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Me:'...I just write AUs, don't I?  I never actually write canon.  AUs with meticulously researched random tiny details.'
Jane: *patpat* 'But good AUs.'

(apparently I  wrote canon in Torchwood and I used to write it in Angel.  only the Torchwood would be case fic, so...)
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 yes, I did just do a quick-n-dirty keyword search on ao3 to see if anyone else had done this...

had a drought since I completed Daughter of the Dragonlord, aside from not-really-going anywhere future bits which normally involve a lot of angsting and spinning wheels as expansion bits normally do for me.  I know they're crap, it gets them out of my head.  (these were mostly Mithian going 'I'm marrying Arthur and ohhh shit how's Merlin going to take this no matter how much she's avowed that she likes me and has no romantic interest in my husband-to-be she's had his firstborn'.)  Then wrote a bit of angst about Ben and Keira from my Infernal Affairs-MI13 verse.    In desperation and wanting to write something that wasn't wheel-spinning angst, flicked through notebooks to look for those one-line ideas I sometimes write at the top of pages.  This morning one went 'so, if we take *this* and add that old fic idea...'

Yeah.  So pondering Exploring Officer Charles and Raven.  He's an adrenaline junkie telepath!  She's a shapeshifter!  Back home they're the oh-so-respectable brother-and-sister Xaviers, mostly concerned with parties! Together, they gather intelligence in the Peninsular Wars!  

And yes, Erik and Charles totally had a torrid affair back in London, only Erik thought he was a complete fop who he really shouldn't have been that fond of, given how shallow and spoilt Charles was and Erik's permanent outsider status in society as Eastern European Jewish.  Cue him coming across Charles and Raven in a foxhole.

:headdesk:  oh dear lord, now I'm suddenly getting bits from that original regency fic I wrote where the couple couldn't stop arguing in public but had got engaged in secret ages ago...
burntcopper: (dw donna-doctor-yeah)
okay, that Merlin fic I've been writing?  It's clocking up the hits and kudos gradually, but the comments are... interesting?

You know me, I occasionally try to go a bit historical and 'try-to-work-out-how-it-would-work'.  Merlin fandom is a fun and interesting place.  You often see fic that examines political stuff and the vague historical period that the  show very rarely ever did.  (well, Uther would occasionally do it - Queen Annis, plus regular bits of Uther - see the bit where he tells Arthur that a mistress is all very well, but don't think it's going any further than that.) Girl!Merlin fic often does it, because it's the nature of genderswap to examine the angles and changes and nuances.  And with this one, I pondered what would happen if Merlin had grown up at court, thinking through and discussing it with mates.  Originally I'd had Merlin and Arthur falling for each other in conventional fashion, only the way it gradually played out after I re-wrote the first concept it became more like intense friendship.  With some other undercurrents.

And..um...several of the comments I've got are in the fluff and 'twoo wuv, they're totally getting married!' sector.

I am deeply confused.  Does it seriously read like that?
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Poking my Girl!Merlin bodyguard fic, which is being posted as snippets with only vague attempts at plot <a href=http://archiveofourown.org/works/782441>over on Ao3</a> (now with 90% less angst and head injuries to Arthur than the actual Merlin show due to magic being legal!).  After having figured out how to get a very random idea I had for this back when it was completely different and I was wailing about trying to get a follow-through cohesive plot bolted onto the 'verse into a snippet, I... think I've only got three more snippets inside me, aside from a 'few years down the line' coda.  Found it's a good way of coping with a verse and characters you have in your head but no cohesive plot.  Which is a bit more like a sitcom than an ongoing drama.
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Or rather their propensity to have the heroine cut/tear them off whenever there's action required.

Excuse me while I groan because it's clear you've never actually seen material cut or torn. It's up there with the writers who tear a shirt off someone for the sex scene - do you know how difficult this actually is?

Anyway: Person is wearing a long skirt or dress and suddenly there's a fight scene requiring kicking, or they have to climb/run lots.

