This is the project that I have been working on ever since I got The Shadow out of my hands, though the basic idea is much older. As will become rather obvious, I would have preferred to name it "The Renaissance of Haruhi Suzumiya" but since that title has been taken (apparently even several times already) I had to be content with something less poignant.
So, basic facts about the story: the second summer trip of the SOS Brigade (not to the expected destination), a divergent, novel-length adventure/drama/romance/slice-of-life past the events of book 11, Original Flavor with Kyon narrating, KyonxHaruhi with a happy ending.
If you want to enjoy the story unspoiled, in the chronological order, then you may have to wait for several months, because I don't write chronologically and the scale of this project is far greater than anything that I have done before. On the other hand, if you want to get involved (I don't personally mind spoilers, it's all about the journey rather than the destination) at an early stage then I'll be providing all the material right here at the pace it becomes available.
I have made the full summary available as an attachment. It gives a short overview of the whole story and then describes the events and rationale of the main story arc in detail, including the resolution.
Please be kind, this project means a lot to me (^_^')
Posts containing parts of the story get linked here for easy access
Prologue Part I (http://www.soulriders.net/forum/index.php/topic,101850.msg1026753.html#msg1026753)
Prologue Part II (http://www.soulriders.net/forum/index.php/topic,101850.msg1027964.html#msg1027964)
Since we've got spoilers marked in the title here, I'll forgo using spoiler tags in responding.
With the setting being in Rome, I'd address some of the natural concerns in taking that kind of trip - communication difficulties, and at least for Koizumi, the fact that he's going to be separated from his power base would likely be a concern. If you want to seed doubts or points of curiosity with Haruhi, you might also note that Yuki seems to be completely fluent in Italian, etc.
QuoteThe later books have underlined a growing discrepancy between the actions of these two Haruhis. Where the student!Haruhi is kind, caring and considerate, the leader!Haruhi can be competitive, ruthless and manipulative like the most hardball CEO of a kaisha.
I'm not quite so sure that this divide is so sharp. Certainly, the idea that she can't find a happy medium from which to relate to Kyon works, but I suspect it's more because she's still somewhat lacking in empathy - not to the point where she doesn't care about other people, but in trying to see things from others' perspectives and relate to them with that in mind? Yeah, she'll likely always have trouble with that.
QuoteOn day 6 (Rome II) Kyon is still ruminating his options when he is suddenly visited by adult!Asahina who doesn't want that Kyon tells Haruhi about her powers (too early for this timeline),
Mostly a pet peeve here, ignore at will. The idea of Mikuru at any age being manipulative is a really common (and personally irritating) interpretation of her; she never really shows much inclination towards this in the novels, aside from having a mostly unknown objective for a very long time - which is then clarified very well in book 11, and reveals that she's even more of an observer than Yuki is.
I understand that you're shooting for the brigade members to oppose what Kyon needs to do, but I'd tend to vote towards using Koizumi here more. It's probably recognized that I'm not a particular fan of his, but even setting my biases aside, he's still the most active hand in trying to influence Kyon - even if you approve of what he does, that's still far more true of him than anyone else. It does remove the option of a future!Kyon from the picture and the pre-written romance, but Koizumi could easily provide the latter, and a bit of introspection could give Kyon the perspective to see just how often Koizumi tries to manipulate/influence his interactions with Haruhi to get much the same effect.
Again, a big part of this suggestion is that the idea of a manipulative or activist!Mikuru just grates on me quite a bit, since 'conniving' isn't anything she ever really even shows hints of in the novels.
QuoteThat night, during the horror play in the Catacombs of Domitilla IDSE overrides and takes direct control of Nagato and unbeknownst to the rest of the brigade she delivers Kyon to Asakura for safekeeping while IDSE deploys a false Kyon to join the brigade.
Ties in with the above; it's still quite doable, I'd just consider very carefully how to approach it. The IDSE is already concerned about the possibility of a reveal to Haruhi due to the existence of the trump card, and they obviously take it seriously since they haven't tried to remove Yuki since then. Having them assume direct control of Yuki strikes me as far too risky for them; incapacitating her or keeping her from interfering in some manner seems more likely. The rest of the setup with Asakura sounds fine, as long as we get the cheerful ax crazy going with it.
Honestly, this is partly character interpretation (not -directly- supported by canon), but the impression I've always gotten is that after Disappearance, Yuki's first allegiance is now to Kyon and by extension the rest of the brigade, given that he's effectively saved her life. I'd see her actually being supportive of Kyon's efforts, but explicitly told not to interfere by the IDSE.
QuoteHaruhi exorcises her power and the unbound energy makes all hell break loose (this is where the nearby volcano, suitably foreshadowed by a visit to Pompei before the arrival at Capri, enters the equation).
Uh, one issue with that. You've made a point of stating here that Haruhi's use of her powers is more or less forced to be unconscious. How then can she consciously remove them?
Overall, the idea looks like it's got a lot of potential; the tripping hazards I can see are in setting up the brigade members as too antagonistic (leaving Kyon without any support to deal with a destabilizing and panicking Haruhi), and overshooting Haruhi's accidental use of her powers and setting up some fridge horror with it.
Definitely something I'll be interested to watch as it comes out, though.
Quote from: Halbarad on September 21, 2011, 11:50:26 AMQuoteThe later books have underlined a growing discrepancy between the actions of these two Haruhis. Where the student!Haruhi is kind, caring and considerate, the leader!Haruhi can be competitive, ruthless and manipulative like the most hardball CEO of a kaisha.
I'm not quite so sure that this divide is so sharp. Certainly, the idea that she can't find a happy medium from which to relate to Kyon works, but I suspect it's more because she's still somewhat lacking in empathy - not to the point where she doesn't care about other people, but in trying to see things from others' perspectives and relate to them with that in mind? Yeah, she'll likely always have trouble with that.
Interesting. I actually saw that behavior as Haruhi being (non-violently) tsundere about the issue; she's not ... quite just going about it the wrong way and accidentally slipping into her leadership role; she's actually trying to use the guize of leadership as a pretense to press Kyon romantically (but also has to be ... somewhat subtle about this, because of what she's trying to do).
That's somewhat also reflected (I think) in the way that Haruhi tries to get Kyon to study with her at her house in book 8, and in book 9 actually uses the 'should show up late to make an impression' excuse to spend time with Kyon (and help him study). I know I rave against tsundere Haruhi, but that's really the extreme/comic interpetation of 'tsundere', so toning that behavior down to something that wouldn't cause people to slap labels on a person in the real world feels like a good approach.
Er, if that wasn't quite well stated: I think that this is about as tsundere as Haruhi really gets; that feels true to her character.
Quote from: Halbarad on September 21, 2011, 11:50:26 AMQuoteThat night, during the horror play in the Catacombs of Domitilla IDSE overrides and takes direct control of Nagato and unbeknownst to the rest of the brigade she delivers Kyon to Asakura for safekeeping while IDSE deploys a false Kyon to join the brigade.
Ties in with the above; it's still quite doable, I'd just consider very carefully how to approach it. The IDSE is already concerned about the possibility of a reveal to Haruhi due to the existence of the trump card, and they obviously take it seriously since they haven't tried to remove Yuki since then. Having them assume direct control of Yuki strikes me as far too risky for them; incapacitating her or keeping her from interfering in some manner seems more likely. The rest of the setup with Asakura sounds fine, as long as we get the cheerful ax crazy going with it.
Honestly, this is partly character interpretation (not -directly- supported by canon), but the impression I've always gotten is that after Disappearance, Yuki's first allegiance is now to Kyon and by extension the rest of the brigade, given that he's effectively saved her life. I'd see her actually being supportive of Kyon's efforts, but explicitly told not to interfere by the IDSE.
Hmm. I pretty much agree with Hal that this approach could use a bit of refinement. I'm ... not sure the IDSE can just hijack Yuki, and if they could, they'd be really careful that, considering Kyon (and that he's pretty close to effectively playing the trump card anyway). If they have the power to isolate Kyon, replace him with a double,
and override Yuki....
Possible other approaches: Kimidori confronts Kyon and explains the IDSE's stance while Nagato is with him for his protection, and Asakura runs the horror storyline (otherwise, events proceed as normal). It'd let you also utilize the horror theme of the current arc from Kyon's PoV, since Nagato is with him, and he has to trust that Yasumi/Haruhi can keep the Brigade safe from Asakura.
Hmm. Well. I'm ... suddenly blanking, where I thought I had a few approaches. Well, you can do better than what I'm throwing out there, I'm sure.
Anyway:
Quote from: sarsaparilla on September 21, 2011, 04:41:12 AMPlease be kind, this project means a lot to me (^_^')
Hah, yes, I'll be good. >.>
Quote from: sarsaparilla on September 21, 2011, 04:41:12 AMHowever, eventually the dynamic of the situation becomes so obvious that even Kyon recognizes it and on the evening of day 5 (Rome I) Kyon and Haruhi have their first serious discussion (after a toga party arranged by Haruhi (When in Rome...)) where both of them know what is on the table. Kyon acknowledges that it's a package deal – he can't cherry-pick just the Haruhi that he wants, and is actually willing to consider a relationship, but then realizes that he can't have one in the current situation because Haruhi must know about her powers (and that Kyon knows about them as well, it's a trust issue for Kyon) before such a crucial decision. Kyon needs more time to reflect on it and the discussion ends in a stalemate. This is where the second part of the main story kicks in.
I like pretty much all of this. Hmm. Rather than make a long speech, I'll leave this link here, though, as it may be something to consider:
http://en.wikipedia.org/wiki/Honne_and_tatemae
Which, incidentally, could be applied to Kyon's narration through the novels, but, hey....
Quote from: sarsaparilla on September 21, 2011, 04:41:12 AMHowever, Kyon doesn't particularly like his future self and realizes that if he blindly obeys what others say then that is what kind of a person he will eventually become.
I ... think that this will require a time-quake at some point in your story to justify/resolve the paradox, and be consistant with how the stories explain time travel. But that's a minor detail, probably almost easily concealed in all of the other explosions (and the space-time bubbles) that are going to be set up.
Quote from: sarsaparilla on September 21, 2011, 04:41:12 AMHowever, Yasumi arrives to free Kyon and agrees with his intent. Before disappearing Yasumi creates a spacetime 'bubble' that shields the brigade members from their respective factions for the rest of the trip, but with the caveat that if things go wrong this particular branch of the timeline will disappear by the end of the trip and instead the default one where Kyon spent the last two days as an involuntary guest of IDSE will become the real one. After Kyon returns to the rest of the brigade Kyon, Nagato, Asahina and Koizumi hold an emergency meeting where Kyon gets a non-interference pledge from (the now released) Nagato, and while Asahina and Koizumi are against Kyon's plan they realize that they can't force Kyon into abandoning it.
