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I've got two DCU stories in outline-y states right now, and I'm probably going to rip one apart and redo it.
The outline (hereafter named 'the Failverse') is an insane bit of scribbling, which I have no idea how to end, but where I want to change a character beat I established at the start, because I think it would be more interesting to have one of my focal characters loudly confabulating as the bad guys have screwed with his memory to the point that he's making up stories to explain to himself what's going on.
But that means he's going to be all over the map characterization-wise, because he is flipping back and forth in his personal history based on who he is with -- if he's with his old criminal gang, he will think he's still a criminal and talk accordingly. If he's with his post-reform superhero friend, then he's going to assume that he's working *against* the old criminal gang. And if he's confronted with his superhero friend's *predecessor*, he's going to think he's way back, to when that guy arrested his boyfriend, and attack. He'll be almost impossible to deal with, just because he keeps jumping to different interpretations of what is happening and mistaking friends for enemies and enemies for friends.
Also, I've got to decide what the ending is: 'Don Giovanni', Verdi's 'Requiem', or possibly even 'The Nutcracker Suite'.
The outline (hereafter named 'the Failverse') is an insane bit of scribbling, which I have no idea how to end, but where I want to change a character beat I established at the start, because I think it would be more interesting to have one of my focal characters loudly confabulating as the bad guys have screwed with his memory to the point that he's making up stories to explain to himself what's going on.
But that means he's going to be all over the map characterization-wise, because he is flipping back and forth in his personal history based on who he is with -- if he's with his old criminal gang, he will think he's still a criminal and talk accordingly. If he's with his post-reform superhero friend, then he's going to assume that he's working *against* the old criminal gang. And if he's confronted with his superhero friend's *predecessor*, he's going to think he's way back, to when that guy arrested his boyfriend, and attack. He'll be almost impossible to deal with, just because he keeps jumping to different interpretations of what is happening and mistaking friends for enemies and enemies for friends.
Also, I've got to decide what the ending is: 'Don Giovanni', Verdi's 'Requiem', or possibly even 'The Nutcracker Suite'.
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