Ah, I'm sorry. A concept for Margrave IV.I've fallen into a creative petri dish of late. Alongside the two games I'm currently working on, I've begun work on a play, almost completed the edit to act I of TCPP, and have been arting, musicalling, and poetising too.
I think I've now developed something of a formula for plotting - or, at least, for getting the ball rolling. Essentially, I have a beginning and an end, work in a number of end-of-act reversals (each of which must be as thrilling and as change-creating as possible), build character arcs around the emotional topography, and then edit to the quick. My plots have become a string of good then bad then good then bad then good, etc. states for the protag. Natch, the emotions are wide-ranging, and the words 'good' and 'bad' in this context are little more than rules of thumb; but this is proving to be a super method for erecting the tent poles with minimum fuss and with maximum stability.
The above pic - a character concept for Margrave IV - was designed around another of those strong, visceral emotive blows of which I'm so enamoured. There's something about bared teeth, and there's something about staring eyes...
Oh, and you can't go wrong with a good 'concealed identity' reversal!
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