I do like that you're using Yasumi, as that's an interesting angle that can get some development. I also note that it seems that Haruhi (in this story) maybe uses Yasumi, a little bit, to channel frustrations that her Shinjin can't handle, by being more callous than Haruhi will allow herself to be around others?
Maybe I'm reading too much into the outline; it'd tie into the conflict between Haruhi's desires and facade, though.
Yeah, almost certainly I'm reading too much into it. :p
On the angle of Mikuru -- since her older self already pressured Kyon, this would actually be a good chance for you to (counter to Hal's suggestion of not making the older one manipulative (Hal and I do, unfortunately, tend to reinforce one-another's opinions maybe a bit too much, so I'm going to try and play devil's advocate here)) have this Mikuru defy her orders and support Kyon making his own decisions. Mikuru's last real mentioned goal for character growth was to 'some day be the Mikuru that rescues Kyon'. That may not happen here, but it'd be a nice nod to her character-growth goal to see her become more supportive and confident anyway.
This does leave Koizumi as the 'odd man out' in terms of opposing Kyon, but since I (personally) tend to be too harsh on Koizumi, let me go against myself and suggest that Koizumi can be thrown a bone here, too; he can present the opposition to Kyon as the Organization's goal, not his. "My superiors have pressured me to relate things to you, though, what you do with this information is up to you...." etc.
Since you have them realizing they're not going to change Kyon's mind anyway, letting them explain the agendas of their superiors without actually approving them gives all three of them the same chance that is otherwise only given to Nagato: to state their own opinions and feelings on the subject and who they are, not just the goals of their organizations.
Admittedly, that's just one approach; if you're aiming for Kyon feeling alienated and unable to trust them as much at that moment (and thus more pressured to handle the situation with Haruhi on his own), then the revelations of their own goals and opinions can be held until after things are resolved or in a better situation to address.
I'm mostly only throwing this out because you were saying it was a longer story, and while your Haruhi/Kyon interactions are well mapped out, there's chances for the other characters to get some growth, too.
Quote from: sarsaparilla on September 21, 2011, 04:41:12 AMAt that point, and based on poor communication and inadequate understanding of the situation, Haruhi is alone and decides that if her powers stand between him and Kyon, and that they are not doing anything good for her in any case, then what she wants is Kyon. Haruhi exorcises her power and the unbound energy makes all hell break loose (this is where the nearby volcano, suitably foreshadowed by a visit to Pompei before the arrival at Capri, enters the equation). Nagato, Asahina, Koizumi and Yasumi disappear (because without a personified power there aren't aliens, time travelers, espers, or indeed avatars of the said power) and Kyon must convince (by now completely terrified) Haruhi into reversing her decision before all the power has escaped. After the misunderstandings are corrected Haruhi is still not certain because she now also sees all the consequences of her powers (on the surface it looks like the responsibilities are far greater than the benefits). Kyon asks Haruhi to reach into his mind for a particular memory and they visit the Disappearance universe and witness a heartbroken alternate!Haruhi dump alternate!Koizumi on Christmas day. When Kyon tells Haruhi that everything that is better in the real world than the drab alternate world is a direct consequence of Haruhi's powers, Haruhi finally understands the whole situation and absorbs the power back. WAFF ensues.
I'm not a big fan of poor communication kills, but it's used as dramatic tension, not to compound other things, so I think I'll be okay with it here.
I like the idea that Kyon sees Haruhi's influence as beneficial to reality as a whole.
Ahm. I think I'm about out of ideas to respond; I really like the sound of this one as you've outlined it, and am looking forward to seeing more. :)
Quote from: Halbarad on September 21, 2011, 11:50:26 AMWith the setting being in Rome, I'd address some of the natural concerns in taking that kind of trip - communication difficulties, and at least for Koizumi, the fact that he's going to be separated from his power base would likely be a concern.
Arakawa (and possibly Mori if I actually spot some place where she's needed) will accompany the brigade until Yasumi seals off the outside influence. There may be a hint that those are not the only members of the Organization that are present until that point, either.
Quote from: Halbarad on September 21, 2011, 11:50:26 AMIf you want to seed doubts or points of curiosity with Haruhi, you might also note that Yuki seems to be completely fluent in Italian, etc.
Nagato's fluency is to be expected, but I don't want to make the brigade members distrust each other at any point - they are in the same boat and only disagree on the best course of action.
Quote from: Halbarad on September 21, 2011, 11:50:26 AMThe idea of Mikuru at any age being manipulative is a really common (and personally irritating) interpretation of her; she never really shows much inclination towards this in the novels
If the summary gives that impression then I have expressed the situation poorly. Adult!Asahina has given Kyon advise before in situations where she thought that Kyon would need it. Here she expresses the concern that Kyon is about to do something extremely risky, advises against it, and in the case that he won't listen to the advise she tries to help him by recruiting Kyon's older self who presumably is better in coming up with a romantic play that Haruhi would accept because Asahina knows that Kyon doesn't have a play prepared.
Yes, she tries to affect Kyon's decision but she doesn't have any hidden, underhanded motives for that.
Quote from: Halbarad on September 21, 2011, 11:50:26 AMI understand that you're shooting for the brigade members to oppose what Kyon needs to do, but I'd tend to vote towards using Koizumi here more.
Yes, Koizumi will certainly be the main day-to-day irritation of Kyon all the way through the trip. He'll be pushing Kyon for the relationship right until the events of day 6. After he realizes what the relationship entails he does a full turn for the rest of the trip. The reason why I didn't mention it in the summary is that in the greater scheme of things it is just that, an irritation without real influence.
Quote from: Halbarad on September 21, 2011, 11:50:26 AMThe IDSE is already concerned about the possibility of a reveal to Haruhi due to the existence of the trump card, and they obviously take it seriously since they haven't tried to remove Yuki since then. Having them assume direct control of Yuki strikes me as far too risky for them; incapacitating her or keeping her from interfering in some manner seems more likely. The rest of the setup with Asakura sounds fine, as long as we get the cheerful ax crazy going with it.
Honestly, this is partly character interpretation (not -directly- supported by canon), but the impression I've always gotten is that after Disappearance, Yuki's first allegiance is now to Kyon and by extension the rest of the brigade, given that he's effectively saved her life. I'd see her actually being supportive of Kyon's efforts, but explicitly told not to interfere by the IDSE.
In my scenario IDSE takes control of Nagato when she is alone with Kyon (as an intended part of the horror play), so the rest of the brigade doesn't notice anything at the moment. Actually, where IDSE goes wrong is that subconscious!Haruhi spots the false Kyon and sends Yasumi to save the real one. After IDSE has been sealed out of the situation, it is just as you say. Nagato immediately pledges support (or what Kyon actually asks, non-interference) to Kyon.
Personally, I consider all of IDSE (except Nagato) the least trustworthy background faction, and here it's presented as essentially going into emergency mode.
Quote from: Halbarad on September 21, 2011, 11:50:26 AMQuoteHaruhi exorcises her power and the unbound energy makes all hell break loose (this is where the nearby volcano, suitably foreshadowed by a visit to Pompei before the arrival at Capri, enters the equation).
Uh, one issue with that. You've made a point of stating here that Haruhi's use of her powers is more or less forced to be unconscious. How then can she consciously remove them?
The actual impulse for her decision comes through her subconscious, which is also the active agent. Kyon has just caused an existential crisis on Yasumi who starts to doubt her values and motives after Kyon gives her a piece of his mind.
Furthermore, the story postulates that the relation between Haruhi and Yasumi is a bit like one between a master and a mischievous genie. The master makes a wish and the genie fulfills it (when certain conditions apply) in the way that it sees fit, and the result may or may not be what the master intended. However, when Haruhi wishes Yasumi away, it doesn't leave room for interpretation.
It ... will make sense in the context, I believe.
Quote from: Halbarad on September 21, 2011, 11:50:26 AMOverall, the idea looks like it's got a lot of potential; the tripping hazards I can see are in setting up the brigade members as too antagonistic (leaving Kyon without any support to deal with a destabilizing and panicking Haruhi), and overshooting Haruhi's accidental use of her powers and setting up some fridge horror with it.
I will try to avoid hammering wedges between any brigade members - they will always try to work for the common good but they may have conflicting views on how to do that. The background factions are treated with less trust and that is the main reason why they are removed from the game when it gets hot.
Concerning Haruhi's experiments with her powers, the pairing experiment will be the most dire example (and as mentioned, the one that gets Kyon so riled up that he (unintentionally) triggers the endgame). For the most part it will be harmless stuff like grass suddenly turning pink (as I try to keep in mind what kind of a person Yasumi is and what she might consider 'fun' or 'romantic').
Thanks for these comments, I'll be keeping them in mind as I work on the details.
Quote from: Brian on September 21, 2011, 01:42:18 PMI actually saw that behavior as Haruhi being (non-violently) tsundere about the issue; she's not ... quite just going about it the wrong way and accidentally slipping into her leadership role; she's actually trying to use the guize of leadership as a pretense to press Kyon romantically (but also has to be ... somewhat subtle about this, because of what she's trying to do).
Actually, if we talk about tsundere then I'd tend to say that if anything, Haruhi is an
inverse tsundere. She shows both typical deredere and tsuntsun behaviors (and of course, much more), but in the opposite sense than an actual tsundere.
But of course, she doesn't have split personality or anything, the labels that I made up are just a mental aid in trying to map her main modes of operation.
Quote from: Brian on September 21, 2011, 01:42:18 PMThat's somewhat also reflected (I think) in the way that Haruhi tries to get Kyon to study with her at her house in book 8, and in book 9 actually uses the 'should show up late to make an impression' excuse to spend time with Kyon (and help him study).
Yes, the 'study aid' was actually one of Haruhi's tactics that worked as intended (I think), and showed how Haruhi is slowly learning what works with Kyon and what doesn't.
Quote from: Brian on September 21, 2011, 01:42:18 PMI pretty much agree with Hal that this approach could use a bit of refinement. I'm ... not sure the IDSE can just hijack Yuki, and if they could, they'd be really careful that, considering Kyon (and that he's pretty close to effectively playing the trump card anyway). If they have the power to isolate Kyon, replace him with a double, and override Yuki....
