Anna S. (eliade) wrote,
Anna S.


I have been watching episodes of S2 Angel today; am just on the cusp of Angel's beige arc or maybe a bit beyond--"Guise Will Be Guise." That really was a kick-ass season. Also, every time they do an L.A. location shot I get all misty. There was even a car chase!

I dabbled at the next chapter of noir too; have made inroads into various parts of it and it's starting to have shape. I think it might turn out to have a lot of Angel-Spike-Giles. Hard to tell yet, but I keep thinking, "Oh wait, I need *this* bit of exposition" and then another and another. And then the exposition turns into snark. Heh.

Have been fantasizing all week inbetween writing, my mind drifting into an alternate universe as it sometimes does, the place where Xander and Spike stride around with swords and huddle together in rocky keeps during winter snows. Not an especially successful venture this time, though. I mean, I fantasized, but the fantasy has not been having much...oomph. It's just not getting off the ground. It's all runway, no sky. Sometimes that happens. I keep the thing rolling, waiting for a spark, a lift. It's the same thing as can happen with any story, I guess, even the ones in your head.

I am stuck with the desire to write a story without writing it--I wish I could core-dump a whole slash AU into a file without the effort of translating images and feelings and sketchy conversations into complex word structures. Subtleties and some other bits of writing since then (like the recent QAF thingy) are scribbled in a lazy style that half answers that wish. But not really, as I'd really like a story in a conventional narrative style that fits the ambitious scope of the visions in my head. I just, for whatever reason, have not wanted to do that writing. Maybe because the visions are so many and varied, and overlap in so many places that I don't know what story I want to tell; or I'm afraid of sapping the juice from it by the act of turning it into writing. The fact is I'd like to write an S/X story that's hot and rich like Jackson's "Sweet Revenge" and that hits some of the deep kinks that are embedded in a story like "Repossession." And I want characterization and the imprint of canon, and all kinds of fantastic details of sword-and-sorcery setting which won't just tumble from my fingers. It is the effort needed to build a world of details that can ground a story you want to fly. And it's not bad to *ground* your story, in another sense of the word, because I'm a big fan of using realistic and conventional styles as means to reach a slashy end, to suck people in. So that's the paradox: how to get a hot vibe off the cold process of writing, how to vivify a monster of nuts and bolts and body parts whose creation takes huge efforts of craft.

I mix metaphors cheerily.

And on that note.
Mayor: But I guess we're past that now. This year is too important to let a loose cannon rock the boat.

Allan: Should I have Mr. Trick send a...committee to deal with this?

Mayor: Loose cannon. Rock the boat. Is that a mixed metaphor?

Allan: Uh...

Mayor: Boats did have cannons. And a loose one would cause it to rock.
I love that. One of my most favorite quotes ever.

Did I mention I don't want to go to work tomorrow?
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