The writer thinks 'Oh noes! material in the way! I know, I shall get it out of the way quickly! Character undoubtedly has a knife/ can filch one off someone, cut and tear it off and Robert is indeed your mother's brother! She can get on with her fight/climb in all of ten seconds!'

Yeah. NO. Material and the construction of clothing doesn't work like that.
  • First, there's the material itself. Doesn't respond well to slashing with a knife - you might get a hole in it, but it'll take a good while to cut all the way through a piece. Several minutes. Faster with a good pair of sharp heavy-duty fabric scissors, but I somehow doubt your character has a pair of scissors on them, let alone a pair that would be any good for cloth cutting (have you seen fabric scissors, writer? They're bloody great heavy things, with *at least* 8-inch blades). If you must do this, make a small cut *at the edge*, grab the sides and pull. This will very noisily make a clean tear in the direction of the weave. And *only* in the direction of the weave. If the material was cut so the weave is on the diagonal - it'll tear in that direction. So you'll have a tear that... hasn't done all that much aside from split the skirt.

'But they make big slashing tears in curtains all the time on film!' I hear you say. Yeah. On film. Remember how that's not reality? Also, they have physics on their side. Curtain cloth has tension and weight due to the whole hanging from the ceiling factor, and isn't normally cut on the diagonal. And please note that they always cut *down*. no horizontal slashing here.
  • Second: 99% of clothing is not made of one piece of material, due to conservation of fabric, and that amazing thing known as design and getting it to hang right. Skirts are normally made of at least two panels sewn together. And the sewn part is normally reinforced with thread, and specifically made to be resistant to tugging and tearing. So even if you were lucky enough to make a horizontal cut/tear to the material, you'll run into a seam. And have to start cutting again, only this time it requires more strength and several goes.

So all this has taken a good ten minutes, and an awful lot of effort, which I doubt your character really has time for. Not to mention afterwards she'll be running around in a hacked off dress/skirt, which would a) look weird and b) be pretty much unusable afterwards. Clothing isn't cheap and the chances of spare stuff that'll fit hanging around is slim unless you're lucky enough to be in the middle of a residential area on laundry day.

'But how do I get the fabric out of the way so she can climb/fight?' I hear you wail.

(Never mind that it's actually quite possible to do this in a long skirt, women have been doing it for millennia, and yet there's a distinct lack of anecdotal evidence of them having to mend their skirts when they come back from doing this.)

Fear not, dear writer, I have a solution!

TUCK, KNOT OR ROLL THE MATERIAL UP.

It's that simple. Takes about 30 seconds at most, and that's if you're hell bent on keeping it securely in place for ages. And by 'ages' I mean an extremely vigorous evening of dancing or similar. Several hours' worth. If all you're wanting is to get enough material out of the way for activity, you only have to do this with one side. Which takes all of 10 seconds. Ever read anything set prior to the 20th century, and the female character says something about 'kirtling' her skirts? This is what she's doing. Hitching them up enough to do vigorous activity with her legs free and securing them in place.

Yeah. So, given the option of grabbing the front of her skirt and tucking it into her waistband/knickers or knotting it or spending several minutes hacking uselessly at fabric with a knife she won't necessarily have access to?

TUCK.
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went looking for some supporting character backstory for a fic that ended up (after changing and re-doing and re-inventing) being my nano of Infernal Affairs and MI-13. (couple of years ago, it's on darkisrising). I allude to some of it in one chapter, but it's the later stages. The stuff I'd written was the saga of character and his boyfriend getting together.