I'm trying to present the situation in the light that the main point of day 5 (Kyon's and Haruhi's serious discussion) and the following consequences represent a very unexpected turn of events and after that all factions are basically working in emergency mode.
As a part of the play, Nagato already takes Kyon to a separate place in the catacombs, and that is where IDSE intervenes.
Quote from: Brian on September 21, 2011, 01:42:18 PMRather than make a long speech, I'll leave this link here, though, as it may be something to consider:
http://en.wikipedia.org/wiki/Honne_and_tatemae
Which, incidentally, could be applied to Kyon's narration through the novels, but, hey....
Thanks, will keep in mind.
Quote from: Brian on September 21, 2011, 01:42:18 PMI ... think that this will require a time-quake at some point in your story to justify/resolve the paradox, and be consistant with how the stories explain time travel. But that's a minor detail, probably almost easily concealed in all of the other explosions (and the space-time bubbles) that are going to be set up.
The 'bubble' acts as one. While in effect, it is a kind of a pocket universe and it is implied that somewhere outside the 'larger' universe without Yasumi's intervention is proceeding at its own pace, and depending on what happens in the bubble it will either vanish without trace or replace the default universe at the time of expiration, thus causing a time quake.
Quote from: Brian on September 21, 2011, 01:42:18 PMI do like that you're using Yasumi, as that's an interesting angle that can get some development. I also note that it seems that Haruhi (in this story) maybe uses Yasumi, a little bit, to channel frustrations that her Shinjin can't handle, by being more callous than Haruhi will allow herself to be around others?
I love the window into Haruhi's mind that Yasumi provides, and intend to use her to the full effect ^^
Quote from: Brian on September 21, 2011, 01:42:18 PMOn the angle of Mikuru -- since her older self already pressured Kyon, this would actually be a good chance for you to (counter to Hal's suggestion of not making the older one manipulative (Hal and I do, unfortunately, tend to reinforce one-another's opinions maybe a bit too much, so I'm going to try and play devil's advocate here)) have this Mikuru defy her orders and support Kyon making his own decisions. Mikuru's last real mentioned goal for character growth was to 'some day be the Mikuru that rescues Kyon'. That may not happen here, but it'd be a nice nod to her character-growth goal to see her become more supportive and confident anyway.
Ok, I'll seriously have to reconsider the angle I'll be using for her. I want it to look like she's doing her best to help, but also that at the end she will find the situation better than before.
Quote from: Brian on September 21, 2011, 01:42:18 PMThis does leave Koizumi as the 'odd man out' in terms of opposing Kyon, but since I (personally) tend to be too harsh on Koizumi, let me go against myself and suggest that Koizumi can be thrown a bone here, too; he can present the opposition to Kyon as the Organization's goal, not his. "My superiors have pressured me to relate things to you, though, what you do with this information is up to you...." etc.
I assume that the Organization was not aware of Kyon's intentions until they were pre-emptively sealed out, leaving Koizumi free to act as he sees best. Furthermore, because Yasumi is working with Kyon for a common goal (at least until the endgame) and is happy with that, Koizumi is puzzled when Haruhi is enraged but it doesn't cause closed space.
I think that I'll have to add one more discussion between Kyon and Yasumi at some earlier point in the story. It could be one of the triggers for day 5, and make the time when she's needed for saving Kyon less of a Deus Ex Machina.
Quote from: Brian on September 21, 2011, 01:42:18 PMSince you have them realizing they're not going to change Kyon's mind anyway, letting them explain the agendas of their superiors without actually approving them gives all three of them the same chance that is otherwise only given to Nagato: to state their own opinions and feelings on the subject and who they are, not just the goals of their organizations.
Yes, I intended to have that angle for the emergency meeting that ends day 6. They do not mistrust each other at any point.
Quote from: Brian on September 21, 2011, 01:42:18 PMI'm mostly only throwing this out because you were saying it was a longer story, and while your Haruhi/Kyon interactions are well mapped out, there's chances for the other characters to get some growth, too.
I was hoping to be able to have a closer look at the rest of the brigade members during their respective themed activities.
Quote from: Brian on September 21, 2011, 01:42:18 PMI'm not a big fan of poor communication kills, but it's used as dramatic tension, not to compound other things, so I think I'll be okay with it here.
It will be quite the challenge to play it in a way that is natural (if unfortunate) instead of just making rounds with the Idiot Ball.
Quote from: Brian on September 21, 2011, 01:42:18 PMI like the idea that Kyon sees Haruhi's influence as beneficial to reality as a whole.
I believe that Kyon's point is ultimately valid -- the difference between the two worlds is exactly that Haruhi doesn't have powers in the alternate one. If I can play it right it will be at the same time the crowning moment of heartbreaking
and heartwarming for the story.
Again, thanks for the feedback!
Quote from: sarsaparilla on September 21, 2011, 02:48:16 PMActually, if we talk about tsundere then I'd tend to say that if anything, Haruhi is an inverse tsundere. She shows both typical deredere and tsuntsun behaviors (and of course, much more), but in the opposite sense than an actual tsundere.
But of course, she doesn't have split personality or anything, the labels that I made up are just a mental aid in trying to map her main modes of operation.
I think that ties into my 'as close as you can get to tsundere while being realistic' point. So, maybe, it would be better to say it as, "Haruhi has tsundere leanings/behaviors at times"?
Quote from: sarsaparilla on September 21, 2011, 02:48:16 PMYes, the 'study aid' was actually one of Haruhi's tactics that worked as intended (I think), and showed how Haruhi is slowly learning what works with Kyon and what doesn't.
Hmm. Yeah, I can see that.
Quote from: sarsaparilla on September 21, 2011, 02:48:16 PMAs a part of the play, Nagato already takes Kyon to a separate place in the catacombs, and that is where IDSE intervenes.
Huh. I just got the idea that for Nagato's horror story, everyone's afraid of the same thing ... Kyon going away. o_O?
Quote from: sarsaparilla on September 21, 2011, 02:48:16 PMThanks, will keep in mind.
Well, remember the last note of the article, which is that the entire thing may also be a bit overstated, too; food for thought, but don't let it influence you
too much. :)
Quote from: sarsaparilla on September 21, 2011, 02:48:16 PMQuote from: Brian on September 21, 2011, 01:42:18 PMI do like that you're using Yasumi, as that's an interesting angle that can get some development. I also note that it seems that Haruhi (in this story) maybe uses Yasumi, a little bit, to channel frustrations that her Shinjin can't handle, by being more callous than Haruhi will allow herself to be around others?
I love the window into Haruhi's mind that Yasumi provides, and intend to use her to the full effect ^^
There's also the idea that if Yasumi can get (at times) to be an independant person, does she want to do things that Haruhi can't/won't, too? Possibly even moreso, because Haruhi is supressing herself at the moment?
Quote from: sarsaparilla on September 21, 2011, 02:48:16 PMOk, I'll seriously have to reconsider the angle I'll be using for her. I want it to look like she's doing her best to help, but also that at the end she will find the situation better than before.
Simple enough; she just needs to believe she's doing the right thing.
...wow, that sounded remarkably callous of me. Er. Discussing morality in fiction ... I think after this I should take a break from all the C&Cing/character discussion I've been getting into the last few days! :p
Anyway. If the adult!Mikuru that shows up first believes that she's doing the right thing, it shouldn't be too hard to present that view. Probably, the best tool to convey that things aren't right with that future would be through the alternate future!Kyon, instead of her.
There's a lot of ways to play that, I suppose. At any rate, I am sure I can trust you to handle it well. :)
Quote from: sarsaparilla on September 21, 2011, 02:48:16 PMI assume that the Organization was not aware of Kyon's intentions until they were pre-emptively sealed out, leaving Koizumi free to act as he sees best. Furthermore, because Yasumi is working with Kyon for a common goal (at least until the endgame) and is happy with that, Koizumi is puzzled when Haruhi is enraged but it doesn't cause closed space.
I think that I'll have to add one more discussion between Kyon and Yasumi at some earlier point in the story. It could be one of the triggers for day 5, and make the time when she's needed for saving Kyon less of a Deus Ex Machina.
It sounds like these interactions could very well be some of the most critical in the story (as well as interesting ... Kyon having frank discussions with the manifestation of Haruhi's psyche is a pretty engaging idea!).
Quote from: sarsaparilla on September 21, 2011, 02:48:16 PMI was hoping to be able to have a closer look at the rest of the brigade members during their respective themed activities.
Ah; looking forward to that, then!
Quote from: sarsaparilla on September 21, 2011, 02:48:16 PMQuote from: Brian on September 21, 2011, 01:42:18 PMI like the idea that Kyon sees Haruhi's influence as beneficial to reality as a whole.
I believe that Kyon's point is ultimately valid -- the difference between the two worlds is exactly that Haruhi doesn't have powers in the alternate one. If I can play it right it will be at the same time the crowning moment of heartbreaking and heartwarming for the story.
I can see the potential for both; I'll be looking forward to seeing more of this, then. :)
Quote from: sarsaparilla on September 21, 2011, 02:48:16 PMAgain, thanks for the feedback!
Glad to help~!
Quote from: Brian on September 21, 2011, 03:11:28 PMThere's also the idea that if Yasumi can get (at times) to be an independant person, does she want to do things that Haruhi can't/won't, too? Possibly even moreso, because Haruhi is supressing herself at the moment?
That is pretty much the way I see Yasumi, she is completely unconcerned about how others perceive her actions (it is first an endearing, childlike trait of hers but once she does things that Kyon disapproves of he starts to see it as a shortcoming instead), and on her own she definitely does things that Haruhi wouldn't do in the same situation (as an example, after she has released Kyon she tells that Haruhi is going to reprimand Kyon for something that the false Kyon did, asks that Kyon won't be mad at her for that and then kisses Kyon on the cheek as a compensation in advance). Kyon is still not happy to receive blame for something that he didn't do, and this has a minor effect on where things go from that point.
But if I follow your suggestion below, this can be taken to a whole new level.
Quote from: Brian on September 21, 2011, 03:11:28 PMQuote from: sarsaparilla on September 21, 2011, 02:48:16 PMI think that I'll have to add one more discussion between Kyon and Yasumi at some earlier point in the story. It could be one of the triggers for day 5, and make the time when she's needed for saving Kyon less of a Deus Ex Machina.
It sounds like these interactions could very well be some of the most critical in the story (as well as interesting ... Kyon having frank discussions with the manifestation of Haruhi's psyche is a pretty engaging idea!).
