loglines.

the last two weeks i have been editing the ever-loving-crap out of my YA fantasy, GINGERBREAD. So much editing that my eyes have gone buggy. The other day I met with my writers group and opened Ginger, and couldn’t even read my own typing. My eyeballs revolted.

I revised around 20K, if revising means re-writing whole chunks because you (and your awesome CP) came up with a plot bunny that strengthens the story and makes it more original, and so I am pretty thrilled with where it’s at, except for the fact that looking at it is giving me a twitch.

So, I took yesterday off, and will go back into the revision later today. For now, though, I’m playing ME: Andromeda and working on a logline for my Adult Fantasy, HAPPILY NEVER AFTER. Anyway, it’s interesting to think about plot bits and what would sound cool in a logline, but what is really hard to get in a logline. Here’s the logline I have so far:

In the Land of Foehn, alliances are forged through the bespelling of Princesses and the promise of Happily Ever After. When the Princess of Gael goes missing from her forest shrine, and is later found wandering the bank of the Black Pond, Diego Abello, servant to the Queens, is questioned. When his lover, the blood witch Markus Crowe, is framed for the crime, Diego must risk not only his life, but the honour of his family line in order to protect Markus from a power more dangerous than the Queens.

Here’s the stuff I can’t figure how to get into the logline (yet):

Markus is a somnambulist, and works with his partner to put the Princesses to sleep to wait for their Princes.

Markus is kind of in love with Diego, Diego is mostly ignoring his feelings, and lover is kind of a strong word although also not.

They’re both in love with Annabel.

Markus is also a faerie, and it’s his mother that harmed the Princess, and his mother that Markus needs to be afraid of/is afraid of.

Annabel is the ass-kicker of the group.

Words are hard.

Okay. Take care. Bye bye.

-me.