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If I were the type of person that wrote dystopias, I would write about a person who had a sibling who constantly acted stupid and got people killed and so Main would have to leave the place of safety and find another, knowing that Sibling would start the whole process again at the next place. And he can’t just abandoned his well meaning but stupid-acting sibling not just because Sibling wouldn’t survive alone, but also because Sibling knows where the other groups they left are and could, in a well-meaning manner, (perhaps in the hands of the bad guys) bring calamity and death to the survivors.
I base this idea on my interpretation of The Forest of Hands and Teeth, where the Main character would have been the handicap or obstacle had anyone else been the POV. She was directly responsible for more deaths than the murderers in many mysteries I’ve read. And an article about how stupid(ly optimistic) the protagonist of Revolutions is. I haven’t watched any of the show, but the article had a list of potentially deadly things the character did to further the plot. Five in the pilot alone. That sounds like a sign of lazy writing to me.
Do writers make this kind of characters female so we'll forgive her? Because that doesn’t work for me.
I imagine my story would start with a scene like the (last?) one in Of Mice and Men where Main has to move on quickly after his brother has accidently killed the woman. Only I can’t figure out an end that would be happy for Main. Abandoning Sibling is potentially deadly. Not finding people to take them in will kill them even faster; someone has to watch his back and he can’t trust Sibling to do it. And he can’t just kill Sibling. That would haunt him forever. And no matter if it’s for Main’s and everyone else’s good Main could never forgive anyone that killed Sibling. Which leaves what? Bad guys maybe. But why would they kill Sibling when Sibling is the fount for valuable information? Main’s world will only be safe once Sibling is dead, but he will do whatever it takes to keep Sibling alive.
Title: A Different Kind of Home
Series: A Balance of Harmonies (Three)
Status: Chapter ninety-eight of gosh, a lot
Genre: m/m romance, drama, city life, businessmen
Rating: R
Content: quickening up, helping others, questions, children, fresh bread, attention, companionship, disgust, drinks, listening, the boss’s nephew, a fan, reconnecting, lunch
Length: about 2,600 words
Summary: Emil solves one mystery. Kurt misses something. And Peregrine feels at home.
Master list
( as a person I’ve trusted all my life )
I base this idea on my interpretation of The Forest of Hands and Teeth, where the Main character would have been the handicap or obstacle had anyone else been the POV. She was directly responsible for more deaths than the murderers in many mysteries I’ve read. And an article about how stupid(ly optimistic) the protagonist of Revolutions is. I haven’t watched any of the show, but the article had a list of potentially deadly things the character did to further the plot. Five in the pilot alone. That sounds like a sign of lazy writing to me.
Do writers make this kind of characters female so we'll forgive her? Because that doesn’t work for me.
I imagine my story would start with a scene like the (last?) one in Of Mice and Men where Main has to move on quickly after his brother has accidently killed the woman. Only I can’t figure out an end that would be happy for Main. Abandoning Sibling is potentially deadly. Not finding people to take them in will kill them even faster; someone has to watch his back and he can’t trust Sibling to do it. And he can’t just kill Sibling. That would haunt him forever. And no matter if it’s for Main’s and everyone else’s good Main could never forgive anyone that killed Sibling. Which leaves what? Bad guys maybe. But why would they kill Sibling when Sibling is the fount for valuable information? Main’s world will only be safe once Sibling is dead, but he will do whatever it takes to keep Sibling alive.
Title: A Different Kind of Home
Series: A Balance of Harmonies (Three)
Status: Chapter ninety-eight of gosh, a lot
Genre: m/m romance, drama, city life, businessmen
Rating: R
Content: quickening up, helping others, questions, children, fresh bread, attention, companionship, disgust, drinks, listening, the boss’s nephew, a fan, reconnecting, lunch
Length: about 2,600 words
Summary: Emil solves one mystery. Kurt misses something. And Peregrine feels at home.
Master list
( as a person I’ve trusted all my life )