Wow. Now that you mentioned it ... it's something that I definitely must do. Besides that it will be a pretty interesting new dynamic to the story, it is a great device to frame the process through which Kyon slowly warms up to the idea of having a relationship with Haruhi. Instead of going through endless monologues he can discuss the issues with Yasumi! Also, when played right it will establish the pattern that when Haruhi is displeased with Kyon he will get a visit from Yasumi (and there will be many opportunities for that during the trip!), something that is (most likely) needed during the endgame.
Oh dear, this will be one
busy trip for Kyon! ^^ (And as always, I'm extremely grateful for these comments and ideas.)
I'm still trying to understand how you're planning to present the nature of Haruhi's power. It seems to stray a bit close to "Haruhi was initially a warper, but most of her abilities have passed to Yasumi". That's... a bit creepy, actually, since Yasumi is self-aware
and childlike/amoral
and she presumably has privileged access to the contents of Haruhi's mind.
Most of these problems can probably be solved if you make it more that Yasumi isn't a separate person, so much as a projection of Haruhi's inner frustrations/desires.
Also, if you want to develop a theory where Haruhi's powers are purely subconscious/superconscious but she can still exert some measure of control over them in the story, one possible suggestion is familiarizing yourself with Steve Pavlina's take on Intention-Manifestation
http://www.stevepavlina.com/blog/2005/10/manifesting-intentions/ (this is probably the most Haruhi-like take on the subject on his blog, but you can of course click around to related articles which use a different metaphor to explain the notion)
and assume that Haruhi's powers are more or less a supercharged version of I-M. So obviously she would have extreme difficulty controlling her powers consciously even if she knew about them, just like reading that blog article wouldn't instantly turn you into a reality warper :-)
Yasumi gets an opportunity to act out the divide between what Haruhi is trying to focus on creating (consciously or unconsciously), and what her actual focus ends up being.
Quote from: sarsaparilla on September 21, 2011, 02:48:16 PM
Quote from: Brian on September 21, 2011, 01:42:18 PMI ... think that this will require a time-quake at some point in your story to justify/resolve the paradox, and be consistant with how the stories explain time travel. But that's a minor detail, probably almost easily concealed in all of the other explosions (and the space-time bubbles) that are going to be set up.
The 'bubble' acts as one. While in effect, it is a kind of a pocket universe and it is implied that somewhere outside the 'larger' universe without Yasumi's intervention is proceeding at its own pace, and depending on what happens in the bubble it will either vanish without trace or replace the default universe at the time of expiration, thus causing a time quake.
A... generalized theory of reality warping might have closed spaces serve as an 'overlay dimension' where the warper wants to test a complicated change that they're not 100% sure they want to commit to. Once they're certain that the stuff in the closed space is what they want, they can collapse it over whatever portion of space-time it's based on (overwriting it in what, to the time-travelers, looks like a spontaneous timequake).
So, if used properly, a closed space just provides an additional layer of safety, isolating a major change to reality so the warper can observe and verify firsthand whether they want to enact it in the real world or not.
Since Haruhi is unaware of her own closed spaces, she doesn't have very much control and doesn't know how to fill them with anything other than celestials and espers -- I think book 11 even uses the metaphor that early usage of her powers amounted to someone trying to write coherent text by pounding randomly on a keyboard.
Yasumi, since presumably you have her as a childlike, self-aware reality warper, is able to simply create a closed space in which she gives Kyon a chance to create the desired outcome and then if he succeeds the space collapses over top of whatever real part of Italy it's been taken from.
Not sure whose terminology for Yasumi's space-time bubble / closed space I like better here, yours or mine.
Quote from: Arakawa Seijio on September 25, 2011, 11:36:03 PMI'm still trying to understand how you're planning to present the nature of Haruhi's power. It seems to stray a bit close to "Haruhi was initially a warper, but most of her abilities have passed to Yasumi". That's... a bit creepy, actually, since Yasumi is self-aware and childlike/amoral and she presumably has privileged access to the contents of Haruhi's mind.
Most of these problems can probably be solved if you make it more that Yasumi isn't a separate person, so much as a projection of Haruhi's inner frustrations/desires.
The nature of the different facets of Haruhi is the main psychological/philosophical layer of the work, and something that was only indirectly referred to in the summary. In canon, all the three main facets were initially (around book 1) one inseparable jumble, but as time passes they slowly diverge in their own directions. Yasumi
is the warper!Haruhi, and has been that from day one, it's just that she didn't have a physical manifestation until recently. She is also a projection of Haruhi's subconsciousness, but (because of the personality drift) for almost all practical purposes she can be treated as a separate personality of her own (and the aspects of this unique configuration are then examined during the story). Yasumi has access to Haruhi's mind but the reverse is not true, and Yasumi sees herself as (a part of) Haruhi (she refers to Haruhi as 'me' when talking to Kyon). This is a key point of the story because Kyon's last discussion with Yasumi makes her re-assess this relationship between the conscious and subconscious mind.
But ... all this philosophical stuff will be broken into tiny pieces and served alongside an actual story to avoid pages and pages of thumb-twiddling ruminations, so that the work remains readable as a novel instead of an example of extreme author indulgence.
Quote from: Arakawa Seijio on September 25, 2011, 11:36:03 PMAlso, if you want to develop a theory where Haruhi's powers are purely subconscious/superconscious but she can still exert some measure of control over them in the story, one possible suggestion is familiarizing yourself with Steve Pavlina's take on Intention-Manifestation
http://www.stevepavlina.com/blog/2005/10/manifesting-intentions/ (this is probably the most Haruhi-like take on the subject on his blog, but you can of course click around to related articles which use a different metaphor to explain the notion)
and assume that Haruhi's powers are more or less a supercharged version of I-M. So obviously she would have extreme difficulty controlling her powers consciously even if she knew about them, just like reading that blog article wouldn't instantly turn you into a reality warper :-)
Yes, that is somewhere along the lines I was thinking about, but the most obvious point of the blog post is that it illustrates why Haruhi can still, after all this time, be unaware of her powers when a superficial examination would suggest that it is almost impossible to
not notice that there's something funny going on. (On a somewhat unrelated note, the blogger fails Popper, or specifically the concept of falsifiability.) I'll be working with the hypothesis that Haruhi
knows that there's something funny going on (in this respect the Snow Mountain incident is the definite watershed), but that she ultimately finds seeking something more fun than actually finding it (which goes back to the initial premise that the world is already the way Haruhi wants it).
Quote from: Arakawa Seijio on September 25, 2011, 11:36:03 PMNot sure whose terminology for Yasumi's space-time bubble / closed space I like better here, yours or mine.
Well, at least we seem to agree with the general principle :) It isn't a closed space in the conventional sense (because otherwise Koizumi could use his powers) and doesn't have a direct equivalent in canon, but it has some properties of both the time loop of Endless Eight (just not the loop itself) and the branching of books 9-11. A custom tailored piece of Applied Phlebotinum to enable the desired plot, I guess.
Thanks for the comments!
Quote from: sarsaparilla on September 26, 2011, 01:48:57 AM
(On a somewhat unrelated note, the blogger fails Popper, or specifically the concept of falsifiability.)
I sort of get the sense he does that deliberately, in order to lock himself out of an objective way of looking at things and into the weird reality-warper way of looking at things. It's very consciously a not-'sane' method of looking at goal achievement, a sort of 'applied wishful thinking' if you will...
It's worth noting that recently the guy has become even more extreme in terms of how strongly he phrases the theory. Now he's on Subjective Reality, where he claims that the universe is embedded within the observing mind and not the other way around =:-[
I don't know, I just like being exposed to weird perspectives on such things and I particularly like the unexpected Haruhi parallels that Pavlina gets into. It's fairly audacious to go and state in all
seriousness that basically
everyone in the universe is a reality warper.
Getting the sense from your lukewarm reaction to this idea (basically boiling down to "uh, okaaaay...") that this is going to remain very much my own angle on Haruhi to explore...
Quote from: sarsaparilla on September 26, 2011, 01:48:57 AM
It isn't a closed space in the conventional sense (because otherwise Koizumi could use his powers)
I don't think that's an essential requirement of closed space. Sasaki's construct, for instance, is still called a closed space even though it's completely undetectable to Koizumi and indeed Kyouko's interaction with it doesn't really follow any of the same principles... the etymology of the term itself merely requires it to be some localized, enclosed pocket of space-time which is separate from the parent universe.
Prologue I
As I have never written anything of this magnitude before, this project is very much a learning experience for me. My earlier stories have been something that just emerges more or less ready-made from the deep recesses of the subconsciousness, and my task has been just to write them down. Now, however, I'm trying to wrestle the control of the process to my conscious self and the difference is pretty similar to the one between normal and lucid dreams. Being in charge is more tiresome and requires caution to avoid accidentally breaking things, but conscious control gives me freedom to go where I want myself, and I've already found out that I'm enjoying the feeling immensely. The direct consequence is that the overall style and atmosphere of this story is quite unlike anything that I've written before, and I'm not yet sure whether the change is for the better.
So, please find attached the first part of the first chapter of the story. The chapter was ballooning out of control so I decided to split it in two for now, although I'm unsure how to handle the situation when actually publishing it. On one hand, I wouldn't want to open a new story with a 15k word whopper that scares away the majority of potential readers by its sheer size. On the other hand, this first half of the chapter is not an independent entity. It doesn't have the proper structure, it doesn't resolve anything (or make much sense on its own), and most importantly, there is a conspicuous lack of incentives to continue reading the story. Thus, I'm not completely happy with the situation but will try to manage it once the second half is ready as well.
Edit: attachment updated on Nov 17, 5th revision.
QuoteAlthough spring is my favorite season, summer comes right behind, and not just literally speaking. Like peasants enduring through the hardship of the rice planting season, knowing that the arduous toiling will soon be over and there will be a short respite before the fruits of the invested labor can be collected, students had been working hard ever since the beginning of the new school year and now the long awaited summer vacation was finally so close that it was turning from a distant reverie into a tangible possibility. Although summer shousho was still ahead, the weather had been fair with ever increasing temperatures for two weeks already, and to teachers' eternal exasperation, the persistent sunshine was slowly but surely wearing down students' last shreds of determination to sit quietly inside, reading about mind-numbing topics like function theory, verb conjugation or the power struggles of the Kamakura period.
Repetition of
season here; I would suggest, for example, "spring is my favorite time of year" as replacing the second wouldn't make sense. Also,
rice-planting, I think. The use of
shousho is not entirely clear to me.