Found it a night or so ago and thinking about re-working it for the world that I eventually settled on for nano. (previously I'd never got a satisfying storyline out of it) Problem: nationalities have changed, the outside world has changed, character x disappeared, character Y and Z changed jobs, trust issues changed (x is friends with Y but don't know if they'd ever go clubbing together). Originally this backstory was me doing Notting Hill with an american male film star and a scots werewolf secret agent. With gossip sites and headlines and gagging orders and 'which film star is considered a ladies man allergic to relationships in the US but has a very serious boyfriend in the UK?'. Now climate and gossip sites have changed, the werewolf is still an agent but as he's a bit more focussed on social work and coppers it's not so much 'secret' any more. And the film star is now British. Which definitely changes any 'technically in the closet' issues. And whether the film star is going to have the slightest chance of a regular bodyguard/handler-type.

I still want to re-work it, but cthulhu knows how I'm going to get it to.
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writing bunnies doing that thing where they suddenly decide to get off their arse and interrogate a story I've had hanging around the notebooks. Just a short, and no idea if I've got the tone right as it's a fandom I haven't written in before, the characters are ...not ones I connect with easily, and oh christ, it's 90% plot. As Taz has been know to say, 'Heather doesn't *do* plot. Occasionally she starts with one but gets rid of it very quickly as it's a bit icky and her characters don't know what to do with one. Your plots quickly leave on the fastest planes to the nearest non-extradition country.' When I've got a plot I always feel like I've rushed it to make things happen, rather than my usual meandering from scene to scene via dialogue. Pete is advising me to practice writer despotism on the plot as it's fun .

In other news, Taz managed to get tickets to a press screening of Welcome to the Punch - crime thriller starring James McAvoy, Mark Strong, Andrea Riseborough, David Morrissey and many others. Set in and around the City and Canary Wharf (with one side trip to Iceland), done in glossy expensive action thriller Hong Kong/Tony Scott/Michael Mann style. With absolutely *no* geezers, cabs or red phoneboxes. And it is *fun*, and glossy, and well-acted, and all the plot makes sense (including the corrupt politician motivations and one of the ways they get clues - a really simple trick that means there's no chasing around for clues that makes utter sense in normal everyday life) and there are no holes and was done on a budget of £5m to look like a much more expensive film. Go see. A solid 4 stars.

And. Um. I shook Mark Strong's hand. :wibble: (and bounced across the crowd after the Q&A to interrogate a rather surprised Chris Hewitt (Empire writer, was doing the Q&A) to ask him what the t-shirt he was wearing was. (Jack Kirby Galactacus. we approve) Because that's what you really expect during a glossy press screening with the writer/director, several of the actors, etc. Someone to come up to the film reviewer specifically.)
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as a couple of people know, I started messing with an idea a few months ago that was along the lines of 'Girl!Merlin grows up in court due to Ygraine not having obviously died of magic thus it never got outlawed'. Figured out a few bits like status what with Balinor being a dragonlord - not noble, but respected position and powerful, so Merlin ends up as Morgana's handmaiden and has been since a young age. (the fact that she only has Gwen doing double duty as high-status maid & handmaiden is another of those 'dear lord, writers, RESEARCH' things) Of course, *immense* amounts of perceived UST when it comes to Merlin/Arthur by the rest of court due to male-female sniping with added relative intimacy naturally equalling shipping. To the point where everyone warns others away from the pair - Merlin because she's earmarked as the Prince's, and Arthur because everyone's heard the druid prophecy about Emrys. No bugger wants to get on the wrong side of either of those things. Also, Morgana.

So, anyway. It gets to about time of series 1, the attempts on Arthur's life start to ramp up a bit (different reasons than purge) so given that they're a lot magical, Uther assigns Merlin as a bodyguard, with added dumping Merlin in the knights so she works well within that unit too for patrol and battle times. Since Merlin's now moved into the adjoining room to Arthur's, cue even more presumption that she's his mistress.

Written the basic plot and so on, problem is now that I don't think it's in character any more. BOLLOCKS. Not to mention the issues thrown up by Merlin being raised in court which also means character issues and ARGH.
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nano is up to 37830 as of last night. Not bad, it's about 4k ahead. For comfort I'd prefer a bit further, but... decent. have three definite scenes ahead still to write. And the scene I wrote last night involved a minotaur chasing Edmund and his counterpart through caves under a city in Yugoslavia*. And yes, i checked about the geology of Yugoslavia with dad the geophysicist - 'Yugoslavia is mostly on limestone, you're fine for pretty much anywhere except Belgrade.'

