Isn't it? Please? In some ways it actually makes it harder to let go, because I know that last line or that title could be better, but time limitations meant I didn't have the time to think of what it should be instead. Of course I'm obsessing over making them better. At least I've only really got room for one obsession at a time, so once I've completed the next 24 hrs story, I move on to obsessing over that one.

I might have to go fanfiction cold turkey at the end of this month, though, if I'm going to get Futureproof done in the following couple of months, which I am determined to do. It is not going to make it a full ten years without completing the final draft. And hopefully, all my practice in drawing lines, saying 'good e-freaking-nough' and letting things go will come into play there, and let me draw some lines and say 'good e-freaking-nough' to let the good old albatross go from around my neck.

2) I've been getting involved in the Holmes fandoms, over at JWP month. It's been cool, meeting people, getting to know a few different people's writing styles, reading ten or so different responses to the same prompt with the same characters that I've also filled and it's... just intriguing. Too see how different all the ideas are, and the executions. How many wonderful interpretations there can be. Because when I've had eight different ideas and discarded seven of them for being too obvious, you'd think one of those 'obvious' ones would have been done by someone else, right? One? Apparently not.

3) I have lost too much weight again. I weighed in the other morning at 47.5kg, which is the lightest I've been I think since... ooh, actually, I do think I hit that when I was wasted with morning sickness on my third child! But before that it was probably pre-adulthood. My current BMI 16.2, which is way, way underweight. I generally try to stay above 50kg, which is still technically underweight but is about all I can manage to keep on no matter what I do. I knew I was down to 48kg for most of this year, because I never really put it back on after writing Living Conditions--and I was thinking I'd bottomed out, but apparently if I keep writing I can keep losing more weight, and another 500g is enough to make me worried. I don't want to stop writing. We're only talking 2.5kg under my goal, but... when you're on the pointy end of the scales, that's the difference between acceptably thin and skeletal. Time to do something about it anyway.

Perhaps I should move away from writing in a fandom where the character I personally identify with doesn't eat when he's working. :P I'd say I should get some more exercise to try to stimulate appetite, but my fitbit says I'm doing 10K+ steps per day just running around after the children, so it's not exactly like I'm sedentary. More likely, if I'm trying to dedicate some time to doing something about my weight every day, I should dedicate it to eating. Instead of, you know, skipping breakfast because I'm in a rush and skipping lunch because kids nap/TV time is the only time each day I get to spend by myself and who wants to waste that time eating?!

I've never had a big appetite. And hunger's never been a strong motivator, particularly when I'm busy or stressed. Unless there's incredibly delicious food right in front of me, I'd just rather do other things. But we're getting to the point where I either have to start making myself eat things, or start putting weights in my undies when I get on the scales. At the moment, my solution is stocking my writing chair with museli bars, and also making a conscious effort to get myself something to eat whenever I get the kids something. That should make a difference, hopefully. But I'll keep the weights in the undies in mind.

4) I was going to do a minor arsehole update, but this is an unlocked post. So, I'll just say things are stable and looking like they're heading in the right direction, and I am stable and managing to keep the boundaries in my head in the right places. Yay.
The White Lily
13 June 2016 @ 10:09 am
So my eldest said to me last night: I can't believe you're actually a writer of stories, mummy! I told him anyone could write a story, maybe he would like to write one. What would it be called? He said he needed to think about it, and then told me, that's the title! I need to think about it! And then he wandered off to do something else, so...

Well, flash fic happened on the whiteboard, for him to see next time he passed.  Reading primer is quite a restrictive style, but I think I rocked it.  :D

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The White Lily
I've had that song in my head all day, because it's still New Frontiers month over at ushobwri, and there's been an... idea, niggling away in the back of my mind for the last month, about something that is a really new frontier for me.

I made a throwaway comparison in an LJ post a while ago, between Sherlock and, well, we'll get to that, but the thing is it gave me a really vivid mental image.  As usual, it was the concept of a junction point where a whole lot of plot arcs intersect to provide an amazing payoff, but... it came in the form of a mental image.  And I know how the characters get there, and I know what they're saying, but the thing is that this is a visual gag.  And while I could have written a story, and it would have been good, it doesn't actually work nearly as well in words as that image in my mind.

