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Writing process babblings

I haven't ever joined NaNoMo, because I've never had the time and immediately explode when I have deadlines. However, I've been pecking at writing again in November. It's as difficult as ever— how I miss being a young, naive writer who never saw my flaws, who just wrote for writing's sake— but at least it's happening. Unfortunately, the mundane writing I've been doing for the last year seems to drive my creative muse out of my skull. So it's one or the other, and I cannot afford to play for too long.

Yes, I'm still pecking away at LHAD. I believe that story is the best thing I have written, and I want it finished, for me, and for mugs, and for everyone who's ever given me good fic or feedback and might enjoy it, although it's taken much too long. 

Right now, however, I'm being self-indulgent, letting a lightweight FF5 story take me wherever it wills.  After LHAD's ten thousand plot threads and original character arcs, I feel a twinge of embarrassment in falling back on a "replay a game from one character's POV and throw in a romance."  However, FF5 is such a delightfully simple and undeveloped story that it begs for all kinds of embellishment.  Alas, "romance" isn't exactly the term for a disaster waiting to happen. I'm waiting to find out whether it remains a farce or turns into a Greek tragedy.

Unfortunately, I set myself an impossible task by writing the first chapter in an idiom which is foreign to my nature. It's one part Dorothy Sayers and one part ellnyx's "They Call This Progress," an FFXII western Victorian AU. (Sorry, link is flocked, but anyone who's read ellnyx's more mannered Balthier stories will have some idea what I'm mimicking, clumsily.) Final Fantasy has its own recurring archetypes, and Faris is obviously some distant and Fangish antecedent of Balthier.

Also, as this is relevant: George Lucas. Luke/Leia. Did he intend them to be siblings from the start, or did he tweak their relationship and execute a 3-point-turn halfway through writing Empire? And was it bungled, or a brilliant way to invoke a classic tragic-mythic archetype without letting it go too far? (cf: Splinter of the Mind's Eye; Lucas really should've warned that author what was coming in the third film.) As I tiptoe gingerly along the same hoary archetype, I can't help pondering. Also, how might that saga have ended if Han had turned out to be the long-lost sibling? 
This entry was originally posted at http://auronlu.dreamwidth.org/188051.html, where it has comment count unavailablecomments.


Nov. 16th, 2011 02:43 am (UTC)
Oh, no, I'm getting mixed up; it's still "there is another" in Empire. I assume by the time Lucas wrote that line (which I swore up and down was "there is no other" when I first saw the film, causing many a heated discussion) he must have had the Luke & Leia relationship worked out.

More importantly, in Empire, there's the escape from Cloud City sequence when Leia's Lassie Telepathy (tm) makes her receptive to Luke's distress call. The excuse for that could simply be her own latent talent with the Force, Force, as implied by Yoda's comment above. However, I had the impression that there was another reason: both she and Vader were sensing Luke partly because of their blood relationship. (I haven't seen it in a while, but I vaguely remember Vader calling to Luke from afar, and Luke hearing it).

Although it's never quite held together: if Vader was receptive enough to pick up on Luke being his son, why, why, why didn't he sense anything special about Leia when she was his captive? The amount of lip she gave him at their first encounter surely should have reminded him of her mother; Ep I mother before she turned into a sack of grits in Ep II*

*Incidentally, am I the only person who thinks Keira Knightley and Natalie Portman should've been switched, with Knightley playing the "real" Padme and Portman her double? Watching the first film, I had the odd feeling that Padme became meeker and weaker on Tatooine, then had a few strong moments back on Naboo, then went back to being a little flat. A few months later, I realized that all the "Wow, Amidallah kicks ass!" scenes in Ep I were actually played by Knightley, acting as the queen's double. Look at Elizabeth Swann: Knightley has a knack for playing feminine characters with a steel backbone. Although I'm not sure Knightley would've helped in the second and third films; Luca really doesn't know how to maintain strong female characters.
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