Still rather amused about a comment heard from Taz at the pubmeet at the weekend (I have no idea what she was discussing, presumably writing) 'heather doesn't do plot during nano, she just has a concept and writes scenes around it. The one time she had a plot, she *started* with the plot. *one* time out of christ knows how many nanos.' Which, er... I suppose is true. See the scene I wrote last night. Which has no relation to anything else in the story whatsoever. I just had a snippet of dialogue in my notes of Edmund grumbling 'Minotaurs. Why'd it have to be minotaurs?'. let it never be said I didn't recognise the value of a chase scene to my word count.

*should add that I tend to use period-specific terms. It's the late 1940s. Thus, Yugoslavia.

nano nano

Nov. 15th, 2012 12:39 pm
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I have completely eliminated all traces of social life this november successfully aside from pubmeet (this weekend, required brain break and discussing with other writers) and my cousin's wedding on the 30th. :whines: I wanna see Skyfall but hauling self out've house during weekends for owt else aside from jogging - not good. I know me, I write mostly in the late afternoon/evening, it takes a bit to get me going, and considering normal awakey time at weekends is 10:30...

passed 27k last night.

I... don't exactly have any vestiges of plot going yet. But I did get character interaction progression? But then this thing doesn't really have a plot aside from a question getting answerd that happens near the end. Who knows, if it was a series you might call this the establishing first volume. Well. If it wasn't a Narnia/Torchwood crossover and we already knew most of the main characters.

Going to be a bit weird as I go toward the scenes that actually has them doing missions. Might just keep it as snippets of missions, since my headspace really isn't up for plotting the damn things right now. Like the beginning of a Bond film. 'explanation? fuck it. They are hanging upside down and that's all you need to know. I may not even show them getting out of it. Clearly they did, but that's up to you to figure out.' The real problem i may have is progression of a particular relationship and showing that plausibly.

This one, fairly impressed with myself that I'm being very unwordy - anyone who's read some of my previous nanos, especially the previous Narnia one, knows I have a tendency towards inner dialogue and introspection. Great big chunks of text. This one is about... 80% dialogue, often just using 'said'.

Also, I had Susan shooting someone from Cardiff castle with a bow and arrow at 4am. Gotta be worth it.
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last night, finally caught up on nanowrimo wordcount. so that's 13k in and still not started anything that looks like plot aside from 2 and a half main characters being recruited/introduced... I seriously have no idea whether I'm writing the dialogue in character for Susan at the mo. Lot less internal dialogue than the last nano, so hopefully will be less repetitious when I go back to it several months down the line. Also weird thing of writing in bits across 3 separate sections. Fear my final nano will end up with all the never-went-back-to placeholder notes I keep adding still intact. And having that really weird bit of figuring out how to paste in notes of dialogue and snippets and where they fit now I've written the actual scene I'd been thinking of vaguely when planning.

Turns out my nano is being fuelled by hardcore, happy hardcore, garage and other such things. also the giant archive of expired copyright 1920s jazz Wil Wheaton found and blasted across the net...

Ooo, interesting link for the writing lot - a guide to character archetypes. have seen one Dr who break down it already, Rose as the Lover, Rory as the Caregiver, Donna the rebel, the Master the Ruler, River the Hero, Martha the Explorer, Jack the Jester, the Doctor the Magician, Amy the Creator, and Mickey the Orphan.

random theatre reviews from the past couple of months, part xiii:

55 Days at Hampstead: being an account of the 55 days at the end of Civil War from the Rump Parliament (or to put it a bit clearer, when the army invaded Parliament) to Charles I's execution. Or as I tweeted: 'off to see a head of state be deposed, tried for treason and executed by legal process.' as the point of the play is, plenty of heads of state have been deposed by force and executed before, but this was the first one where it was done *legally*. aka why our Civil War is something we don't make too much of a fuss about and attempt to shove under the carpet a lot, because it's really, really not glamorous or bombastic in the way, say, the French Revolution was. ours ended not with a mob but a courtroom. Oh, and did we mention the whole thing was very carefully notarised and minuted because of the pains they took to make sure it was legal?

it's fascinating, tense, grey and they take the pains to emphasise that everyone is just so tired and sore after seven years of war. Everyone's squabbling. it's messy. There's personal and political and religious concerns tearing previous allies apart. The idealists torn down and stomping off in a huff due to compromises having to be made now that they've got to live with the new order, and the frantic scramblign because they're aware that they're having to create somethign entirely new out of thin air. It's the grey, tired men like Cromwell (Douglas Henshall), certain that god is on his side as representative of the people, versus Charles Stuart (Mark Gatiss) with his certainty that he was appointed by god to rule, and as he points out in the play (and in the notes of the trial) 'a trial of my peers? where are my peers? I do not see them here.'. Brilliant, setting anytime post war with lots of filing cabinets in grey suits, Charles being the only one in Stuart dress to make the contrast of him being from a previous time and mindset. Play, script and performances also make a very good point about how much cult of personality can affect and drive matters. (e.g., the way everyone looks to Cromwell to base their reaction on his and they talk about the fact that people just naturally follow Cromwell because he's *Cromwell*.) Very good performances all round. Couple of notes in that there is very much a change of pace between first and second act, sicne they have to cram so much into the 1st act, 2nd covering the trial period. Probably enjoyed more if you knew something of the history, as it ratchets up the tension if you know that the moment where Charles is goign to get caught for soliciting invasion by foriegn powers is coming, you just don't know when... oh, and general amusement ad when Mark Gatiss would occasionally lose the soft scots accent and Douglas Henshall would lapse into his natural scots.
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So. I just found out I got plagiarised. Which is... weird. It's an old Dark is Rising fic I wrote back in 2004, Ordinary Boy.
Scenario being that Bran visits Will at Oxford and and everyone goes 'Stanton has a *boyfriend*? Since when was Stanton gay?' 'Never mind the gay thing, since when did Stanton have a *libido*?' Complete fluff to amuse myself. Posted it, got feedback, posted it on ff.net at the time, I occasionally look back at it when i'm feeling nostalgic.

First thing I knew about the plagiarisation was when the 'author' emailed me today in a really, really backhanded way to apologise and say they must have read mine but didn't remember, if it wasn't for the fact that mine was published in 2004 and theirs in 2007, they'd have thought I'd plagiarised them. After someone called them out on it in the comments of the fic, pointing out that the scenario, plot, and even some of the dialogue is nearly word-for-word Ordinary Boy. I did a side-by-side comparison and yep, the commenter's right. Incredibly weird. Changed details - eg, in one scene in the pub, Bran hurts a drunk's hand, they have their character twist the drunk's arm behind their back. It's pretty impressive. They even have a note in the summary section that this isn't the kind of thing/style they'd usually write. I do love the congratulatory comments that say 'I've never seen x and x written like this, but I really like it!' Yep. Because it was written to be in character for a mouthy arrogant welsh boy and an Old One. set in the early 80s. But anyway. It's over here: Do You Ever Wish, in the Code Lyoko fandom. Which from the general comments I think is a manga fandom.

I haven't asked her to delete it, I've just asked her to put a note on it. Mostly extremely bemused in the 'seriously, why would you *bother*. And then put all the effort in of re-working it.' fashion.

:facepalm:

Sep. 12th, 2012 12:08 am
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at that stage of gathering together what research I need to do for nano. 'course, every bit of poking only unspools *more*.

Susan is 21 at the end of war, so joining Torchwood... not a problem. 45 or 46.
Malayan emergency is '48, so that sorts Peter, and Edmund is a year or so down the line from that, which fixes the timeline for the National Service fics. Which it looks like this will be running concurrently with, not after.