I left high school after thirteen years of compulsary art utterly convinced that I was hopeless at drawing and in fact any kind of visual arts.  But... as it turned out, it wasn't entirely true.  Because when we moved into our current house some five years after that, it had a clear glass shower screen, and I started sketching with my finger in the fog in the shower, every morning.  Transient thoughts, either written or sketched and then washed away moments later.  It's really cleansing, actually.  In more ways than one.  :P  When I went on a nine week backpacking trip in Europe, I hadn't even realised how much I missed that until I got home and stepped in the shower, saw the fog and... just relaxed, as I started sketching.

Now, I have three little kids.  I'm constantly being asked to draw something for them.  A dinosaur, or a pirate ship, or whatever.  And I do, and they look, you know, recognisable.  With a possible bonus of being an age appropriate outline for cutting out.  And a year or so ago, when our eldest was inappropriately resistant to doing any kind of drawing/writing, I decided to start sitting with him and sketching my own pictures on a piece of paper.  I write best on a computer, but if that's all the kids see of what I do for myself, it's not exactly modelling writing/creative behaviour in a medium they understand, right?  And maybe I didn't do it every day, or even every week--I'm a busy woman--but it happened sometimes.  And whether it was partially seeing me doing it, or whether it was simply that was when the lightbulb went on in his head, he started drawing, and then writing.  As a byproduct, some of the things I created where unexpectedly awesome.

I also left high school convinced I couldn't write prose, and in fact that all humanities were for the birds.  But we all know how that worked out.  So, inspired by the epic efforts of various Shoobies in New Frontiers month, and the solid persistence of this image in my mind, I decided to give it a go.  It took me two days.  Three, including scanning it in and cleaning up the smudges on the background.  It is far beyond anything I've ever attempted before.  It bugs me that it's not perfect, but nothing short of photorealism would ever be perfect to me because, well, my brain, and it is definitely perfect to the limits of my skill.  It was that after about an hour, because it is far, far, far beyond where I thought the limits of my skill were.

I give you: The Baker Street Boys Lose a Bet

I think I need to stop saying I can't draw, right?  Yeah, that's what I thought.
The White Lily
Terry Pratchett is and will always be sorely missed, and his mind would have been taken from us too soon if he had lived to be razor-sharp one hundred and fifty.  But in honour of Lilac Day, in rememberence of The Glorious Twenty-Fifth of May and the far too short-lived People's Republic of Treacle Mine Road, I have written a Discworld fic: Where's My Bath?

Expect none of Pterry's intelligence, or humour, or the skill of his writing, or his unexpectedly poignant insight.  My assignment for the ushobwri New Frontiers challenge was a piece of unapologetic fluff, something involving a heaving bosom and a baby duck.  I crossed a few new frontiers with this story: new genre, new fandom, new fandom-familiarity, new writing process.

The new process was probably the most interesting of those, as far as what I might choose to repeat.  I wrote in order, or as much as that makes sense for me: keeping the future in the front of my mind and a consistent complete narrative 'behind the cursor' even though I continually ducked (haha) back to fine tune the story I had so far.  I think doing it this way might have made the ending more difficult, although it's hard to tell whether a story like this would have refused to end even if I'd written the ending first.  But it definitely made the process of writing faster--I don't think I've ever completed a story longer than a drabble in less than a week before.  Whether it would work for something longer?  Or something more compilicated?  Not sure.  But it's been an interesting experiment, and certainly something I might try again.
The White Lily
02 May 2016 @ 09:42 am
So, I had a few March goals for Futureproof, but... well, I didn't quite get there for several reasons.

I mostly mucked around with character charts and trying a single crucial scene a few different ways, to sort out a particular character relationship issue which has a huge impact on the plot.  I still wrote about 5K words on it this month, but... yeah, I'm still trying to work out how much to change it to improve things down the line--and what to change, because it's all a complex thing where I pull one string and the whole thing warps in one direction or the other.  I feel like if I find the right string or set thereof, it should just all fall into place, but... to be honest, I probably just need to force it through.  I'm not very good at doing that.  But I'm giving it a rest for the moment because...

