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Joined: Mon Mar 24, 2008 8:46 pm
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General Luigi wrote:
To my knowledge, Dragus hasn't registered here, but he read the story and liked it. I get the impression the plot's picking up speed. I'd recommend being cautious with such a move. At times, it's better to speed up time simply to avoid wasting words on a part of the plot that has already received sufficient attention, but it's also important to avoid moving so quickly that the plot becomes too surface-level. So far, you've done a good job, so I'm not going to complain, but I can see from this last chapter that things are beginning to move along. Given the more recent plot twists, that's probably a good idea. Just make sure you don't go too fast.
I'm glad he enjoyed it. Tell him I said thanks for reading. :D
Yeah, I had to pick up the speed sometime. I needed to move things along because I don't want to be at chapter 40 by the time Edgeworth gets in the picture
Anyway, I still think the end was rushed too much, but I didn't know how to go more in depth with it. My main fear was that people would read the section about Richard's death and after the paragraph, go "Wait, what just happened?" But luckily that hasn't seemed to happen so far.
General Luigi wrote:
Thinking about it, I sometimes draw parallels between the structure of a story and the structure of an opera. Each opera can have its numbers divided into two general categories: recitative and aria. Both categories can be further divided into more specific categories, but as far as this comparison is concerned, it's not necessary. An ideal opera makes good use of both and avoids dependence on one while neglecting the other. A recitative mainly serves to move the plot along, and it's often during recitatives that most of the action occurs. Arias, on the other hand, essentially slow the plot to a stop and take the time to look into it in more detail--a character's mindset, the nature of a major part of the plot, and the like. An opera that relies almost exclusively on recitatives would feel surface-level. In addition, the characters would either seem one-dimensional or appear to go through an abrupt change rather than develop. On the other end of the spectrum, an opera that relies almost exclusively on arias would appear to lack an actual plot and potentially bore the audience by staying on one point for too long. Likewise, a good story does not move the plot along so quickly that it lacks depth, nor does it delve so deeply into it that it moves too slowly.
My, that is very interesting. Writing is a
lot like that. I think I'm usually a little better at "aria" like parts because I never seem to be able to transition well when I do "recitative" parts; and they don't turn out well.
Quite a balance one must achieve! *sigh*
Missile123 wrote:
Yes, an update! I was looking forward to this and it didn't disapoint. I found it interesting that despite being pushed into perfection by his father he still seemed to strive for it a little himself. I'm glad that you made him open up to Helena as opposed pushing her away like you'd expect showing how much he cares for her and doesn't want to lose her. I don't really have any critisisms, I was a little shocked at how easily Manfred could deal with his fathers sudden death but the again, he was probably more shocked than upset due to the lack of closeness.
Anyway, I was a great chapter and i once again, can't wait for the next one!
Why, thank you! The idea that Manfred would want a piece of perfection himself didn't hit me for some reason until I fully planned out the chapter, if you can believe that. My main problem was, why would Manfred act so if he hated his father so? It wasn't until I had Helena psycho analyze him that it hit me "He'd want some of it too"
I needed him to open up; he hasn't quite gotten that point yet (and most liklely won't with his future wife)
Yes, I rushed that part, but I didn't know how to really slow it down. I made him more shocked, like you said; it seemed a suitable reaction. Thanks for reading!
FirexxxSaber wrote:
Wow, this story is really great!
When he's testifying against his brother, you can really see his Manfred-ness start to come out. (Manfred-ness being how he acts during 1-4, that is.)
Yay, Franziska's mom. I'm glad to see that you didn't make Manfred sexist. I never saw any gme indication that he thought Franziska and her sister were inadequate due to their gender.
It's nice seeing another person writing a story about Manfred's early days. I also look forward to seeing how his relationship will be developed with Helena. I wonder how she'll take it when he starts fully becoming what he is in 1-4....
Hey, thanks for reading!
Oh, indeed (about testifying against Johann). I mean, he has to have that personality leak out somewhere...
I agree about the sexist thing. I've read fanfictions where people say that the fact he wanted Miles as a prosecutor like himself proved that he didn't think Fran was worthy of that... but I disagree. The fact he worked her so hard shows, I think, that he believed she could handle it. I mean, why would he work her to death to expect failure?
Ah, Helena is a psychologist for criminals. That perspective will be fun to write.... bwahahahaha lol
General Luigi wrote:
FirexxxSaber wrote:
It's nice seeing another person writing a story about Manfred's early days. I also look forward to seeing how his relationship will be developed with Helena. I wonder how she'll take it when he starts fully becoming what he is in 1-4....
I wonder about that. Will Manfred's marriage end by means of divorce? Technically, the games never explicitly stated that Manfred was divorced. Besides, who's to say that Manfred will end up Marrying Helena? There are still plenty of possible turns for the plot to take. All we know is what Manfred becomes and some of the contributing factors. The remaining ones could be anything.
Hah, you're expecting plot twists from me now.
That's great. I guess I'll keep mum about that.
Yeah, the game never explained about what happened to Franny's mom. But I have a plan (don't I always? j/k). Don't worry XD
Mia_Fey wrote:
Yay for updates! I've really come to like your OC, Helena. She's sweet and makes for an interesting contrast with Manfred. He wants to put criminals away and she wants to understand them. I loved the whole conversation between them about masks. With what we know happens with Manfred, it makes for fun foreshadowing. The ending was perhaps a bit rushed, but not too badly. Just be patient (Easier said then done, I know). You're doing a great job. :)
I'm glad you like her. I really had to think of what kind of woman Manfred would fall for. And the fact she's a psychologist I thought was just too perfect. XD
I'm glad you noticed my little thing about the masks! Yes, it's supposed to be a sort of foreshadowing about Manfred.
Yes, it's rushed, but not as badly as it could be, I suppose. It'll be difficult, but I'll have to slow down more... The problem is that these next couple of chapters have years between each other, ya know? I'll try, though. Thanks!
General Luigi wrote:
Another interesting similarity to history in this story that I've noticed (though I imagine it's a coincidence): Ivan the Terrible's first wife, Anastasia, was said to have had a significant calming effect on his volatile personality. After she died (possibly from poisoning by the Boyars), the Tsar started to live up to his title.
Why does he sound familiar? Hm, probably because a friend of mine who adores history mentioned him. I assure you, the connection is completely coincidental. But very interesting connection.