QuoteThis was my second summer as a high school student, but in a sense it was the first one when I actually felt more or less like an actual student, enjoying the steady and predictable schedule of school activities with normal, everyday thoughts in my mind. Mostly normal thoughts, and those thoughts that went beyond what any average person could possibly categorize as normal weren't that unwelcome either. I realized, to my own mild astonishment, that on the whole I was more satisfied with the current situation than perhaps ever since entering high school and meeting the person who would turn my entire world upside down like an irresistible force of nature.
I suggest removing
perhaps. It breaks up a common phrase and thus draws undue attention to itself.
QuoteAs long as I live I'll never be able to forget that name, and one of the reasons for that was exactly that I had spent a large part of the last summer in a constant state of emergency, trying to avert an impending end-of-the-world disaster that always seemed to be just one poorly chosen word or inadvertent action away. Since that time things had gotten better, so much better in fact that right now I could sit here on the school premises and enjoy the agreeable atmosphere of an early afternoon in the joujun of July, completely confident of the fact that any sudden disturbances couldn't take it away from me. For most people it might be a sign of foolishness to express excessive confidence in future events, but I had a very specific reason for my seemingly bold statement.
There are a couple
thats in the first sentence, and removing one of them might be helpful. I recommend ending the sentence at
name and restructuring the following phrase into a sentence of its own.
Again, I'm not especially familiar with an extensive Japanese vocabulary. The menaing of
joujun was not something I could immediately fathom from context here. If you feel that trying to make that clear would slow down the story too much, perhaps a short listing of definitions at the end of the chapter would do?
QuoteHaving originally been the direct threat to the world as we knew it, Haruhi's ability to subconsciously alter reality had later become a source of stability instead. The last time when an external force had tried to divert the course of history from its proper path had been in April, and the attempt had been swiftly and decisively thwarted, in a manner that underlined the fact that the scheme hadn't had any chance of succeeding in the first place. Maybe such an overwhelming show of force was acting as a preventive measure, making any potential antagonists think twice before they pushed forward with their futile plans. Whichever way it was, the SOS Brigade had been enjoying an extended period of relatively peaceful and untroubled existence for over two months already, and I wasn't going to be the one to complain about it.
I think
later may not make sense here; Kyon's narrative tense has bothered me a bit in the novels. He tends to narrate like he's writing very shortly after real time.
Had become ought to be fine. I'd remove the
when after "The last time...". Also, "Whichever way it was" seems awkward. Perhaps "Whatever it was"? Instead of "had been enjoying," perhaps "had enjoyed"? And for the similar reasons, remove
already?
...you know, looking at all that closer, those suggestions about tense and time-related words all seem linked. Hold that thought.
QuoteHowever, the largest change could be seen in Haruhi herself if one knew where to look. She was still just as energetic and excitable as ever, and would on occasion get some new idea that temporarily turned her immediate surroundings into a hotbed of more or less questionable activities, but anybody who observed it on a merely superficial level would miss the most important development. As much as it strains the definition of the word to say this, Haruhi was undeniably becoming more normal.
just seems unnecessary and can be optionally removed. The comma after
ever makes this a bit grammatically weird. Also, suggest "observed
her" instead of "observed it"?
QuoteThe few city-wide mystery searches that we had had after the SOS Brigade anniversary in May had turned into poorly concealed excuses for window shopping, and Haruhi had apparently been completely content with that. Beyond the brigade activities, she was also interacting with other people on a daily basis, and I was pretty certain that these days she was genuinely enjoying the company of perfectly ordinary students like Sakanaka-san. Actually, when Haruhi was not using her position as the leader of the brigade to push issues in the direction she wanted, she could present an entirely engaging and sociable aspect of herself to others.
poorly-concealed.
QuoteIn my opinion, it was not as much a matter of her growing up into a better person, as it was one of her once again becoming the nice person she had originally been, and I had several good reasons for believing so after all the things that I had learned during the incident in April.
There seem to be several instances here where contractions are avoided when they would make the narrative snappier. The structure of the first sentence is a bit clumsy. You could end it at
person and begin a new sentence as "Rather, she'd returned to being the nice person..." but that doesn't seem, well, quite so snappy either.
QuoteThis completely unnecessary comment was provided by the person currently sitting idly next to me on the stairs leading down to the baseball field where the all stars team of North High was having a match against a visiting team from another school. Other than whatever meager pride we could muster to support the home team, neither of us had any personal interest in the current match, and thus we sat there listlessly like two old cormorant fishers, content with the opportunity to just enjoy the scenery and let others do the hard work. A moment of silent indulgence would have suited me perfectly, but the official mysterious transfer student and vice president of the SOS Brigade felt compelled to keep talking without any further encouragement to do so.
That's a long first sentence. I'd delete
currently, end the sentence at
me, and just insert some innocent verb to get, say, "On the stairs leading to the baseball field, Koizumi and I watched the North High All-Stars meet a visiting team from another school." Otherwise, Kyon's usual exasperation with Koizumi is rendered perfectly.
Actually...why would a high school have an all-star team? Do they do that there?
Quote"My current smile is completely genuine and heartfelt. There has not been a single instance of closed space forming after that incident in April, which means that the first time in four years I get to sleep through the night unperturbed. I was not even fully aware of how large a burden the eternal vigilance had become until this reprieve. Quite honestly, I am feeling refreshed, almost like a different person, and I sincerely hope for things to stay this way."
This would be improved if Kyon had mentioned Koizumi's shifty smiles in the preceding paragraph. Suggest more contractions again.
QuoteKoizumi paused momentarily to watch as a fortuitously placed line drive brought a run for the home team, and chuckled before continuing.
Possibly
brought in instead. That would strike me as slightly more typical in baseball usage.
Quote"Still, there has been some minor consternation within the Organization concerning the current situation. From a certain point of view, right now we are essentially an agency without a purpose. Speaking of which, I must say that I can completely sympathize with the situation Tachibana-san is facing. I have understood that she has been having a hard time after she left her respective faction, and it looks like their whole organization might be on the verge of collapse."
And, more contractions. For the last sentence, the tense also serves to make things a bit odd. Something like "I understand she's had a difficult time after leaving her respective faction..."
Since you continue with Koizumi's dialogue, the correct punctuation for this paragraph is
not to close the quotation mark.
Quote"Then, you know as much about the whereabouts of the other members of the anti-SOS Brigade as I do. Ever since the joining of the timelines in April there has not been a single sighting of the person known as Fujiwara, so we might have gotten permanently rid of him, although it goes without saying that one can never be completely certain when it comes to time travelers. On the other hand, that alien interface of the Sky Canopy Dominion is still attending Kouyouen and does not seem to be interested in communicating with us at the moment. Of course, I am not privy to whatever communications the two alien factions might be having with each other. That is the current situation, and there are not any discernible forces acting toward destabilizing it."
It seems odd for Koizumi to refer to them as an "anti-SOS Brigade". Wouldn't he favor more neutral phrases like "our counterparts for Sasaki(-san)" and such?
I'll stop mentioning them, but yeah, contractions. I also suggest
the alien interface instead of
that and possibly "seems uninterested" instead of "does not seem to be interested" as well as "there are
no discernable forces" instead of "there are not any".
QuoteI must give you credit for not counting Sasaki among the members of the anti-SOS Brigade.
I don't find that phrase (anti-SOS Brigade) anywhere in the 9-11 text. It seems even more unusual for Kyon to refer to them that way unless it was someone's idea to do so.
QuoteKoizumi stopped talking and I spent some time watching other students at the perimeter of the field before concentrating on the game again. It looked like the match was wrapping up, and unless the visiting team would make an unexpected comeback the home team would take an easy win after the last inning. Because of that I wasn't particularly interested in waiting until the game was over, so I stood up and headed back to the main building. Koizumi was not in a hurry and was determined to stay until the end of the match, so as I walked away he just reminded that we'd be seeing each other after the school hours again.
You want a comma after
talking. Instead of "spent some time watching," perhaps just
watched? Intead of "would make" try "could make"? A comma after
comeback and end that sentence at
win or, instead, be more specific, like "after the next half-inning"? Try "Koizumi was in no hurry and resolved to stay through the end of the match" to remove
not, and "after
the school hours" seems odd.
QuoteIn July it was already way too late to catch May sickness, and in any case Haruhi was never sick in the first place, but I was almost certain that there was something in her mind that she was holding back. On occasion, she would abruptly stop talking, even in the middle of a sentence, and stay silent for a good while before continuing with some other, completely unrelated topic. Or, she might suddenly lose all interest in a particular idea that she had only a moment ago pursued like it was her entire raison d'etre, and just sit still for ages, contemplating some inner vision she wasn't willing to share with others. I had previously seen what Haruhi looked like when she was bored, annoyed or just dispirited, and this spell was none of those. It wasn't even the muted aura of a Haruhi who was secretly hatching a new plan for making the world a more interesting place. No, there was something else, but for the life of me I couldn't figure out what it was and there wouldn't be any point in asking, anyway.
Suggest removing the comma after "raison d'etre" and adding one after "I couldn't figure out what it was".
QuoteIt wasn't exactly a regular or a particularly systematic curriculum, as Haruhi followed her own interests and lines of thought that were as unfathomable as the migration patterns of bluefin tuna in the uncharted depths of the ocean, sometimes pressing a certain topic for two or three days in a row and then forgetting the whole thing for several days, so that I already started to suspect that she had lost all interest in the project until she picked up the books again.
You might consider doing something about the repetition of
days. Perhaps replace the first one with
lectures.
QuoteWhatever I thought in general about being the focus of Haruhi's sporadic efforts of making the world a more learned place, even if only by a vanishingly small amount in total, I had to admit that her approach was working. After a long, depressing downward slope that had dominated my performance record for the entire first year there had recently been a definite turn for the better, and although I wasn't anywhere near the top of the list like Haruhi, it had started to look less likely that I would be doomed to spend time as a ronin after the high school.
The first sentence is a bit meandering. I suggest "of making" -> "to make" and perhaps kill what comes after
place.
QuoteBesides having my own grades on the rise, I had also gradually started to understand how Haruhi could always get top scores in every exam without seemingly doing any work at all. It wasn't so much a matter of being able to rapidly pick up new facts, as it was about picking up the right facts and ignoring everything else, something that Haruhi seemed to be able to do intuitively, without even realizing that it was a feat beyond the abilities of most students, myself including. If anything, I felt that on my own I somehow always managed to pick up the exactly wrong facts on any topic, providing me with an endless supply of utterly useless information.
including or
included? Otherwise, a clever paragraph. I chuckled a bit.
