storymonger

Once the statue of limitations runs out, Rachel and Dirk can't be charged with anything for fraud/conspiracy. Thus, I don't think anyone could legally overturn the Death in Absentia ruling that nullified their marriage. As long as Rachel didn't remarry until after that ruling, Australia has no basis to recognize her US marriage. We're also assuming she has legally remarried in Australia, which may not be true.

As someone heading to Australia in less than a week, this shit is scary.

Since I made the serial publication remark (), one suggestion is that are you willing to trust some editors to know the plot? If not, have you sat down to outline the remaining plot and use that to guide your chapters to help prevent you from bogging on one plot element? If you find you are bogging based on the outline, then it's time to reach out to the editors. Easy. Don't reinvent the wheel. You're writing and publishing for free. If you're happy with what's already written, people will get over it. There's no need to throw the baby out with the bathwater. People want to see the plot move forward, but a lot of that is based around how bogged down the plot became when trying to build Shane/Trevor's relationship. If it were me I'd probably try to focus on any "relationship building" scenes and see if they can be cut, but I don't think you need to worry about overexposure to other characters at this point. This is where I think you'd do best to lean on your beta readers and editors in a given situation. Let them know you want to condense your writing, and make the assumption that you have an Intelligent Audience to avoid spoon feeding. Ask them, "Does Kline come across as a prick or are his motivations clear?" Also, do you need him to not be a heartless prick? You want complex characters, but anyone that isn't a central character doesn't really need to be all that complex. (FWIW, I've always felt like Kline was self-serving, but not heartless. I could always forgive his actions specifically because he didn't know all the backstory.) Have you ever written film or play? I ask because, as the medium is so short, you write with a "once and done" mentality. You tell the audience something in a scene (Trevor thinks Shane is hot, for example) and you don't waste time saying it again. The Intelligent Audience Knows. And when elapsing time or relationship building, you do montages, which you could consider. To be brutally honest, I think this would have cut down a lot of the Shane/Trevor scenes. Sometimes it felt a bit... "Trevor has a nightmare. Shane makes breakfast. Trevor drinks coffee. The boys swim. Trevor is aroused. The boys run on the beach. Trevor is aroused. The boys play a rescue game. Trevor is aroused. Trevor has tremors. Shane is concerned. The boys get a little drunk and go to bed." Then we read it again with slight changes the next day. It would have been faster (but perhaps not better) if you had broken down one day, then wrote a paragraph or three about how they fell into a familiar pattern for the next week, but Trevor still had nightmares and tremors. And about how Trevor was falling for Shane. The audience would have understood and it would have moved the timeline forward faster (allowing, say, a week to pass), because sometimes from the outside it felt like you were passing time just to make it believable that Trevor and Shane were "in love." Out of curiosity, is this in preparation for publishing in other formats or just a learning exercise. ALL that said, one thing to remember is that you have probably hundreds of readers eagerly awaiting your next chapter release. You've had thousands of views. Obviously you've done something very, very right. And I'm pretty sure all of us will stick around until the story ends. That in itself is a feat. I've never written anything longer than a short story, so it's pretty damn impressive. You're doing an amazing job, and I'd be perfectly happy if you stayed the present course.

I'm not really sure 20 chapters was totally necessary, but serial publication means that you can't have an editor go back and point out that you dragged through the mire in places. Plus we had about 20 chapters of Joel/Trevor in the Mediterranean, so I think a likely explanation is that C James probably enjoys writing the boat scenes with the boys. Plus there's a lot of storylines spread across a lot of geophysical locations, so it's a lot of writing just to move people from place to place. By the time the story is done, I think the word count will be something like three times Moby Dick!

And the chess pieces move.

Definitely seems like food is the key to unlocking Rachel's current identity.

I agree with you. The sun certainly went down on the Indian Ocean. I also think some of the stuff written from Ali's perspective was pretty gruesome compared with the overall story. I'd imagine we're going to see an even darker side of Sanchez as well, since he's now taken a personal interest in ending Trevor's life and has far more resources to expend. He could abandon it after Bridget is taken care of, but somehow I don't see him willing to stop there. If there's consequences, it will be from Sanchez's endgame. Bridget may be cold-hearted, but Sanchez and the Cartel will be heartless. There are no cliffhangers if you read the story all at once! It's your own fault for reading it as a serial publication! I will head over there.