I'm currently working on the BBC Sherlock Rehabilitation fic, which I've written 6K on in the last couple of weeks.  I'm still expecting to end up around 10k total by the time I'm finished fiddling with it, and I reckon I should be able to finish it and get it off to beta before the end of this week, because I'm really not that far off complete framework.  I've only got a few bits to fill in left, really, and my aim is to get *that* done by the end of today, finish the framework, and then spend the rest of the week polishing and bouncing it off my beta.  Possibly not realistic to have it posted by the end of the week, but hopefully no more than another week after that - then I want to get back onto my March goals for Futureproof.

The other distraction, in addition to what's going on with my mum, who has about until the end of the month before she's allowed to weight bear on her leg again, Hubby and I are having Big Serious Discussions about the Future.  Or mainly, Hubby stressed out of his mind and hiding under a big rock pretending it isn't happening while I draw up charts on the whiteboard and try to analyse the unanalysable.  There's a... decision coming up, a fork in the road.  And one way means a lot of stress on him and probably less time to write for me and basically taking the risk on our family of wiping out everything we've built--but seems to really be the better decision financially and with family politics, and it's mainly the fear holding us back.  And the other way means disappointing a lot of people, and... isn't necessarily safer or lower stress, but... it does mean we wouldn't have to take on the weight of a very, very large loan.

Do we want to buy out the family business when Hubby's parents retire, that is the question? Which is two parts, really: do we want the business at all or should they sell it to a third party, and if so... do we want to buy it for lots and lots of money.  Being as it's a family business, we could possibly also officially take over without the very, very large loan.  But taking the very, very large loan has major financial advantages for tax minimisation for the family clan as a whole, and leaves us at an excellent tax advantage for the future, no matter how the business tracks long term.  But... all the risk is on us.  And, it's not like it's a big risk, because we know the business is sound and long-term viable, but... we're talking big, big dollar figures here, figures that dwarf all the equity we've worked hard to build up over the last fifteen years since back when I was working five jobs at once while I was at uni. At least, for the first time, it's being presented as a decision we need to make, rather than an assumption that we will.  Did I mention that the loan would be large?  *sigh*

Okay, back to writing proper.  This is my least favourite stage of writing any story, but if I can get my head into gear and complete the framework today, it'll be done.  And done with it will be a good place to be
The White Lily
26 April 2016 @ 11:00 pm
So, looks like I'm currently writing a murder mystery.  Sort of.  And it's an interesting beast.  I tend to have small casts of multi-dimensional, living and breathing characters, but for this I need to be able to sketch a large cast of flatter characters.  I know why the murderer is doing it, and I know why the victim draws their attention.  The victim is also a suspect, and I have at least three more characters.  Maybe one more red herring character.  Which means at least five or six disposable, one dimensional OCs in addition to my main characters, who are the basic BBC Sherlock crew.  This is not a long story (are you listening, Brain?!), I'm currently estimating about 10K words, and to be honest I don't care that much about the mystery itself, it's more of a subplot than a primary plot.  Five plus new characters for a subplot of a 10K word story means that these characters need to be caricatures.  They need to be so incredibly one dimensional that people will 'know' them within a single line of description and then anything on top of that is gravy.  That's a difficult prospect for me.  But probably very good for my characterisation soul.

It's also an AU beginning, which is always interesting in the way that a lot of the dialogue tends to be directly taken from the original.  And I love that about AU beginnings, I love playing 'spot the original line', and seeing the way the more things change, the more they stay the same.  (Not entirely related: I remember reading an amazing Harry-goes-back-in-time-to-fix-everything story where as a minor side frustration to Harry, Lockhart was so self involved that his lines were practically identical, no matter how much Harry tried to redirect the conversation.  It was absolutely hysterical.)  But there's a delicate balance to walk between changing too much and changing too little.  No one wants to reread a lazy copy-paste job, even when the original dialogue is brilliant.  On the other hand, the original lines are the canonical character moments, that are by definition precisely what the characters would say--so in the same situation, it is wrong to have them say anything else.  So sometimes it's hard to make them change direction.

In particular, I'm rewriting Sherlock's initial deducing-everything-about-John monologue in a situation where he hasn't had access to John's mobile, so he's focussing on other things.  I like writing Sherlock's deductions, and I've had people tell me I'm good at them.  I'm super pleased with how far this one has developed over the past 24 hours I've been working on it.