QuoteThus, the situation was slowly undermining my confidence in the entire educational system, if most of the material that we were required to go through was only there to make it harder to find the few important bits in the middle of all the chaff. Who knows, some day Haruhi might be in a position to revolutionize the entire learning process, and it would probably be something that she would do without even noticing it. It would be all in a day's work for her, considering all the other things that she had created inadvertently, like that brigade logo that attracted data beings, or the literature club editorial column that according to Asahina-san contained the founding principles of time traveling technology. Come to think about it, what hidden secrets might still be contained in the movie that we had made for the culture festival? Maybe in a hundred years' time people would be able to decrypt the ultimate answer to life, universe and everything from that movie? In a chance event like that, I wasn't quite certain whether I should feel proud or embarrassed about my part in it all.
This paragraph works, but I fear it may fall victim to a tendency to be too referential. A hurricane of canon references is something I try to avoid (and probably don't always succeed) because it's all information we already know. Your mileage may vary, though.
QuoteAnyway, even my tender and eternally concerned mother who had raised me had already noticed the change, and had tried to find out the specific reason through circumspect and seemingly offhand questions. Evading my mother's inquiries made me feel somewhat conflicted. On one hand, I was receiving undue merit as long as she suspected that I had achieved the results through my own diligent effort, and on the other hand the situation would become even more complicated if I told her the real reason behind my improving grades. For all I knew my mother would probably insist to have Haruhi visiting us, maybe even regularly, so that my mother would get a chance to show her gratitude, and since Haruhi wasn't really used to receiving praise for the things she did on her own volition, she might decide to drop the whole project permanently, leaving me to my own devices again.
"who had raised me" can be cut. Otherwise, this line of reasoning seems like a very plausible Haruhi-esque reaction.
Quote"Hiyas, how are you? Saw you there and remembered that there's something that I must asks about the summer vacation. Are you still intending to come and visit that castle that we've talked about. I would need to know soon to have enough time for the arrangements."
"about?"
QuoteI didn't see you around on the sports field. Have you been here for the whole time?
Clearly this is Kyon's dialogue. I've abused this device a good bit, actually. I won't mention it again, but I would advise some caution with this. I feel that the best imitation of Tanigawa's style is to use this sparingly and, even then, only when it's ambiguous whether Kyon is talking or thinking. Do what feels right, though.
Quote"Kyon! Sometimes I really doubt whether you have what it takes to be a member of the SOS Brigade. You should be cheering for the home team, not jeering!"
This is a great line.
QuoteHaruhi stared me with the unflinching focus of a martial artist who had just issued a formal challenge to an opponent of questionable prowess. So, humankind as a whole was still falling short of Haruhi's extremely rigorous standards, but there wasn't much I could do about it. On the other hand, Haruhi certainly could but she hadn't tried anything as drastic as completely rewriting the world after that one fateful night, the details of which I couldn't possibly think about too closely in the current situation. Since then a bit over a year had already passed, and while there had been several unpleasant and some truly dangerous incidents along the way, it was my steadfast opinion that on the average the change was for the better. In the end I made only one statement that was undeniably true.
Suggest a comma at "Haruhi certainly could".
QuoteI expected to be served a swift retort as I saw that Haruhi was already in full swing like a national league hitter, ready for driving my lazy pitch right out of the field, but then she suddenly stopped in her tracks. She looked me directly in the eyes for a fraction of a second, as if having second thoughts about her intended reply, before snapping her mouth shut without saying a word and turning her head to the side again. I could see that she was muttering something to her reflection in the window, but I couldn't hear what it was because of the general din caused by other students returning to the class.
National League. Or perhaps one of the NPB leagues?
QuoteSoon thereafter the teacher arrived and the normal afternoon schedule commenced.
You could plausibly end the prologue at this break. It's not complete by any stretch, and perhaps it would need a bit more of a conclusive line to act as a real hook, but it could be done. Otherwise, from a literary standpoint, Tanigawa had no problem with crazy-long prologues, so I don't see why there should be a problem here.
QuoteDuring the third year of high school I might indeed have my hands full of work with the preparations for university exams but right now that milestone was still too far away to start worrying about, and I spent the afternoon hours in a state of halfhearted indolence, like an old, lazy dog basking in the shadow of the front porch of a country house, paying only a nominal amount of attention to the topic of each lesson. If her overall demeanor was anything to go by, Haruhi was probably even more absent-minded than me, but at least she didn't sleep during the classes as had been her habit during the first year. Then again, she didn't seem to be inclined to share her current thoughts with me either, and I willingly left it at that.
Comma after "preparations for university exams". The construction "right now that milestone
was" is awkward and gets to the tense trouble I have with Kyon's narration. "At that moment" or "that milestone
is" would be more consistent, but both lose the duality between Kyon the narrator and Kyon the character whose story is unfolding here. It's...difficult.
QuoteI remembered that Asahina-san had been depressed earlier this year. I had noticed it and we had discussed the issue, at least to the extent it was possible to have a meaningful conversation without causing some weird temporal paradox by accidentally revealing information that the other shouldn't have known at that point. I had thought that the situation had been more or less solved and as far as I could tell, right now Asahina-san looked like her usual self, or maybe even a bit more cheerful than before. If that was the case then why would Tsuruya suspect that Asahina-san was having some trouble related to the brigade? I couldn't find any apparent reason but there had to be one since Tsuruya wouldn't say such things unless she had noticed something. On the other hand, I couldn't possibly ask Asahina-san about it directly because Tsuruya had specifically told that I shouldn't do anything. I just had to keep my eyes open and wait for any further advancements.
This paragraph has the same issue with "right now she was" sort of thing.
QuoteIncidentally, that reminded me about the secret Mikuru folder on the club computer. I had finally gathered enough determination and permanently deleted the folder with its contents in late April. It hadn't been an easy decision but most certainly the right one. If Yasumi could find the folder so easily then it would be only a matter of time until Haruhi did the same by accident, and that wasn't a risk I was willing to take at this point. Now, after Tsuruya's remark, I actually felt relieved by the knowledge that the compromising photos couldn't be the cause of Asahina-san's trouble, whatever it was.
This is a good paragraph. There's a good amount of subtext to be read into it, which as always may or may not have been intended.
Quote"This is Hakase-san, the estate gardener. He already knows what you're looking for and will show you around. I must go and change clothes but if you need anything else just let me know. Laters!"
Why, Hakase-san, you seem very familiar...
Overall: the narration seems very natural. It sounds like Kyon, and that's the most important thing. All the nit-picking above over style and stuff is really quite minor compared to that. I'd avoided to some extent the outline and other information you had before, but I know the basic thrust of what's to come. In that respect, I feel like this might be a bit slow to develop, but not unduly so. On finishing this part, it does seem like dividing at the first break might be inappropriate, as it doesn't catch what Kyon's done here in going to the Tsuruya estate, so that question may still take some thought.
On the whole, though, you should be very happy with this piece so far. It's very good.
I'm very grateful for the feedback, especially everything related to style.
Quote from: Muphrid on October 25, 2011, 01:06:05 PMThe use of shousho is not entirely clear to me.
It's a seasonal word that doesn't have any counterpart in English, but anchors the time-line of the story more accurately than just the name of the month (it will be relevant in the second part of the chapter). The same is true for the second gratuitous word
joujun; basically, the story starts between 1th and 6th of July.
It's not necessary to know these to enjoy the story, though, as I put them in just to give the passage a bit of local flavor.
Quote from: Muphrid on October 25, 2011, 01:06:05 PMActually...why would a high school have an all-star team? Do they do that there?
To be quite honest, I know absolutely
nothing about baseball. Never played it myself, never seen it played (other than in anime). So, anything that sounds off is a research failure on my behalf.
Quote from: Muphrid on October 25, 2011, 01:06:05 PMIt seems odd for Koizumi to refer to them as an "anti-SOS Brigade".
I concur, and will rephrase to something more appropriate.
Quote from: Muphrid on October 25, 2011, 01:06:05 PMQuoteThus, the situation was slowly undermining my confidence in the entire educational system, if most of the material that we were required to go through was only there to make it harder to find the few important bits in the middle of all the chaff. Who knows, some day Haruhi might be in a position to revolutionize the entire learning process, and it would probably be something that she would do without even noticing it. It would be all in a day's work for her, considering all the other things that she had created inadvertently, like that brigade logo that attracted data beings, or the literature club editorial column that according to Asahina-san contained the founding principles of time traveling technology. Come to think about it, what hidden secrets might still be contained in the movie that we had made for the culture festival? Maybe in a hundred years' time people would be able to decrypt the ultimate answer to life, universe and everything from that movie? In a chance event like that, I wasn't quite certain whether I should feel proud or embarrassed about my part in it all.
This paragraph works, but I fear it may fall victim to a tendency to be too referential. A hurricane of canon references is something I try to avoid (and probably don't always succeed) because it's all information we already know. Your mileage may vary, though.
I'll break the paragraph down a bit, but I still want to keep the references, especially the last one, as I haven't seen the idea of a possible hidden message in Haruhi's 'movie' mentioned elsewhere.
Quote from: Muphrid on October 25, 2011, 01:06:05 PMNational League. Or perhaps one of the NPB leagues?
Again what I said above ... I really shouldn't use baseball metaphors but the temptation was too strong. >_>
Quote from: Muphrid on October 25, 2011, 01:06:05 PMQuoteSoon thereafter the teacher arrived and the normal afternoon schedule commenced.
You could plausibly end the prologue at this break. It's not complete by any stretch, and perhaps it would need a bit more of a conclusive line to act as a real hook, but it could be done. Otherwise, from a literary standpoint, Tanigawa had no problem with crazy-long prologues, so I don't see why there should be a problem here.
Actually, my original plan was to label the first three chapters (altogether around 40k words) as Prologue I, II and III, and start the main story after that ... somebody might see that as a bit excessive, though....
But to meet the minimal requirements for a prologue, I'll have to carry it at least to the end of the second half of Chapter I.
Quote from: Muphrid on October 25, 2011, 01:06:05 PMWhy, Hakase-san, you seem very familiar...
Always easier to borrow discreetly than to make out of whole cloth....
Quote from: Muphrid on October 25, 2011, 01:06:05 PMI feel like this might be a bit slow to develop, but not unduly so.