Got to do a bunch of research on Tiger Bay and West Bute docks area in the late 40s/early 50s due to the bloody Doctor Who and Torchwood lot thinking that Roald Dahl Plass is a funny place to stick a top secret base. Fuckers. I doubt i'll even use that much of it, knowing me.

There's the spy stuff, which I need to read up on, going through that list of authors I got given, raiding the library in despair & doing research on time period, which is now looking a bit earlier than I thought.

Need stuff on nursing education in the late 1940s/early 50s so I can figure out precisely how junior Lucy would be.

There will be random hyperventilation over inconsequential details like music, just you wait. And I will screw up locations and docks layout, almost certainly.

In other news: we saw Dredd on sunday. (much searching to find a 2D showing). IT IS GLORIOUS. non-fanboy loved it. Fanpersons continually squeaking and bouncing at details and getting it so *right*. Seriously: awesome, awesome, very bloody action film. (with a great soundtrack and dialogue and plot) low-ish budget for this kind of thing meant they shot it all in council flats, which makes the plot and structure really work. KARL URBAN ACTS ENTIRELY THROUGH HIS CHIN AND *IS* DREDD. Anderson, you start thinking is going to be all wrong and... turns out so right for the character in the place she is now and by the end of the film. Simple solutions and explanations for things that might've been laboured and plot-holey in other hands. Lena Headey as a brilliant villain. (of course) So much thinking through of the detail and world so it's believable and hangs together perfectly (much nearer future, toning down of things like the bike & armour so they fit the real world). The Stallone fiasco is merely a fevered dream.
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when I
  • a) start going 'wahhhh, too much quality tv!'

  • b) eye the theatre schedules piling up in the same nervous fashion

  • c) find myself idly doodling plot bits for nano during meetings


a) Dr Who. merlin in a few weeks' time. All the quality serious miniseries they're suddenly inflicting on us. (accused, good cop, etc) And *then* the bastards inflicted the Downton Abbey series 3 trailer on us last night. It looks like so much awesome soapy crack.
b) Cabaret? do I want to see Meera Syal in Much Ado? Hedda Gabler just because Sheridan Smith is in it?
c) Unless a massive sea change happens (ie, not enough plot) it looks like it's the Susan gets recruited by Torchwood, Edmund is the intelligence service liaison. Intertwined spy stuff with Susan telling Jack to stop being a drama queen whilst running around Cardiff.

Which means research. Oh, shit, research. I need:

  • Cardiff, incl docks, 1950s

  • 1950s spy stuff & what was going on. And the places I need. :headdesk: I couldn't have 60s? WAAAAA

  • 50s life in general

  • loads of details I have *no idea* about yet. I think period nursing education might be one of them since Lucy will probably crop up, if only on the phone.

  • And then there's 'how much does character a get a look in, how much Peter, when precisely to see how much of Edmund's military service in Malaya I need to fold in and thus Peter'


In other news: paralympics rather awesome. and Ellie Simmonds clearly has an onboard motor installed in her somewhere.
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so...um.... pubmeet, there was. which was quiet and fudge was gleefully eaten.

I have my mitts on Pete's Stargate SG-1 tie-in book, in which I am a Goa'uld. MWHAHAHAHA. Mostly and really obviously inspired by a pic of me in the 300 dress glaring at the camera. (though the Goa'uld's chiton is a bit more modest than mine). I'm still going to get him for the host's name, mind you. And Jack made a short joke, so he totally deserves what Hera did to him.