But I'm finding it difficult giving something for him to be wrong about, because the single misconception of Harry's gender is perhaps the heart of John's rock-solid belief that Sherlock has to be for real; how very many logical reasons he had to get to a point that was essentially true in all its intricate detail but technically false because of a mistake he wouldn't have made if he'd found out any other way but the one he'd described.  It was great for a number of reasons, but not least because Sherlock was so repeatedly wrong about it - he refers to John's brother at least three times before he mentions Harry by name, absolutely sets it up as a given to the audience, who also haven't yet been introduced to the idea that Sherlock might be wrong, and John is beautifully blandly noncommital about it.  "Then there's your brother," he says.   "Hmm?" says John.  Gold.  Very much sets up his dry, sly, enjoyment of poking fun at Sherlock's rare missteps.  And then there's the fact that when it comes out that Harry is a woman, it is a humorous misconception. Brother rather than gay sister with masculine name is a totally obvious assumption to have made but Sherlock is so professionally annoyed with himself for making it, or perhaps with the world for being lumpy and occasionally falling ridiculously outside the bounds of standard distribution on something that he hadn't been even a little unsure about.

As Sam Vimes puts it:
He instinctively distrusted [Clues]. They got in the way. And he distrusted the kind of person who’d take one look at another man and say in a lordly voice to his companion, “Ah, my dear sir, I can tell you nothing except that he is a left-handed stonemason who has spent some years in the merchant navy and has recently fallen on hard times,” and then unroll a lot of supercilious commentary about calluses and stance and the state of a man’s boots, when exactly the same comments could apply to a man who was wearing his old clothes because he’d been doing a spot of home bricklaying for a new barbecue pit, and had been tattooed once when he was drunk and seventeen and in fact got seasick on a wet pavement. What arrogance! What an insult to the rich and chaotic variety of the human experience!

That, I think, is what the 'there's always something' moment with Harry adds to BBC Sherlock, because that's part of the suspension of disbelief with Sherlock Holmes that BBC Sherlock didn't require us to indulge in. Sherlock Holmes isn't magic; he's science. The way many of his deductions work is by playing the probabilities, and the thing about playing the probabilities is that--while most of the time, you are right--sometimes you are wrong. ACD Holmes knows this and while he gives some mysterious hints, he doesn't like to say much until he's certain, so by the time he speaks he has accrued enough evidence and narrowed down the pathways enough that when he explains what just happened he's always right.  But BBC Sherlock draws us inside the deductions straight away, shows off and struts like a peacock and drip feeds us his arrogant brilliance throughout the show rather than saving the explanations for the end.  I like it this way; it brings in the suspense, knowing that sometimes Sherlock can and will be wrong.

The thing in my story that's naturally falling out for Sherlock to be wrong about is... not like that.  It's good, character building stuff, but it's not in any way able to poke fun at, and neither is it something compellingly obvious.  It's possible I can fix the second one with some more references to set it up; I'm good at red herrings.  It's difficult, though, because it's not a funny thing, it's a bittersweet tugs-the-heartstrings thing.  In my writing.  What a surprise.  But that means even with Sherlock's lack of social graces, he's not going to be as obnoxiously I-know-something-you-don't-know-how-I-know about it as he was about John's brother.  So maybe I need to find something else.  But then... I wouldn't get to put in my cute little tugs the heartstrings bit that I've worked out how to make John say, as long as he's correcting Sherlock.  So maybe I just need to find a way to alter this bit that I've already got, that I love, to do the job that's in front of it.

