DANGERLION

Damn, 11 days since last update. I am continually progressing, happy with my progress--all this writing and thinking and writing and thinking has me feeling like I'm turning a corner. On the one hand I'm using Dramatica to reverse engineer QOS on a structural level, and then reengineer it, keeping the skeleton but chucking the 1830s clothing for something different looking. I'm also knee deep in The Micros "Season Two", creating a story from the ground up but using Dramatica to brainstorm. Ain't nothing better than learning by doing.

Yeah so I am asking questions like what is the story goal? A drive to achieve the goal is created when the status quo changes. So what resolves the problem facing all the characters? Is it when Hermann obtains the secret, and the rest of the story is devoted to his personal problem? Or is it obtaining the fortune acquired by playing the three lucky cards in order? Or is it escaping the bounds of a world ruled by chance? Articulating this correctly is important, because it has a specific subjective meaning, and if you think it means one thing when it means something else, you're not communicating well. I don't think I should mess around with misinterpreting Pushkin, he might haunt me. But misunderstanding and misinterpreting is what plagues most adaptations I've seen. If you're going to misinterpret, don't misunderstand what you're doing. Back up every action and decision with sound logic. Sound like poker? Talking about the technical aspects of writing must sound to everyone else like talking about poker hand histories sounds like to everyone else: wizard gibberish.

Going to Vegas on Friday. Been thinking more and more about how to set an adaptation in Vegas. Inspiration engine is primed. Excited to check out BRAVE. Play live poker. Win the Main Event. Going to be a great summer. BOOM