I... think I've figured out what I want to do for nano. which means working out what research materials I need, never mind actually starting to research. It's a continuation of the 'Pevensies lived, fuck you, Aslan' 'verse and will mostly concentrate on Susan and Edmund. Because they've got the most story potential at the mo in my head. Um. Does anyone know where I'd start to look at what the general secret service community squabbles were in the 50s in Europe, particularly Greece? The Greek bit might not even be necessary in the end, but you know me. backstory helps.

otherwise, prepping for Discworld con, *still* need to write up the review for Play without Words, and going 'argh' regularly as I flail about in my state of newbieness at the new job.
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someone tell my brain that listening to bunnies is BAD. especially vague ideas you had a while ago of 'huh, that'd be interesting'. especially when you've already written a bunch of notes for your current piece but keep putting off writing them up and expanding on them.

ESPECIALLY NARNIA BUNNIES.

The entirely plausible possibility that the Pevensies who show up in Prince Caspian are Archenlander spies sent to cause havoc and de-stabilise Miraz' grab for power... :headdesk headdesk headdesk:

Trumpkin being one of the Narnian rebels who's one of the Archenlander contacts to help facilitate this. (still debating whether Reepicheep is in on it too)

'Caspian's fled for his life.'
'Right, initiate plan legend: bring me people who fit this description and skillset. They need to be able to do a Narnian accent.'
'Trumpkin reports Caspian has been found. Alive.'
'Right, get them suited, booted, and meeting up with Trumpkin.'

So, a young officer, one of the up and coming spy team, one of the archers, and a kid from a travelling circus enter Narnia, seek out Trumpkin, (rescuing him just in time), rifle through Cair Paravel for any bits that would make them look a bit more authentic. (yes, they do know where it is, it's not like they don't have *maps*, and the armory wasn't raided due to collapse of empire and superstition.) Vaguely surprised to find the weapons there are in bloody good nick.

And essentially it escalates a bit, the girl playing Lucy found out that the potion does what it says on the tin back at Cair Paravel, the spy playing Edmund is just a tad freaked to find out that the ghost of the White Witch is clearly mistaking him for somebody else. And then they find themselves doing this, and this, and he's suddenly in Miraz' tent goading him into accepting single combat....
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Ah, the New Years' round up of various WIPs/ideas on the backburner lurking in notebooks. Most of these are one-line ideas and never go anywhere. in many cases I lose interest in the fandom.

Chug your chosen bottle of spirits if I finish any of these anytime this year...

Torchwood/Dark is Rising - Bran is head of Plaid Cymru and his hubbie works at Cardiff Uni. collisions happen occasionally with the least covert agency ever.

Dark is Rising/Merlin - I just wish someone would come up with a decent story idea for this...

X-Men 1930s Berlin AU. Yes, my Isherwood fetish is showing. shut up.

Vince-toff Stuart-valeting for his own good. Sadly have no idea how to keep it in character.

Dean as trickster devotee.

Ianto joining TW3 before Canary Wharf as a known Yvonne plant.

Edmund getting chased by Bacchus

Narnia/Merlin. PC call goes weird, Peter joins knights, etc
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Someone kick my head in. Brain has... gone to the cabaret place. Or more specifically, the Christopher isherwood place and is pondering Charles and Erik in 30s Berlin. Not sure if it's a mutant AU or not, since nods would be interesting but so would adding the mutant stuff to the 'deviants/jews/gypsies' persecution.

Charles goes there post-getting his doctorate or part way through getting it (celebration or inspiration/needing time off, details, whatever) but also for the boys.

Meets Raven (Jean, not Sally - I prefer her having a brain and being the politically aware one and not just a deluded strung out mess with daddy issues) who works in a club. With Angel. (this was what partly had me undecided, since Raven occasionally performing blue and Angel with wings would be cool for a cabaret act but *also* the inherent 'argh' of 'what if they found out it's not paint' if I chose mutant)

Meets Erik in one of the clubs under the arches, not sure if they start shagging immediately, (shag then talk or talk then shag) but there's the usual of Erik getting caught up in a riot or two and the time he stumbles in with bruises and really lays down the 'hello, Jewish, this is what Nazis *do*, Charles'.

Toying with whether Alex is a nazi and whether Hank is working on govt stuff and being oblivious. The others will be there, just those two are the niggly ones. Shaw is off being Schmidt and therefore being a very scary geneticist getting in with the Nazis as they rise to power and probably not in this.