It will necessarily look like that at first, and it's a minor problem at the moment, as I'd prefer to have a more dynamic entry. However, there isn't any filler in there, I'm just tracing the path of causes and consequences very rigorously all the way from the beginning. Actually, Haruhi's tutoring sessions are
the definite trigger for everything that happens in the story, so I spent a whole page elaborating that issue. The internal conflict that they cause on Kyon push him to visit Tsuruya, which in turn causes another cascade of events in the second half of the chapter....
In a sense, the first chapter is like a miniature version of the entire story. Pretty much every motif will be re-examined along the way, and thus I'm maybe a bit
too eager to cram the chapter full of them, causing the pacing problem that I mentioned. We'll see how it plays out.
Anyway, thanks for the comments, much appreciated. I'll incorporate the suggestions during the revision phase.
QuoteTo be quite honest, I know absolutely nothing about baseball. Never played it myself, never seen it played (other than in anime). So, anything that sounds off is a research failure on my behalf.
Heh. I absolutely understand the desire to add that bit of flavor, though, even on a subject with which one is a bit unfamiliar. Conversely, though I played baseball as a kid for some years and have gone to live games, I haven't watched any baseball anime, so I may not know enough about high school baseball in Japan to be as helpful as I'd like. For example, Koizumi and Kyon go to watch the game during lunch? Do they have kids take off school to play games there, too? Granted, even if they don't, you can probably make it work, but someone might notice that.
QuoteActually, my original plan was to label the first three chapters (altogether around 40k words) as Prologue I, II and III, and start the main story after that ... somebody might see that as a bit excessive, though....
But to meet the minimal requirements for a prologue, I'll have to carry it at least to the end of the second half of Chapter I.
It's times like these I marvel that Tanigawa tells a whole story like
Disappearance in 50k or so. But then, none of us are Tanigawa and necessarily want to tell a story that way.
Pending detailed C&C, a couple of thoughts on the slow-paced beginning. There are a few ways I can think of to spice something like that up, either interspersing it with an unrelated happening, doing the usual in-medias-res + flashback thing. ("Why am I in an underground catacomb with Yasumi? The explanation is fairly involved..." well, meh, or something like that.) For novels 9-11 Tanigawa had 'advertising the Brigade at the club fair' as the backdrop to a similarly structured opener, although that didn't do very much for me personally.
Off the top of my head, though, I can also think of a couple of advantages to a highly introspective prologue like this:
- It filters the target audience, which might be a good thing if you keep in mind that readers who make it to the later chapters are going to have a high tolerance for detail. You can spend less time worrying about whether the later chapters move too slowly when you need to get involved with the psychological elements, and more time actually exploring what you want to explore. Seeing as the major set piece (that I personally am looking forward to) of the fic looks to be Yasumi's recurring visits and conversations, even more so than the supernatural elements, this might be something to consider.
- It lets the audience familiarize itself with your particular take on the characters, before they start doing anything. This might be good or bad.
Anyhow, interested to see how this develops.
Okay, let's C&C this in bits and pieces. Mostly picking around the edges of what previous people have written, and these will probably be ignored as you do your own revision. Maybe there are some options in here that have not been considered.
Alternate revision to Brian's:
QuoteMostly normal thoughts, and those thoughts that went beyond what any average person could possibly categorize as normal weren't that unwelcome either.
might be written "... and even those thoughts that went beyond what any average person could possibly categorize as normal were, surprisingly, not unwelcome. / not unwelcome either. / not that unwelcome either.
Quotecompletely confident of the fact that any sudden disturbances couldn't take it away from me.
How about "confident of the fact that no sudden disturbances would take it away from me."
Seems a bit simpler. Could also try "no sudden disturbances would appear to take it away from me."
QuoteHaving originally been the direct threat to the world as we knew it, Haruhi's ability to subconsciously alter reality had later become a source of stability instead. The last time when an external force had tried to divert the course of history from its proper path had been in April, and the attempt had been swiftly and decisively thwarted, in a manner that underlined the fact that the scheme hadn't had any chance of succeeding in the first place.
Bit of a mismatch between the two sentences - Kyon jumps from 'threat from Haruhi's powers' to 'threat from people attacking the timeline'.
QuoteMaybe such an overwhelming show of force was acting as a preventive measure, making any potential antagonists think twice before they pushed forward with their futile plans.
I don't know if you've considered "deterrent". Hmm... but in general this thought seems half-formed. But a lot of Kyon's thoughts are half-formed. Maybe rather than clarifying it, you might make it half-formed in a more Kyon-ish way.
The only thing I can think of is (deliberately giving it telegraphically instead of an imitation of your style) "... Haruhi's powers become a source of stability. Their previous manifestation thwarted an attempt to divert the course of history, in such decisive and spectacular fashion that any would-be antagonists are probably thinking twice about pushing forward with their futile plans."
QuoteIn my opinion, it was not as much a matter of her growing up into a better person, as it was one of her once again becoming the nice person she had originally been, and I had several good reasons for believing so after all the things that I had learned during the incident in April.
Ooh... I'm guessing this refers to an implication (via the happy-face pin that Haruhi used to wear) that Yasumi is something akin to Haruhi in her elementary school days, personality-wise? I assume this will get explored further.
Quoteand in any case Haruhi was never sick in the first place,
Not sure how much of a stretch it would be to amend that to "and in any case Haruhi would never deign to get sick from such a commonplace disorder," or similar.
Quoteor would the night sky suddenly start raining fire and ash, sweeping away everything that people had managed to build?
How about "sweeping away everything we had managed to build?" Not sure - it raises the question of what exactly the SOS Brigade has 'built' in the first place, but it brings us out of the analogy nicely.
QuoteI would've wished the above to be just a case of overeager imagination and misapplied dramatic license, but with powers far beyond human control or even comprehension, one could only wait and hope for the best.
Applying my heavy-handed revision (based on my understanding of Kyon) I'd say something like:
Quote from: revisedI would've wished such a daymare to be just a case of overeager imagination and misapplied dramatic license, but when faced with powers far beyond human control or even comprehension, one could only wait and hope for the best.
Or we could settle for a dry "the above analogy". Just "the above" sounds kind of imprecise.
Quoteso that I already started to suspect that she had lost all interest in the project until she picked up the books again.
Seems to suggest that Haruhi actually stops tutoring Kyon completely for two-three days in a row. If not -- she's just temporarily abandoning one particular topic, is what you seem to be saying -- I'd amend to "until she picked up the relevant books again."
That's all for now. I'll pick up where I left off later.
And another thing I noted:
Quote from: Brian on October 25, 2011, 10:33:02 PMSo, I may be unsettled for no reason, just because that was evoked by a similar opening (second year summer vacation, things are ostensibly improving between Kyon/Haruhi but it's not really reflected well in their 'onscreen' interactions, ...snip...
Though, I suppose that you're both Finnish authors. Is there some cultural appeal to the concept/setup I'm unaware of, perhaps? ...
Ooh... my initial reaction to that comment was 'again with the stereotypes?' Then I remembered that Aki Kaurismäki movies have that same "emotions are implied as opposed to acted out" vibe
in spades. I actually went and rewatched some excerpts ('The Man Without a Past' & others in the same trilogy) to determine whether the stereotype those movies created in my head was really
that bad. It... wasn't that bad (although to my temperamental nature the analogy still presents itself of a film where Yuki Nagato might walk in at any minute and blend in completely with the other actors).
Incidentally, the Kaurismäki trilogy is highly recommended as a... unique experience. Not necessarily as a good way to understand Finland, maybe? I'm not sure how those movies are viewed domestically (curious to hear sarsaparilla's opinion on this)... to me it looks like a directing style that deliberately tries to make Finns look alien and opaque.
Quote from: Arakawa Seijio on October 25, 2011, 11:56:29 PM
And another thing I noted:
Quote from: Brian on October 25, 2011, 10:33:02 PMSo, I may be unsettled for no reason, just because that was evoked by a similar opening (second year summer vacation, things are ostensibly improving between Kyon/Haruhi but it's not really reflected well in their 'onscreen' interactions, ...snip...
Though, I suppose that you're both Finnish authors. Is there some cultural appeal to the concept/setup I'm unaware of, perhaps? ...
Ooh... my initial reaction to that comment was 'again with the stereotypes?'
I'm
highly disconcerted to think that I stereotype. When did I do this before? This is something I want to be aware of to prevent in myself; that is in no way a positive behavior, and I'm pretty unhappy to think I've fallen into it. :(
Ugh. Had been so positive throughout the day....
Erm, in retrospect, since it seems my commentary may have been too callous (I'm ... just not sure where I went wrong on this one), I've pulled it down until I can figure out what's wrong with me.
Vast apologies, Sarsaparilla! I seem to have inadvertently done something very wrong. >_<
I'll just say that I liked your story, and I regret not being able to offer anything more solid at this point.
Quote from: Brian on October 26, 2011, 12:04:48 AM
I'm highly disconcerted to think that I stereotype. When did I do this before? This is something I want to be aware of to prevent in myself; that is in no way a positive behavior, and I'm pretty unhappy to think I've fallen into it. :(
Ugh. Had been so positive throughout the day....
Erm, in retrospect, since it seems my commentary may have been too callous, I've pulled it down until I can figure out what's wrong with me.
Vast apologies, Sarsaparilla! I seem to have inadvertently done something very wrong. >_<
Wait, what??? There's good C&C in there! I was learning stuff from that! Now I'm the one who needs to apologize to sarsaparilla for inadvertently obliterating paragraphs and paragraphs of useful commentary... >_<
Seriously, it's a bit disconcerting how I just drop the word 'stereotype' and Brian runs off to wipe that entire huge comment off the record. (Definitely should have accounted for the cultural gap, perhaps it's much more of a negative word in California?) Especially since at first I thought by "pulled down" you meant you were going to just delete that one sentence about "I notice that the authors of both works are Finns".
Ultimately, Brian's pointing out what he pointed out didn't affect my opinion of Finnish people, or Brian, for better or for worse. It did make me realize something interesting about Aki Kaurismaki's storytelling style that I hadn't realized before, due to seeing a few (very tentative) analogies in the outlook of literally one or two scenes in one of sars' darker fics (namely the Kyon-Yuki interaction in Shadow, maybe the Kyon-Haruhi chapter to a lesser extent). I even get the sense that I could aim to imitate that particular nuance somewhat now, if I needed to, now that I've noticed it...
