_sims_Yimi wrote: »
I do sometimes struggle with altering ideas based on how I think my audience might interpret it. It’s often concepts that I was very enthusiastic about when initially thinking of it. But if it doesn’t fit, or I think it may upset readers, then I have a tendency of either toning it down or outright removing it.
I actually came very close to doing that with Morgana’s kid chapters. They’re one of the darkest parts of the story, and I remember being very worried about whether or not I’d overdone it. In hindsight, I’m actually glad I didn’t “kill” the idea and went with what I wanted to do instead.
Like Morgyn, hm? xD But yeah, I get what you mean. Maybe it’s a bit less relevant in simlit than in an actual novel I came across an article about it today and was wondering what kind of thoughts you guys had about it.
Generally speaking, I don't really do this. Kind of. I do try to make sure that everything I include does either move the plot, develop the characters or build on lore, though you can justify most things with one of the three, and sometimes I do fail on that front anyway - which is mostly to do with simlit being a "live" process. By which I mean, if this was a book, once I got to the end I probably would go and cut some of the bits to tidy it up a little, but since I don't fully know what the end will look like yet, that's not really possible. (I doubt the season 1 ending I have in mind will change at this point, but the way I get to it might differ slightly from what I thought at the start, for instance). ~ @ThePlumbob
I do leave a lot of things on the cutting room floor, although as you say most of it is because of story flow and moving the plot along. I do sometimes struggle with altering ideas based on how I think my audience might interpret it. It’s often concepts that I was very enthusiastic about when initially thinking of it. But if it doesn’t fit, or I think it may upset readers, then I have a tendency of either toning it down or outright removing it. ~_sims_Yimi
I think I’ve told you how I outrightly removed a sub-chapter in Ch.3 of Season 1 and have beaten myself up since. (That chapter is STILL sitting in my drafts) So I’m not a huge proponent to killing off chapters that you feel passionate for. Me thinking of Athena, Curtis and Grim’s street adventures still gets to me.
lone_cat wrote: »
Sort of going off of this topic, I was watching something the other day that was talking about TV show writers who will cut future content from a story just because viewers predicted what would happen. I don't really agree with this. I wouldn't cut something just because one of my readers predicted a future outcome. Sometimes I think it is more satisfying for the reader to predict something and be right than to be completely blindsided all the time. And if you've already done the work of foreshadowing then it's sort of a waste of content to change what happens. But I'm a big fan of foreshadowing, and this doesn't always work in every story. I sort of went on a rant there but feel free to agree or disagree with what I said.
(Westworld is such a good example of this. The first season was brilliant, it had twists and turns but it was all pre-planned and when you got to the end, you got an aha moment, with some satisfaction of maybe working some of it out, and some of it being a surprise. The second season was a hot mess that felt like them trying to make a caricature of their own format. And I think that was one of the shows where they made changes in S2 just because people predicted it on reddit, which is just 🐸🐸🐸🐸. Tangent over.)
Also, if you write a story and none of your readers can get anything in their speculation right at all, you might want to have a think about whether you're even conveying the message
Originally I was going to write from April's perspective, but quickly gave that up as it frustrated me, too limiting only knowing what she knows which let's be honest, isn't much.
Pro: that there's always something I can be working on, no matter what my mood is. Am I feeling a bit vacant? Let's work on an April scene. Someone pipped me off? Faith's turn. Woke up feeling like I want to gleefully rip out some hearts? Clearly Melinda's turn.
This is the main con too. If my next scene that really needs writing is for a character I'm not in the mood for, massive mental block occurs. And there's one character I really, really struggle to get in the mood for.
My third and final first person POV chapter in part one is going to be fun/experimental/confusing as heck.
Lionel had two extra scenes of him being a potato. Gawain has two little brothers that adore him. Sarah flirts with every knight that moves. Percival went on a date. Uther likes doing story teller voices.
There’s a reason why you never hear certain people’s thoughts, even if it would make sense in the scene. If someone shows up a lot, but you never see their thoughts pop up, or all of a sudden the POV switches to someone else, then there’s something hidden there.
sometimes I feel like I have to finagle my plot a little more, like if I want something to be revealed I have to make sure Hailey sees it or finds out about it, and sometimes this takes some manipulation on my part because I can't just switch to another character POV.