#threshold city

[callmearcturus]

this is ridiculous honestly

i’m working on a project. which of the principle cast are you?

(well more like Which Will You Probably Like, lets be real)

[callmearcturus]

me, for the fourth time this year: I GUESS i have to just make one myself

[callmearcturus]

coolerthancats replied to your link: which of my OCs are you

i got raleigh

oh my dear, The Driver, the Boxer, the man who is following the trail of “Pixie” and might be the only man left alive who knows Pixie’s real name. he’s a desperate man with a plan.

[callmearcturus]

OCs and their fear entities

Pixie: The Eye, to his great disdain

Raleigh: The Lonely

The Lady Delphi: The Web

Seneschal: also The Eye

Cabigail: The Spiral

Peregrine: The Hunt

[callmearcturus]

kai-chan94 replied to your link: which of my OCs are you

I got The Libertine. I am apparently a menace. XD

YEHA THEY ARE

“menace” is what the Lib is and “menace” is what they do. and i love them? yep

[callmearcturus]

joyfulldreams replied to your post “/stares at notes I have a fair amount of groundwork laid for a...”

Oh yeah writing in a more episodic manner can be really tough to adjust to. You have to sort of re-think the pacing of your larger, overarching plot to make room for a bunch of smaller mini-plots inside it. I think it helps to try and approach each episode as, maybe, 'which aspect of the world/story/characters do I want to highlight and explore for this brief amount of time?' and/or 'what sort of theme/message/idea do I want to emphasize and explore'. If that helps?

I’ve been thinking about this a while and I actually want specifically to avoid this tactic, but for a specific reason. The narrative project I’m working on, codenamed Dramagic for Dramatic Magic, is a podcast. I’ve been listening to a fair amount of narrative podcasts to try and get a grip on what works for me and what doesn’t. Mostly, I’m learning what doesn’t work for me with each podcast I try.

the pertinent example here is that I tried kalila stormfire's economical magick services, and while I’m sure it’s a great show, two things totally threw me off. first, the narrator’s tempo was too slow for me in a way that honestly drove me up the wall. but more importantly, the format episode to episode was in part based on specific magical concepts. a problem is introduced, it’s explained, and we see how the narrator handles it.

this ends up, to me, feeling very very un-naturalistic, and unless I’m going for a very specific framing device, I tend to aim for naturalistic.

what I’m hoping to do, should I ever solve this mystery for myself, is to create a story in which different levels of plot happen, but it’s all character driven and the audience is never infodumped. I’m of course guilty of sometimes leaning into exposition when needed-- The Eurydice Suite had an entire chapter of exposition solely so I could subvert the exposition and show how everything goes wrong.

I want a story where characters operate in A Society in an internally logical way, and the audience is clued into the mechanics of the world ambiently over time.

... i’ve been thinking about this a lot

[callmearcturus]

duosangel replied to your link: which of my OCs are you

I got The Lady Delphi which souns way to cool to be me. I might be in love though.

ah the Lady Delphi also known as The Lady Named For A City (Or Was It The Other Way Around?). she is the most important person in the Threshold City, Delphi, and all who come to Delphi must meet her. she’s fucking great.