So yeah, that's... today's thing to pointlessly agonise over.
The White Lily
20 April 2016 @ 09:28 pm
Brain: Hey, this rehab hospital... it's kinda, interesting, isn't it?  Really sensory.  The smell, the sounds, the pattern on the carpet.  The sound of the divider curtain rings sliding on their rail.  The nurse, coughing onto the back of her glove as she walks past.
Me: Brain...
Brain: I mean, I know we're just here visiting Mum, and I know you're going to say it doesn't remind us of anyone in particular that she is a BAMF who went through orthopedic surgery on only panadol, that she's having to get around using a walking frame, do gruelling physio, and is being treated like an idiot by the attending nurses because her tremor makes people underestimate her...
Me: Brain, last BBC Sherlock story we wrote you told me she was basically Sherlock, and wasn't that the creepiest creative connection I've ever made, now you want her to be John Watson?
Brain: Not, really John, not really.  No more than she was really Sherlock, just because he happened to share a few personality traits and was getting brainwashed.  She's just... in a place where John is.  Sort of.  You know that's enough.  And, you know, it's not like we're not stuck at the moment, working on Futureproof.  Maybe, working on something else for a little bit would loosen up those creative muscles a little, get a different perspective on things.
Me: You know it doesn't really work like that.  You're just trying to distract me, because you don't like being stuck and having even less time than usual to write.
Brain: But if we don't write this one now, Mum'll be out of hospital, and you won't get to top up that inspiration every time you go to visit...  And you promised to respect the bunnies, remember?  I took the bunnies away, for five long years, and I can do it again.
Me: Brain!  Okay, okay.  Flash fic.  One night only, then we press post.
Brain: Weeeeelll...  I was thinking...
Me: One night, Brain!  That's my final offer! This sounds like a depressing story.  You know we decided not to do those anymore.
Brain: That was because they're too easy.  Tragedies are lazy writing--we can make it not depressing, if we try.
Me: We're not trying, it's a flash fic!
Brain: We're still not going to be lazy, are we?  Even a six word story needs a twist.  Look, if we start John down in the dumps, he's guaranteed to cheer up.  It's a psychosomatic limp!  He got better!

Me: Later!  It's the rehab hospital, Brain.  He doesn't get better.  Not until later.
Brain: But, but... here you go, that's why this is different!  Because what if Sherlock's here too!  On an investigation, maybe there's a Dr Death at the hospital, oooh, I know that's been done to death--haha--but I know who the killer is, and it's not the usual! And I know how Sherlock's going to find them, too, and why he...
Me: *facepalm*  Fine. Okay, Brain.  We'll do it your way.  I don't know why I bother arguing. Or why I didn't just start writing the fic in the first place.
The White Lily
"No, no, you haven't seen the system. I put the plate--"
"But look, then it interferes with this plate here!"
"You haven't seen the system!"
"Oh, I've seen the system, many times, and had to deal with the consequences!
"I put the plate here, and the chopping board here, and then the next plate goes here."
"And look, none of these get water on them, and you can't fit plates on the other side and it takes twice as long to sort the all out when you unload it."
"But look!  If you have a saucepan like, say, oh look, a saucepan!  You can fit it right here!"
"But not all the dinner plates."
"Minor detail."

"What is this?  Where is the box?!  It's like you and the oil bottle!  I mean, how hard is it, you use the oil, you put the cap back on, then we never have this problem!"

"But that section is always full by the end of the day!  The only thing loading the bread and butter plates like that in the morning means, is that I can't grab a stack of plates and load them with one hand going (machine gun sound)."
"Well, I never do that, I just put them in one by one."
"I know."
"Otherwise, you couldn't thoroughly rinse each one before you--"
"I know!"
"Look, I'm not saying we don't end up at the same place, I'm just denying it's--"
"You're dragging me down to your level!"
"Well, it gives us something in common!"
"... what, like, Breakfast at Tiffany's? *singing*
Well, I said, what about, loading-the-dishwasher-incredibly-slowly?
She said, I think I, remember-how-annoying-that-was!
Well, I dunno, I said, I always kinda liked it,
She said, well that's why, we ended here!!!"
"That is why we ended up here!"

"I don't like to complain, is all I'm saying.  I'd rather you put plates in the dishwasher at all, despite--"
"Well, there's no danger of that stopping."
"--so don't hold back is what you're saying?--despite your completely insane packing system!"

"You know, if it weren't for this physical metaphor of our entire relationship, people might imagine we were alarmingly compatible."
"Crazy, isn't it?"

NB: I don't think either of us stopped laughing about how much it really didn't matter the whole time.  The fact is, we have a kickarse dishwasher that will wash things pretty much any way.  But there's ways and ways, okay?  Right ways.  And wrong ways.  Guess which way is Hubby's.
The White Lily
07 April 2016 @ 11:23 pm
When I woke up this morning, my whiplash injury was playing up, but I decided to go on an outing with my mother and my kids despite being barely able to turn my head.  While at the playground, my healthy, very active Mum had a fall: three bones broken and dislocated in her ankle.  She's 76, currently expected to spend up to a week in hospital before they can operate to pin things back together, and she will need a lot of help to get back on her feet.  And another family member has just been diagnosed with cancer.  His prognosis is extremely good, but there will be unwelcome side effects to treatment.

