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Girl's night.
I am so stuffed full of potatoes and ham and cake and applejuice that I am probably going to die.
No, seriously. Finally watched Brick in a sit-down, attentive manner, which that movie requires (thanks to![[livejournal.com profile]](https://www.dreamwidth.org/img/external/lj-userinfo.gif)
jhonen_red for the initial recommendation, long ago). I'd watched parts of it on the DVR back in California and then become distracted, lost the plot, seen a bit of the end and thought I knew how it worked out (accidentally ruining it for myself). Turned out, I had no idea what I was talking about, and was still pleasantly surprised by the wrapup. The film is filmed beautifully. Then, more Black Books. Dylan Moran is slowly working his adorable Irish way onto my extensive marriage queue.
Also, the big collab project... I need to start engineering some of the more delicate of the plot components and I am, as I always am when faced by such things, extremely daunted by the prospect. How to make it devilish, but not contrived? Plausible, but not too easy? How to pace it so that the reader remains engaged, but the characters neither look oblivious or super-human in their powers of deduction? Ideally, I want the readers to be discovering things -along with- the characters, rather than being told everything outright and waiting for the kids to catch up, or only finding out after the characters turn around and explain it via unnecessary dialog. Damnit, I want people to think! That's too much to ask, isn't it?
I should rest. And to that end, I bid you all a fond adieu.
No, seriously. Finally watched Brick in a sit-down, attentive manner, which that movie requires (thanks to
jhonen_red for the initial recommendation, long ago). I'd watched parts of it on the DVR back in California and then become distracted, lost the plot, seen a bit of the end and thought I knew how it worked out (accidentally ruining it for myself). Turned out, I had no idea what I was talking about, and was still pleasantly surprised by the wrapup. The film is filmed beautifully. Then, more Black Books. Dylan Moran is slowly working his adorable Irish way onto my extensive marriage queue. Also, the big collab project... I need to start engineering some of the more delicate of the plot components and I am, as I always am when faced by such things, extremely daunted by the prospect. How to make it devilish, but not contrived? Plausible, but not too easy? How to pace it so that the reader remains engaged, but the characters neither look oblivious or super-human in their powers of deduction? Ideally, I want the readers to be discovering things -along with- the characters, rather than being told everything outright and waiting for the kids to catch up, or only finding out after the characters turn around and explain it via unnecessary dialog. Damnit, I want people to think! That's too much to ask, isn't it?
I should rest. And to that end, I bid you all a fond adieu.
Black Books!
o/~ I got it from Agnes, she got it from Jim, we all agree that it must be Louise who gave it to him... o/~
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