So yeah, needs more plot and work on characterisation. And given that I've only mainlined the Cabaret film into my bloodstream, seen the stage version, and the adaptation of Christopher and His Kind on the BBC (not read the books, I really need to), need to do research. any recommendations? Books? resources? (given how what the job state was in Berlin at the time, I'm presuming Erik would not have a job given that he's Jewish unless he was self-employed or employed by Jews. Somehow can't quite see him working the caberet circuit. unless you could convince me otherwise. Can Fassbender sing or play an instrument?)

And during this I'm writing out my snippets of Torchwood Pevensies. Which needs a plot. or at least a structure.
burntcopper: (Default)
Okay, I passed 51k last night so I've technically finished. Going back and tweaking things (horrendous spelling, for instance - my speed typing is not conducive to 'the' being spelt correctly. EVER.) and pondering adding a scene where they film jenny's death. Now I'm really, really wishing I could write out every scene and episode, but that would read like the After Elton recaps (which I've already written for ep 1 - reviews from Collider, Den of Geek and After Elton. Different styles are a bit... weird.) Maybe I could find an excuse to write the Jenny flashback 1930s club scene in another fandom... it'd be enjoyable writing the sheer WTF-ery of the After Elton recaps for Blue Albion and Jenny's death but suspect it would get tiresome pretty quickly.

So. if I write a few extra snippets, do the spellcheck... then dump it into one big doc file and stick it up on Nano for word count.

Anyway. I no longer have an excuse to gorge myself on chocolate. :eyes leftovers:
burntcopper: (Default)
At that stage of nano where you're scratching your head and going '....seriously, did i just write that?'

Thanking the Flying Spaghetti Monster for HBO's makinggameofthrones.com site - a blog where they burble, squee, stick up tiny interview snippets, the writers stick up blogs about how they started on this, stick up the trailers, stick up the promo images, stick up 'overheard on set' quotes, stick up pictures of the studio cat... Absolute. Bloody. Noodly-appendage Sent. and it's all in order! All tagged! Right from the moment they started filming! Yeah, I'm cribbing timelines, ideas, marketing strategy... the blogs were definitely brilliant, since I can pad like crazy using this when stuck:

'today, dear reader, I tried not to embarass myself in front of Julian Glover and constantly quote Star Wars and Indiana Jones. But. But. Julian Glover.' (this is one of the early blogs on the site.) 'today, dear reader, Neil Marshall is on set directing. We're in caves, it's spooky, it's.... I AM TRYING NOT TO THINK ABOUT THE FACT THAT HE DIRECTED THE DESCENT. HELLLLLP.'

Oh, and these are the 'overheard on set' quotes from Oct 27th:

Can I have a dead Lannister over here?

Oh F**k, this is the bad blood! Where’s the good stuff? The ooze?

Errmm, I think I’ve lost the director.

I can’t decide who’s cuter – the dead guy with the arrows in his chest, or the guy in the ditch with the seeping wound.


But yeah, having made absolutely no pretensions to what it's actually like in a PR stratagem meeting at a big tv studio, I last night I wrote 1,975 words of the Head of PR ranting about them not having a clear image or theme in place that he could use for a basis. 'True Blood: 'sex! More sex! Nakedness! Vampires! The Wire: 'we are cops and gangsters and we do not give a flying fuck about you!' :headdesk: 'You give me superheroes? Superheroes that no-one's heard of? That don't even have a logo? I need a teaser ident - christ, Game of Thrones had politics and paranoia and backstabbing and frozen wastes....'

Tonight I write the trailers and character one sheets. yes, actual descriptions of images. Shaddup. the tumblr posts are things like 'image: actor with a cat on his head'

further interesting bits: I had one chapter where the actors were giving interviews for the making of snippets. these are *considerably* different to the kind of stuff you'd say in normal interviews. i still have the press chapter to come.

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