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If only I were doing this whole computerless thing willingly. I feel a bit more at home down here now, though, having given in and set up Thunderbird properly. My computer still languishes sickly upstairs. I should really call tech support tomorrow. Should've called today, but I didn't feel up to it after pounding out a topic for the modern fiction class and then forcing myself to participate thoroughly in the writing class.
I do need to come up with something proper to submit for my fiction class by tomorrow, though. (Coming up on ninth week and I still haven't come up with a proper way to distinguish the fiction writing class from the experimental fiction class.) I'm decided on the whole genre piece thing, but going over the old stories in detail has just got me a little bit... dissatisfied with the tone and style. After all, I started that more than a year ago, I think, and for some reason names have a habit of taking over characters for me, to the point where, if I change them, I have to change the whole thing. So now I'm looking at Vera, my librarian, and wondering what sort of tone she has towards all these military people in her library, especially concerning the way they treat her books. But I'm not sure how to swing the whole military state thing properly, and I've actually got myself into a bit of trouble because the only thing of mine that's been read aloud in class was my strange stream-of-consciousness second-person thing that was, for all intents and purposes, quite thoroughly Hughes. And he's still very much reflected in Inspector Thomas (though the man's gone off and become a bit more Sherlock Holmes than he's meant to be. Probably on account of not having children). I wonder if anyone was paying enough attention to be able to catch that they're the same character. (I wonder if it was at all obvious to anyone that I wasn't writing from a female point of view. I mean, it became obvious about a paragraph after the page and a half that we were allowed to read was up. Kind of leaves me wondering...) Can't have two stories in a row that blatantly mention work in intelligence though, can I? (I believe I will surreptitiously turn this into "investigations" in this case and sort of... gloss it over. Pretend it's a hint towards, I dunno, having a habit of writing mysteries? Which I don't have. Except for right now, when for whatever odd reason this seems to want to be written.) You know, working with your own characters and building a word people aren't familiar with yet is hard! (Not that that's not obvious. I can't believe it's been so long since I've done this. Actually... I think it's just that I've never given so much thought to actually making it work. I think this is why so many peoplein my class opt for the general slice-of-life sort of thing. So much easier to set things in a normal time period. Working a semi-1920s world in not but words? Figuring an actual cast of characters with a plot into it? Kinda work-intensive. I kind of wonder whether my infatuation with 1920s settings is a result of FMA, or whether part of my fun in writing FMA is from that... Ah, early 20th century. Oh, also, while we're sitting near the 20s, I think Manhattan Transfer is to blame for my recent intense urges to write. The book, as a whole, makes no sense to me, but that doesn't stop its style from being wonderful. Very cinematic. And now I've got this street scene that I really badly want to write, but it doesn't fit into anything.) What to do, what to do...
I do need to come up with something proper to submit for my fiction class by tomorrow, though. (Coming up on ninth week and I still haven't come up with a proper way to distinguish the fiction writing class from the experimental fiction class.) I'm decided on the whole genre piece thing, but going over the old stories in detail has just got me a little bit... dissatisfied with the tone and style. After all, I started that more than a year ago, I think, and for some reason names have a habit of taking over characters for me, to the point where, if I change them, I have to change the whole thing. So now I'm looking at Vera, my librarian, and wondering what sort of tone she has towards all these military people in her library, especially concerning the way they treat her books. But I'm not sure how to swing the whole military state thing properly, and I've actually got myself into a bit of trouble because the only thing of mine that's been read aloud in class was my strange stream-of-consciousness second-person thing that was, for all intents and purposes, quite thoroughly Hughes. And he's still very much reflected in Inspector Thomas (though the man's gone off and become a bit more Sherlock Holmes than he's meant to be. Probably on account of not having children). I wonder if anyone was paying enough attention to be able to catch that they're the same character. (I wonder if it was at all obvious to anyone that I wasn't writing from a female point of view. I mean, it became obvious about a paragraph after the page and a half that we were allowed to read was up. Kind of leaves me wondering...) Can't have two stories in a row that blatantly mention work in intelligence though, can I? (I believe I will surreptitiously turn this into "investigations" in this case and sort of... gloss it over. Pretend it's a hint towards, I dunno, having a habit of writing mysteries? Which I don't have. Except for right now, when for whatever odd reason this seems to want to be written.) You know, working with your own characters and building a word people aren't familiar with yet is hard! (Not that that's not obvious. I can't believe it's been so long since I've done this. Actually... I think it's just that I've never given so much thought to actually making it work. I think this is why so many peoplein my class opt for the general slice-of-life sort of thing. So much easier to set things in a normal time period. Working a semi-1920s world in not but words? Figuring an actual cast of characters with a plot into it? Kinda work-intensive. I kind of wonder whether my infatuation with 1920s settings is a result of FMA, or whether part of my fun in writing FMA is from that... Ah, early 20th century. Oh, also, while we're sitting near the 20s, I think Manhattan Transfer is to blame for my recent intense urges to write. The book, as a whole, makes no sense to me, but that doesn't stop its style from being wonderful. Very cinematic. And now I've got this street scene that I really badly want to write, but it doesn't fit into anything.) What to do, what to do...