I mean no disrespect. I do stand by my words that overall the tone is fairly light. While there is a backdrop of danger and there have been some psychological consequences for Trevor, none of the main teen protagonists have died and if I were a betting man would say it's overall unlikely to happen. Tone is relative, and this story would rate higher on the "real danger" scale compared to the Hardy Boys, but I can also name lots of mystery stories that go much darker. Which, given the teen characters this series is focused on, I would say isn't, nor should be, the intent. All that said, the comment was largely a contextual throw away around the role of Shelly/Rachel in the overall story arc anyway, which I think's more interesting than debating tone.

I'm sure it's been talked to death, but what's the working theory on Fowler's wife, Shelly? I mean, she just happens to make Key Lime Pie? She seems very involved in the case. Furthermore, in Chapter 81 Trevor mentions that he's always loved the name Shelly. Why does he love that name? Shelly also refers to it as fate that brought Trevor to her "doorstep." Is the belief that it's his mother or that they know one another/are related? Maybe it's all just a Red Herring? Personally, it feels a little too "neat" but this story is fairly lighthearted, generally speaking, so my assumption would be the tendency to wrap up with a bow, which leads me to think everyone is connected. Sorry to dredge it up, but I'm new to this story and throwing out thoughts.

I just want to say that it's nice to see Dom stretching himself as a writer and exploring a really complex character. I've suspected that David and Oliver were one since the second chapter, so I'm glad to see it confirmed. I have some ideas about where this story is going, but I don't want to ruin anything by hashing over theories about this story as I've done in the past.

I really, really like this story. Very excited about it. Can't wait to read more of it.

Go easy on the accents. They're hard to maintain and easy to mess up. The reader can usually do a better job with subtle reminders than you'll ever managed. And it seems like the most emulated accent in American literature is a "Southern" accent. Every writer manages to f**k it up, blending a bunch of different dialects into some bastardized version that doesn't exist anywhere in the South. It annoys the crap out of the people who actually reside in that region...

Except for I feel like all of that is predictable, not animated. Maybe it's just that it's a fairly typical path for Dom (minus the boyfriend). At least one "enemy" in every story gets redeemed, and since Aaron had went too far with Luke, the only real candidate was always Seth. And if you know that from the start, Seth's actions in the story are almost color by number. That said, I can't stand Seth. I never will. No amount of explaining is going to change that. I've heard all the reasons for why he's the best boyfriend ever for Rory on these boards. And I'm not buying one of them. So please, everyone, don't feel like you need to expose me to the greatness that is Seth. It's just going to be a waste of time all around. It would have been much better if, by the end, Rory was grounded enough in his new family to find support in them. But since Rory's familial relationships outside of Luke were underdeveloped that couldn't happen. Seth wasn't needed to provide support. He was just the only character in the story that was allowed to. We saw several glimpses of Jase being able to fill that role just fine, and even Eddie. But since the focus stayed on Rory's romances, it just never got there. I mean, I really did/do like DD. But the parts of the story I was most interested in felt underdeveloped, while the parts of the story I was least interested in got a lot of page time. So ending it like this is just bittersweet for me, at best.

I've mentioned it before, but I just find him boring. Everything he does is saccharin sweet, cliche, and tritely predictable. He has no real emotion, no animation, and about as much passion as a wooden plank. He does everything that he's "supposed" to do, and, conversely, does nothing to make him interesting as a character. And before it starts... "But he wrote his number in the sand!" That's the kind of crap that makes me absolutely hate him. I would have rather seen Rory end up with Luke. Or better yet... alone. Seth was the least interesting character in the entire story, and yet the relationship between Rory and Seth ends up seeing the most development. I'd have much rather seen Rory spend more time forging real bonds with Eddie or (especially) Jase than his summer fling. At least Aaron provided entertainment with his hot/cold personality.

I just can't stand Seth. His presence in the story pretty much just killed the last ten or so chapters for me. TLW regains its place as my favorite Dom story.

Assuming they are both around 60 and white, they can easily expect ~20+ years together (using the 2002 life tables). That's a long time to be so flippant about it. 1/3 of the amount of life you've already lived... That's longer than most people spend living at home with their parents.

