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athenaltenaI've mentioned before how it really does seem like my characters drive the story, I'm just providing the gas, and this was especially apparent today.
One character's arc is essentially following him he as decides that he wants to switch sides, but I never wanted it to be sudden. The turning point is when one of his most trusted and valuable subordinates leaves due to something that pushes her over the edge, and my original plan for that scene was that he'd find her and convince her to stay. But as I wrote it I suddenly realized something: It couldn't happen that way because he couldn't give her a good reason to stay, because he knows deep down, even if it's not yet consciously, that he's not doing the right thing.
So I changed it, and I think the end product packs the appropriate punch-in-the-gut. I just record this thing, folks, they write it.
One character's arc is essentially following him he as decides that he wants to switch sides, but I never wanted it to be sudden. The turning point is when one of his most trusted and valuable subordinates leaves due to something that pushes her over the edge, and my original plan for that scene was that he'd find her and convince her to stay. But as I wrote it I suddenly realized something: It couldn't happen that way because he couldn't give her a good reason to stay, because he knows deep down, even if it's not yet consciously, that he's not doing the right thing.
So I changed it, and I think the end product packs the appropriate punch-in-the-gut. I just record this thing, folks, they write it.
