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Continuing "Heritage"

I wish now I'd come up with a better title for it -- "Heritage" is kind of bland.  It doesn't particularly induce you to check out the story.  Nor is it really the right word for what the story is about, exactly. 

I hadn't intended to continue the story -- the whole point of it was the last two lines -- but now that people have suggested it, I've been preoccupied for the last forty-eight hours with story ideas and bits of dialog.  It's been an amazing experience -- like people say, it really is almost like the characters are out there, undiscovered, and I'm just opening a door and listening to them.  This hasn't happened to me in years. 

The unnamed narrator has a name, now, and a bit of history.  I'm going to have to find someone who works or has worked in a research institution, so I can ask some questions related to what I see her job as being.  And I will presumably have to educate myself on both botany and organic chemistry, neither of which I know anything about.  

I have run into a problem, though.  The way the story is tending (and I haven't done more than jot down three or four pages of dialog and comments), John tells the narrator his version of what Rose told him about his father, and makes comments about what of it he believes or doesn't believe.  But in the original story, it's clear that he doesn't know much about his father, or he'd know exactly what Rose had been hoping he'd be.  In the continued story, he's less forlorn and a bit more angry.  And we ultimately witness a confrontation where John gets to say some things he's apparently been storing up for years.

I suppose I could retrace my steps and see if I could continue the story in the original vein, but I've got engaged in the story as it's been unfolding over the last few days.  

There's also the question as to whether a story where the main characters are both OCs can sustain people's interest for very long.  Many original main characters are failures (Jacob in kalleah's stories is a notable exception, as is spastasmagoria's Violet Tyler) if only because original characterization is a place where an author's weaknesses really show through.  With two OCs as leads, and the series characters merely wandering through, wouldn't there be a certain "Why should I care?" factor?

Comments

np_complete
Apr. 19th, 2007 01:16 am (UTC)
Thanks for the encouragement. I will take you up on your offer, I'm sure.

I guess whether Rose tells him much depends on how painful the subject is. I see her as telling him most of it by the time he reached adulthood, but him finding large portions of it unpersuasive, although the rest of the family backing her up gives him pause. He's probably met aliens of various types by now, but the Doctor is so atypical of both aliens and humans that what ideas he's formed are probably not very accurate. And, let's face it, almost everything about the Doctor is profoundly implausible (which is how he likes it).

What I've done so far on the sequel is fairly light on plot. It mostly has to do with relationships. And I'm better at painting pictures than I am at plotting. But today I got worried that people would want more science fiction-y elements, and, while I can probably do that, it's not where I was initially going.
kalleah
Apr. 19th, 2007 01:26 am (UTC)
That explanation makes sense to me. The Doctor, in Rose's stories, is this larger-than-live, can't-do-wrong genius that she loves. Who would believe it, or measure up? And while others (Mickey, Jackie, Pete, and Jake, for example) have met the Doctor and know him to some extent, their impressions of him are never going to be the same as Rose's.

I am (and you may have guessed this from my own writing) much more of a fan of character development and psychological insight than a good romp (although that is fun, too), so this naturally is more appealing to me. Go for it, and let me know how I can help.