On the bright side, I found the lid to my special happiness teapot, which I had feared lost.  The boys got to see grandma being loaded into a real, live ambulance, and I and everyone around got to see what an epic BAMF my mother and personal hero is. My one and a half year old son demonstrated to me his incredible bravery, in getting onto a train without complaint despite literally shaking with fear at the noise it was making.  It's the first time that he's been on a train since he started talking about them all the time, and I'm so proud and happy for him that he managed to relax and enjoy soaking in the close encounter.

My family--from the eldest right down to the youngest of all, and everyone in between--is filled with people who face things and deal with them and pull together, not only in times of trouble, but all the time.

And tomorrow will be another day.  With happy tea.
The White Lily
04 April 2016 @ 02:50 pm
So far, working on Futureproof, I mostly seem to be mindmapping and charting and researching.  That's cool.  I'm developing and elucidating a lot more mental depth in both my protagonist and my main antagonist, and that's all going to come out when I get back to writing properly again.  I've been deliberately developing them as mirrors of each other, because that's one of the things I feel strongly about; every protagonist/antagonist pair should have deep similarities which draw them together--and a few tweaked circumstances that totally oppose their ways of expressing those similarities.

I don't usually do it on paper.  I don't usually do it so explicitly.  But you know what?  Usually--when I write successfully--I write fanfiction.  I have a whole body of canon for the characters I love to draw on, and fandom, and meta, and I can't expect creating a character from scratch to be as easy as fitting an existing character into a new situation.  Even constructing Erica--who I consider to be really my first published OC, even if she's kind of canon-based--for Ring Truly, I had a lot of stuff to start with, to try to make fit with what I needed from her.

Despite my paranoia of pinning things down wrongly, I actually work at my best when I'm trying to fit a round peg in a square hole.  So I need my characters to develop some bits that don't fit, all on their own.  It's too easy when I'm writing my own story to write exactly the character who belongs in the situation, and it just ends up... flat.

I'm also really enjoying using the new character thesauruses I bought on a recommendation.  They are amazing: each trait is listed with similar traits, possible causes, associated behaviours, thoughts, emotions, and positive and negative aspects, examples, as well as conflicting character traits and challenging scenarios for a character with the trait.

I didn't pull them out at all while I was writing Ring Truly; I guess I thought since I bought the books thinking about creating original characters, they wouldn't be useful for characters I already had.  But while flicking through searching out things for Futureproof, I looked up Clark and Lex's defining negative traits for the story, the ones they had to grow through to reach their happy endings, and... wow, it's like the authors were in my head, describing the characters that had grown there.  Even some of the minor things that I hadn't thought related, are apparently characteristics they consider related to those major traits.  It would have been SO incredibly useful back when I was at the banging head against the wall stage, trying to approach finding a happy ending from the plot angle!  It's also a bit of a boost that I'm obviously creating consistent characters instinctively, that the listed charateristics for a trait I've identified can light up in my mind like that as yes, yes, yes, not so much, but oh YES!

Here's me, learning from experience.  Character drives plot.  Yes, I tend to be a plot driven writer, but the more you understand the characters, the more you understand the plot.  And if I'm not writing fanfiction?  I'm gonna need to put more effort into understanding the characters.  Living them.  Being them.  And it doesn't matter if they develop in a way that doesn't necessarially serve the final direction of the plot; I'm a problem-solver at heart, and that's the situation where I thrive.

These characters are still missing... something.  They haven't properly woken up.  I don't love them, not the kind of love that would make me put down a book and go straight onto AO3 to check out the fandom.  Or straight to my word processor to write that scene that's shining vividly in my head despite having being left out of the official story.

So, I'm not writing words right now.  I'm (not entirely successfully) trying to still check in for ten minutes or so of actual writing per day, because personally, even thought I do tend to work a lot at a high level on a story, I also need to work at prose level to properly come to grips with how a character feels, and whether they're awake, or still just notes on a piece of paper.  But I'm enjoying the planning.  And Futureproof's characters are that little bit richer for it.  Hopefully soon, they'll be a lot richer.