ugh okay so. let's forget about trying to post to drabble_zone, I will not be able to with the length constraint.
players onstage: Our Heroine, LB. Our Hero, who has three different identities in play. A representative of The Public, OC. possibly Antagonist 1, HM; if he is not onstage then he is most assuredly in the wings with a headset. possibly Antagonist 2, M, but if she's not onstage I don't have to worry about her at this time.
Our Hero, CN, is secretly A. A is known to HM and M to be (1) his son (2) Antagonist 3, G. except for the below because-reasons (which only A, LB, and one other character not currently in play know about), literally no one else knows A is anybody but A. who cannot be onstage as CN while he's being G, or vice versa.
point of view character is OC. basically all she knows is LB and CN good, HM and M bad.
in this scene A needs to tell LB that G = A without letting anyone else notice he told her that. this is, because reasons, easy enough: he just needs to get in her line of sight. the complications arise when bringing in the drabble_zone theme that's making this work. see, A needs a reason for LB to see him as G. strategic sense for HM is, G stays in the shadows. well, the current drabble_zone theme is "Flirt".
so I need to figure out how to play this scene so that:
1) G gets LB to look at him long enough to convey to her his genuine affection and, more importantly, the visual cue that G = A
2) LB conveys messages received and understood; LB flips her shit over neither message while anyone of insufficient, unknown, or negative trustworthiness (so, literally anyone except CN) is able to witness it, or at least, not such that she seems to be anything but upset that G exists (and see 3 below) and worried that CN isn't around; bonus points if LB also conveys to A that affection reciprocated, though as that's zero percent her strategic priority here, I don't expect to accomplish it
3) OC, with solid justification given what she does and doesn't know, interprets G's words and actions toward LB as, if not outright predatory, certainly unwanted
4) HM and M have no strategic reason to criticize G's behavior; I'm going back and forth on whether M should say something re 3 about having raised him better than that, and if so whether the credit for raising him better than that should go to her or to A's mother, but G needs to gain HM something valuable enough—or come close enough to doing so—that it more than justifies in HM's mind G sacrificing the advantage of stealth and, more importantly, disobeying HM re staying out of sight
5) HM and M definitely do not believe G's interest in LB is reciprocated; bonus points if at least one of them gets the impression that his genuine affection for her that they already knew about has weakened if not vanished
sooo I wrote myself into one hell of a corner, didn't I? even though technically I haven't started writing this scene yet!
(you see why I don't think I can do this scene in a mere 200 words exactly)
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tl;dr this solution caused four more problems
Date: 2020-11-13 09:46 am (UTC)players onstage: Our Heroine, LB. Our Hero, who has three different identities in play. A representative of The Public, OC. possibly Antagonist 1, HM; if he is not onstage then he is most assuredly in the wings with a headset. possibly Antagonist 2, M, but if she's not onstage I don't have to worry about her at this time.
Our Hero, CN, is secretly A. A is known to HM and M to be (1) his son (2) Antagonist 3, G. except for the below because-reasons (which only A, LB, and one other character not currently in play know about), literally no one else knows A is anybody but A. who cannot be onstage as CN while he's being G, or vice versa.
point of view character is OC. basically all she knows is LB and CN good, HM and M bad.
in this scene A needs to tell LB that G = A without letting anyone else notice he told her that. this is, because reasons, easy enough: he just needs to get in her line of sight. the complications arise when bringing in the
so I need to figure out how to play this scene so that:
1) G gets LB to look at him long enough to convey to her his genuine affection and, more importantly, the visual cue that G = A
2) LB conveys messages received and understood; LB flips her shit over neither message while anyone of insufficient, unknown, or negative trustworthiness (so, literally anyone except CN) is able to witness it, or at least, not such that she seems to be anything but upset that G exists (and see 3 below) and worried that CN isn't around; bonus points if LB also conveys to A that affection reciprocated, though as that's zero percent her strategic priority here, I don't expect to accomplish it
3) OC, with solid justification given what she does and doesn't know, interprets G's words and actions toward LB as, if not outright predatory, certainly unwanted
4) HM and M have no strategic reason to criticize G's behavior; I'm going back and forth on whether M should say something re 3 about having raised him better than that, and if so whether the credit for raising him better than that should go to her or to A's mother, but G needs to gain HM something valuable enough—or come close enough to doing so—that it more than justifies in HM's mind G sacrificing the advantage of stealth and, more importantly, disobeying HM re staying out of sight
5) HM and M definitely do not believe G's interest in LB is reciprocated; bonus points if at least one of them gets the impression that his genuine affection for her that they already knew about has weakened if not vanished
sooo I wrote myself into one hell of a corner, didn't I? even though technically I haven't started writing this scene yet!
(you see why I don't think I can do this scene in a mere 200 words exactly)
Re: tl;dr this solution caused four more problems
Date: 2020-11-13 10:16 am (UTC)Re: tl;dr this solution caused four more problems
Date: 2020-11-13 11:43 am (UTC)Re: tl;dr this solution caused four more problems
Date: 2020-11-13 08:37 pm (UTC)Re: tl;dr this solution caused four more problems
Date: 2020-11-13 08:52 pm (UTC)