caper_est: The grey wolf in the red gloaming. (golden kate)
Killer-Kate and Luke Lackland: The viewpoint for the Assize scene isn't Kate, Narrator, or Chorus. It's Luke.

Score another piece of evidence for Meyer's Law:

In all emotional conflicts the thing you find hardest to do is the thing you should do.
- John D McDonald, Pale Gray for Guilt.

H/t Travis McGee and Me for letting me get at the original wording without a major series-mining operation. A speculation on why Meyer's Law might be a good rule of thumb appears here in Psychology Today. It's plausible as far as it goes, though I don't know that it gets to the heart of the matter.

I wonder what Luke and McGee would make of one another.
caper_est: caper_est, the billy goat (Default)
Finished the folksong, which was a 'Riddles Wisely Answered' plot with a twist appropriate to its world.  Just for once the tune is a real one in our own setting: The Bonnie Banks of Airdrie (Child #14). Ewan MacColl had earwormed me with that one, but bad. The Benball Stair has now done its job, namely to give me my mind back.

The lady appears to be a conflation of Katy Elflocks - the protagonist of the completed panel of Three Katherines of Allingdale - and the King of Elfland's daughter from her tale. The minstrel appears not to have read the terms and conditions on the back of his poetic licence.

This was totally the reason that I only managed a beggarly 195 words on the main story yesterday. The word-shortage has absolutely nothing to do with the fact that I'm heading into a complicated and painful argument, or with the unpleasant discovery that the viewpoint that hurts most for it, is also the right one -  for exactly the same reasons.

Meyer's Law is all too valid for writing. Ow, ow, ow!


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