AND ON
The meeting with the other editor went really well, and provided the project rolls along as he envisions, I'm in. He liked my story and only had one suggestion, which I heartily agreed with. It was a part that felt a little too convenient for me, and he was right to call me on it. There's nothing to say it wouldn't have gotten fixed when the actual script was written, but no harm in having that be a goal from the get-go. He brought up a good point, too, relating to why he had noticed it. He said anytime he reads a pitch and the words "of course" appear amidst a description of action, it is like a bell ringing. If it's so obvious to the author, one must ask if it will be obvious to the reader. It's generally an alternative to using the word "coincidentally." There are only so many coincidences one is allowed to get away with in a story, and even then, you need to work to mask those, to make them acceptable. Sometimes I think Kubrick's Eyes Wide Shut dream world is the best option, because then you don’t have to worry about if Tom Cruise would really be able to encounter so many things relating to his personal thematic crisis in one night. (I always considered the final third of Cut My Hair to be a bit similar to that. I usually referred to that bit as "Mason Goes To Hell," and generally looked at it as a journey where I had to pile the bad shit on, and it meant, sure, he ran into a lot of different things, but it was sort of necessary for the overload.)
Both anthology stories have an artist attached now, too. Both really exceptional artists, that I am very shocked and pleased to have agree to draw my scribbles. I'll, of course, promote the hell out of these things when they are getting nailed down.
Finally, Jake at Tokyopop says the reaction to Ai Yori Aoshi has been really positive, that everyone really likes the adaptation. I think this is my best work since Wish when it comes to sticking close to the original while still making it more jazzy.
Current Soundtrack: Yaz, Upstairs At Eric's
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