I'm going to bed early enough to get some actual real sleep, and I'm going to put some energy into thinking about some choices. Small choices and obvious choices make a bigger difference than you think at first.
In the scene I'm just working on, Karla chooses not to tell Rosie something. I realized that the reason she didn't tell him was because I didn't want her to. Yes, she has perfectly good reasons not to, but she's also not really afraid of the consequences if she were to tell him. And those consequences could be interesting.
The question is how it would affect subsequent scenes. I would lose an amusing moment when Rosie learns the information later, but more importantly, if Rosie knows that information, he would be less suspicious of George on certain points. And it would take the tension out of the scene....
But is that tension really the best way to make that scene work? Or is it just an obvious place holder in a scene which could be creative and vibrant and new if only I couldn't fall back on the suspicious cop routine?
The truth is I am not sure that this scene isn't just fine the way I imagined it, and that my energy wouldn't be best put into making this conflict the best and most creative it can be. But until I've run through it in my head and through a few ramifications, I don't know for sure that there isn't something better. I don't know if perhaps that scene isn't actually a shorter "set up" scene for some other scene.
So I'll think. And I'll get back to point of view later.
Running Total: 21274 Words.
In Today's Pages: Mostly plumping up yesterday's scenes.
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