You've developed the characters in ways that seem quite true to how your plotlines would affect them

That's been the trickiest thing, because I kept the events of S5 fairly intact, except for the obvious departures. So much of S6 was so dependent on Buffy dying--which, you know, is a rather major event--that I have to keep reminding myself that it's OK to go in wildly new directions.

Of course, when the really bizarre plot twists show up, then we'll see how authentic everything remains.

Connie, I'm having the same problem in finishing "The Fledgling" I think...plus juggling two canons.

As Amy says when I wonder if I should do something exotic with plotlines: "You turned Giles into a vampire. I wouldn't worry about the rest."

yes, wrod. I don't think I've ever felt closer to you, Connie.

It's a Connie-erika love-thang.

I've been writing this kind of stuff of eons, to good reviews, and every.single.time. I think "This is where they'll turn on me and tell me how they really feel." Confidence must be a lovely thing.

And a "I made him a vampire, and now this has to pay off," thing. This was why I didn't want to do it. But did the enablers listen? No, they didn't.

But did the enablers listen? No, they didn't

They never do. It's all "Oh, that sounds so cool, you have to do it!" Like that's at all helpful.

No, it's not.Incredibly exciting, maybe, but helpful? No.

Helpful how?

Just write the thing, and see where it goes.

(back to %#$$#% novel which is kicking my ass)

back to %#$$#% novel which is kicking my ass

How about that? I'm sitting here procrastinating doing that very same thing.