Eh. I'm going to be the one to say it. While I loved the interactions between Rory/Eddie and Rory/Luke, the rest wasn't up to expectation. Grandma Alice getting married (so quickly) and usurping the "home" Rory knew his entire life is way too deus ex machina for me. And Seth's overly calm response is a little... too calm. Real love isn't about understanding, it's about holding on 'til the wheels fall off and still trucking through it. I still want LRITE. Seth is just getting boring and I can't help feeling like maybe Dom wrote himself into a corner by making Seth so nice, and now is having trouble breaking it off "nicely." I don't want the next chapter of DD to be the end, but it's starting to get a little long at the same time. I think mostly I don't want it to end because WT is not my favorite story and I was hoping Dom would pick his TLW spin-off back up instead. If he keeps going with just WT I'll probably have to stop reading Dom until he moves on to something else. Despite my criticisms, DD is still by far my favorite of Dom's writings.

I don't understand what you mean here. If the good/evil dichotomy exists, you are either good or you are evil. Everyone would have to meet the criteria for being one or the other because no inbetween would exist. Otherwise, it isn't a dichotomy. DavyReader is right, however, in pointing out that questioning (the lack of) a dichotomous relationship between good and evil is not the same thing as saying good and evil do not exist.

While the end result of said actions may be of great harm, your example is more an argument of perspective and doesn't prove that the result of the hijacker's actions alone makes the hijacker himself an evil person (though he very well may be). And, while an appeal to emotion is a logical fallacy anyway, using 9/11 imagery to defend your argument is just . Total red herring. If we are to assume that the person is evil because of their actions, then what argument could you make to dissuade them anyway? Intent was never the sole valid test for the moral quality of an ACT, but the person. And in your example, the hijacker fully intends to hurt people (b/c they feel the end justifies the means), while Aaron does not, so I don't see how this analogy is relevant. And really... the good/evil dichotomy doesn't exist. If it did, then there would be no room for redemption, no moral ambiguities (and thus, in your example, one man's terrorist could not be another man's freedom fighter). Unless you wish to maintain that good and evil (where you can be "more/less good" and "more/less evil") are a sliding scale. And then labeling Aaron Keslin as "evil" becomes a totally frivolous argument of semantics, because, while Aaron may look "evil" next to Seth/Rory/Luke, he'll look positively angelic compared to say... Hitler.

I disagree completely. Evil isn't the moral quality of your actions, but the intent behind the actions you cause. And I don't feel that Aaron meets my definition, because Aaron is completely inept when it comes to foreseeing consequences to his actions, mostly due to his emotional immaturity.

Aaron isn't evil. Stupid, petty, shallow, and emotionally damaged... yes. But he isn't evil.

The climax is going to be the family vacation. It'll settle the relationship between Luke and Rory once and for all. And it will solidify the bond between Eddie and Rory. Don't you think there's a reason that Dom is getting Luke and Rory together away from Aaron, Seth, and Dave at the very end of the summer?

LRITE or not, Seth's preoccupation with Aaron is causing cracks in his relationship with Rory. Seth still feels something for Aaron--you just don't do those kinds of things for an ex-boyfriend who treated you the way that Aaron treats... everybody. Rory deserves someone who is 100% into him, and Seth isn't. And Luke isn't in love with Dave. I've yet to understand this theory at all. He's been bestfriends with Dave for some time, and I think by now he would have either reconciled or revealed his feelings. He's totally got something for Rory.

At least a partial print would have been left by Aaron when he was driving, but that wouldn't have really mattered. It's Luke's word against Aaron's, and Luke was the one caught behind the wheel. In court, the most Aaron would have been smacked with was accessory, and since he was willing to testify against the likely suspect I'm sure the police and the DA were willing to look the other way. Aaron doesn't have a record. There's nothing to undermine his character. Everyone is going to expect Luke to lie anyway, and it could have been counterproductive to delve too far into his home life, given that his lawyer is the lover of his guardian who isn't his biological father. A full out smear campaign against Aaron's character in court could have easily backfired, since Aaron's parents obviously had issues with Jase and Eddie. That Luke didn't end up in juvie or foster care is a miracle in itself. So I think Kitty is off base a little bit here.

I hate Aaron. I hate his character. Every time he enters a paragraph I find myself skimming until he is gone again. And he dominates every single chapter lately. TLS and TMLP indeed.