This is the only way to learn your way around the village: let yourself get lost. I worked there for five years and I just wandered around. Of course, I grew up in the New England countryside so I'm used to the concept of roads doubling back on themselves, roads crossing other roads in weird places, and having to build the map in your mind. But I used to work at W4th and W13th, and that confused even New Yorkers.
I totally didn't think that Blake had those intentions with taking off their shirts—I was either too far in Chris's head, or too intent on the narrative device of Chris seeing Blake's tattoo and the conversation that follows. I'm glad though—it makes it much less of a narrative device that way!
Oh, Rymon. Generally my reason for writing Rymon, at least before this year, was to give them a happy ending that I didn't think they were going to get, or were getting, IRL. But now, post-African honeymoon and how much they've seen each other this hiatus and they really DON'T care, I can face the unhappy side of their dynamic much better. Also, hopefully they can teach Chris and Blake, or even have taught Chris and Blake, the way in which heteronormativity can be your friend, that you can hide in plain sight as long as you never confirm anything. The ones who see, are cool with it, and the ones who aren't cool with it, can't see.
The end scene is all to Julie and Allyson's credit, as it wasn't in the original draft, which went from Blake saying "get in here" to the reprise of Chris's fantasy. But they were very firm that after all the UST we needed more, so I wrote that scene and I'm so pleased that it added something other than sex to the story—that always makes things sexier, really.
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branchandroot
Re: I think I'll just quote the whole chapter and work from there.
Date: 2007-10-06 02:53 pm (UTC)This is the only way to learn your way around the village: let yourself get lost. I worked there for five years and I just wandered around. Of course, I grew up in the New England countryside so I'm used to the concept of roads doubling back on themselves, roads crossing other roads in weird places, and having to build the map in your mind. But I used to work at W4th and W13th, and that confused even New Yorkers.
I totally didn't think that Blake had those intentions with taking off their shirts—I was either too far in Chris's head, or too intent on the narrative device of Chris seeing Blake's tattoo and the conversation that follows. I'm glad though—it makes it much less of a narrative device that way!
Oh, Rymon. Generally my reason for writing Rymon, at least before this year, was to give them a happy ending that I didn't think they were going to get, or were getting, IRL. But now, post-African honeymoon and how much they've seen each other this hiatus and they really DON'T care, I can face the unhappy side of their dynamic much better. Also, hopefully they can teach Chris and Blake, or even have taught Chris and Blake, the way in which heteronormativity can be your friend, that you can hide in plain sight as long as you never confirm anything. The ones who see, are cool with it, and the ones who aren't cool with it, can't see.
The end scene is all to Julie and Allyson's credit, as it wasn't in the original draft, which went from Blake saying "get in here" to the reprise of Chris's fantasy. But they were very firm that after all the UST we needed more, so I wrote that scene and I'm so pleased that it added something other than sex to the story—that always makes things sexier, really.