Monday, November 15, 2004

November 15, Part II

It was such a gorgeous day I decided to take advantage of being a “free lance” on my own schedule and stop at the beach for awhile on my way home from Staples. I can always make it up by working later tonight. Okay, so Staples is in a town in the opposite direction from the beach, but it was a beautiful day to drive around singing along to the radio.

It was beautiful and quiet on the boardwalk, and a chance to give my head a much-needed clearing.

After awhile, another car drove up and someone sat down a on the next bench. I turned around and saw that the car parked beside my silver one was an oddly painted hearse. Beautiful artwork on the side, but unusual.

The driver was an interesting looking guy (wearing black, of course), who rather resembled Johnny Depp on one of the days where he doesn’t care what anybody thinks. This guy was unkempt, but clean. Good bone structure, great eyes, could have been anywhere from twenty five to close to fifty. Very calm, gentle energy, but also a quick wit. We sat in companionable silence for awhile, but eventually had some casual conversation. He’s more of a bird person and I’m more of a cat person, but Owl is one of my totems and we had a lively discussion about the different types of owls on display at the Museum of Natural History. He assessed some things about me that might have surprised some, but any observant person could have figured it out. I wear four silver rings on my left hand, three silver rings on my right and three silver necklaces with pendants. Every piece of jewelry I wear has a specific design and a specific meaning. Anyone who actually paid attention could figure out the information. Heck, I do it all the time when I get a new tarot client.

His license plates were blank, and I teased him that they’d read whatever they were supposed to, depending upon where he was.

It will be interesting to see if our paths cross again, and, if so, under what circumstances. In any event, he’s definitely the inspiration for a character in something somewhere along the line.

Had a discussion with someone with whom I might work for a few sessions after the holidays to choreograph some of the combat scenes in the various work. A 21st century woman will handle a sword differently than an Arthurian Knight or an 18th century pirate. The context of the time and situation and the frame of reference of the fighter has a great deal to do with the fight. Not to mention that the weapons are all different as weaponry evolved. It’s been years since I fenced, and with so many upcoming projects requiring different types of fighting, I’m going to pay for a few sessions, one-on-one, with a professional and work out the choreography.

The physical workouts over the past months paid off. Whereas several years ago, I could barely lift a Highland Claymore, not only can I lift it, I can maneuver it. Look like a rank amateur doing so, but it’ll improve. At 55”, with a 46” blade, it’s pretty impressive. The 15th century two-handed sword, at almost 60” is still a challenge. The Black Prince Sword, nearly 44”, felt the best, both in size and heft.

I’ve never been much of a foil gal. I admire the beauty and precision, but it’s too dainty for me. I used to be fairly decent with rapier and dagger, but I’m sure any skill I had in that arena has severely atrophied.

Eventually, I'll have to find someone to choreograph some fights on horseback with me, but that's a way down the line.

Got an issue of WC done and am working on Charlotte. This week, I need to write nine more episodes of WC and twelve issues of Charlotte. That’s a big order. Did some more research. I’m wondering how much of Blackbeard’s death I should use or if that strays too far from Charlotte herself. Charles Vane’s story directly affects that of Anne, Jack, Mary and therefore Charlotte, so I can dip into that freely. The episode where she loses her virginity doesn’t work in the context of the rest of the piece. I tossed it. I’m going to sprinkle in some of the information in other episodes where this initial experience influences later escapades – that seems a better way to go. Otherwise, it reads like a gratuitous interlude instead of setting up an important story arc, which is what it’s supposed to do. I suppose I could rework the episode with different characters and sell it to an erotic market – if they paid well enough. It used to be you could make $3000 from a good piece of erotica. Now they offer $25 and act like they’re doing the author a favor. I think not.

On the dream front, I took valerian root last night for muscle pain, and don’t remember much more than fragments which felt like I viewed them through mist. So, any archetype trying to communicate was frustrated with my valerian-induced daze. But I got some sleep.

By accident, in search of other info, I stumbled across photos of an actor who embodies the physical characteristics of Connor in Intricacies. No, I’m not going to post the name – that’s unfair to the actor, and he’ll never know he’s part of the physical representation/inspiration of the character anyway. It’s not anyone with whom I’ve worked. So I know nothing about the man’s personality and can simply use the image as I would a picture of a place I wrote about, such as Alnwick or Ayreshire or whatever. It’s completely different from my casting process. When I cast a project, I toss all my pre-conceived notions of what the character should look like and hire the person who connects best to the material.

Needless to say, I work in the independent realm, not the studio one!

Got an issue of Charlotte done. I have Theolonius Monk on the CD player and it’s all good. The conversation between Anne and Charlotte the day after Charlotte’s sexual initiation drives the story much better than the tossed incident itself. I’m now working on the flashback of Anne’s fight to the death with Maria Reynaldi over Childley Bayard and must hunt down some pithy Spanish insults.

D.



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