Again, I would recommend to take a chill pill and maybe grab Kaurismaki's Finland trilogy. It will become extremely obvious that either (a) Kaurismaki has no qualms presenting an extremely distinctive stereotype about his own people and using it to win internationally acclaimed awards such as Cannes Grand Prix, or (b) the films are more or less true to life in which case Finns seem to have a shared difference in outlook which is extremely obvious in certain situations. Since I have no basis of firsthand evidence to decide between (a) and (b) I'm keeping my mind open with regard to this question.
The above could probably be less straightforward a comment but I'm not in the mood to spend time putting together a precisely nuanced opinion. Going to drop this line of thought now, since it isn't likely to go anywhere interesting with the way things are turning out...
Sorry, no. I thought I had done something terribly offensive on accident, but it seems that there was a miscommunication.
You, uh ... phrased your remark in a way that implied (to me) that I had done
something offensive frequently enough that it had grown wearisome to you. (To be fair, only a small number of instances of such behavior would need to make it thus, in my mind!)
So, if you're replying to a comment to me, maybe, your first words should specify that your comment isn't aimed
at me, since to my eyes, it rather came across as like an accusation. Having some time to calm down and look at my words in the proximity to a phrase like 'stereotype' (and with the unfortunate context therein), I can think that this is a miscommunication.
But it
still bothers me to have what I thought was an innocent question lumped together as 'more of this horrible stuff', as I see it. I'm sorry if you think I was jumping the gun and overreacting; I honestly had no idea what I had written that seemed to fit into 'again with the stereotypes'. I was horrified to think that somehow (as your comment initially suggested), I had written something monstrous. Looking back over it, I see it's not the case.
Well. This was a lot of hullabaloo. I really regret that we've derailed Sarsaparilla's thread over this, and ask that you use such words with more care in the future (I can't speak for all Californians, but it's a very sensitive topic for
me). Getting things back on track (practical upshot: Now spellchecked, and I caught an additional error):
(This cuts off a bit abruptly, on account of going over the character limit:)
I added this bit in towards the end, when I realized the comments were getting ... unruly. So, this is my C&C, and I'll warn you it's a bit critical, because when I get 'in the zone' I frequently forget to point out all the parts I liked. However, I have to really like something to get into that zone! So, I really enjoyed this story, despite the complaints I make. I think it's great, and it could be even better -- however clumsily, this is my attempt to help you make that a reality. If my tone is poor, you are free to tell me to take a hike, or otherwise ignore me. ^_^;
Oop. Was hoping to get to this earlier this morning, but work is surprisingly hectic. >_>;; (Edit: Wow, that was before an hour of meetings and my server bank falling offline. Yeesh.)
Also, I haven't read Muphrid's comments yet, so I'm likely to end up repeating some of his remarks. >_<
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMPrologue Ia
As I have never written anything of this magnitude before, this project is very much a learning experience for me. My earlier stories have been something that just emerges more or less ready-made from the deep recesses of the subconsciousness, and my task has been just to write them down. Now, however, I'm trying to wrestle the control of the process to my conscious self and the difference is pretty similar to the one between normal and lucid dreams. Being in charge is more tiresome and requires caution to avoid accidentally breaking things, but conscious control gives me freedom to go where I want myself, and I've already found out that I'm enjoying the feeling immensely. The direct consequence is that the overall style and atmosphere of this story is quite unlike anything that I've written before, and I'm not yet sure whether the change is for the better.
Hum. This hearkens back to a class I took on creative writing many years ago. It was surprisingly useful, insofar as it taught me how to overcome writer's block and improve writing flow in general. One of the things that I learned that was most relevant (though, you may find this less applicable) is to resist the urge to revise while writing.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMSo, please find attached the first part of the first chapter of the story. The chapter was ballooning out of control so I decided to split it in two for now, although I'm unsure how to handle the situation when actually publishing it. On one hand, I wouldn't want to open a new story with a 15k word whopper that scares away the majority of potential readers by its sheer size. On the other hand, this first half of the chapter is not an independent entity. It doesn't have the proper structure, it doesn't resolve anything (or make much sense on its own), and most importantly, there is a conspicuous lack of incentives to continue reading the story. Thus, I'm not completely happy with the situation but will try to manage it once the second half is ready as well.
I see. I'll try keep an eye out for those things, then. Here we go:
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMPrologue
Once again, summer had arrived.
Although spring is my favorite season, summer comes right behind, and not just literally speaking. Like peasants enduring through the hardship of the rice planting season, knowing that the arduous toiling will soon be over and there will be a short respite before the fruits of the invested labor can be collected, students had been working hard ever since the beginning of the new school year and now the long awaited summer vacation was finally so close that it was turning from a distant reverie into a tangible possibility. Although summer shousho was still ahead, the weather had been fair with ever increasing temperatures for two weeks already, and to teachers' eternal exasperation, the persistent sunshine was slowly but surely wearing down students' last shreds of determination to sit quietly inside, reading about mind-numbing topics like function theory, verb conjugation or the powerstruggles of the Kamakura period.
Those are remarkably long sentences. I really have to suggest reworking them into smaller sentences -- I'm not terribly good at diagramming sentences, but they both are beyond my ability. @_@
For the first one, it seems the critical part is the impending vacation. Here's an example of how you might rework it:
Quote from: suggestionThe long awaited summer vacation was finally so close that it was turning from a distant reverie into a tangible possibility; like peasants enduring the hardship of the rice planting season, students had been working hard ever since the beginning of the new school year, knowing that the arduous labor will soon be over and there will be a short respite before the fruits of the invested labor can be harvested.
This moves the final phrase of the original sentence into a complete sentence joined to the rest with a semi-colon. I also dropped 'through', since it wouldn't flow as neatly here, and I'm not sure why, but 'toiling' felt awkward, so I swapped it for labor. I think it's because 'toiling' and 'arduous' both indicate struggling and effort, but 'toiling' felt too active for the context (since this is in past-tense). The last word I switched from 'collected' to 'harvested' since it compliments the analogy you've already set up involving nature/the seasons.
Er.... On the chance that this is coming across as too aggressive/demanding, I'm really just meaning to show another way it
could be written, not the way it
must be. Naturally, everyone style's differ. >_>;;;
On to the second long sentence:
Quote from: suggestionAlthough summer vacation was still ahead, the weather had been fair with ever increasing temperatures for two weeks already. To the teachers' eternal exasperation, the students' last shreds of determination to sit quietly inside reading about mind-numbing topics like function theory, verb conjugation, or the power struggles of the Kamakura period were being slowly but surely worn down by the persistent sunshine.
*twitch* I hadn't heard the Japanese meaning of 'shosho' before, only the slang Spanish one, which is.... Erm. Anyway! >_>;;
The literal Japanese definition seems to be 'here and there', which I gather from context must mean something about 'vacation', but this is not (I believe) a commonly known loanword. I'd go with the clearer word (really, I myself use far, far too many loanwords >_<). Anyway, you again had a complete separate sentence in the same line, but this doesn't join as neatly with a semi-colon (and considering how Hal's been luring into abusing them, won't suggest another one in such close proximity). Also, added a comma to your list set, since it had three items (function theory, verb conjugation, or the...).
I realize just now I'm tangling my grammatical fixes with my stylistic ones. >_< In both cases, take what works for you and ignore the rest. :)
Also, 'power struggles' should be two separate words. Missed that until just now!
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMThis was my second summer as a high school student, but in a sense it was the first one when I actually felt more or less like an actual student, enjoying the steady and predictable schedule of school activities with normal, everyday thoughts in my mind. Mostly normal thoughts, and those thoughts that went beyond what any average person could possibly categorize as normal weren't that unwelcome either. I realized, to my own mild astonishment, that on the whole I was more satisfied with the current situation than perhaps ever since entering high school and meeting the person who would turn my entire world upside down like an irresistible force of nature.
'Would'? I think at this point she already has -- repeatedly. >_>
That first sentence still seems a bit long, but not too much so. I'm not sure about the segue into the second sentence, though. Maybe revise to: "Mostly normal thoughts, but those that went beyond what any average person could possibly categorize as normal weren't that unwelcome either." I dropped the second instance of 'thoughts' (repetition), and switched the 'and' for a 'but'.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMAs long as I live I'll never be able to forget that name, and one of the reasons for that was exactly that I had spent a large part of the last summer in a constant state of emergency, trying to avert an impending end-of-the-world disaster that always seemed to be just one poorly chosen word or inadvertent action away. Since that time things had gotten better, so much better in fact that right now I could sit here on the school premises and enjoy the agreeable atmosphere of an early afternoon in the joujun of July, completely confident of the fact that any sudden disturbances couldn't take it away from me. For most people it might be a sign of foolishness to express excessive confidence in future events, but I had a very specific reason for my seemingly bold statement.
I would suggest an em-dash in place of the comma in the second sentence:
gotten better, so much better -to-> gotten better -- so much better
'right now'? Did the tenses just shift? Yes, they did. I see, the start was retrospective.... I've never gotten that technique to work, so nice job on that. :)
joujun -- first weeks (another uncommon loanword)
I think the general rule of thumb is to use loanwords only when a direct translation does not suffice for some reason:
Typically this would be due to details in mechanics/construction; a katana is not like a generic short sword; you might not want to use 'sandals' in place of 'geta', but 'wooden sandals' would probably suffice. Honorifics don't translate perfectly, and so they can be used if the author doesn't think that using more Western (or otherwise localized) honorifics map directly. (I think my greatest pet-peeve on this one is actually people who don't research enough, and think that the katakana spelling of an English word is actually the Japanese word for it).
Now, saying that, I frequently use loanwords when another translation _would_ suffice. In those instances, I would suggest making the meaning of the loanwords more obvious through context, or (if required) having someone in narrative actually provide a definition. Kyon: Big Damn Hero has been (probably rightly) accused of being 'a trick to get us to learn more Japanese terminology (especially about [strike]yakuza[/strike]
ninkyou dantai.)--' so I've probably done this one way, way too many times myself. >_>;;
If you want to keep 'joujun' and 'shosho' in, then that's fine, but you can have Kyon explain what they are as he considers them -- which will probably make those sentences large and unwieldy, and thus require breaking them into easier-to-process pieces. (I find myself doing this frequently....) It'd be relatively simple -- for the latter:
Quote from: suggestionSince that time things had gotten better -- so much better in fact that right now I could sit here on the school premises and enjoy the agreeable atmosphere of an early afternoon in the joujun of July. These first ten days of the month have been so sedate and calm that I am completely confident of the fact that any sudden disturbances couldn't take it away from me.
Erm. My revision's actually kind of clumsy, but it gets the idea across, I think. >_>;;
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMHaving originally been the direct threat to the world as we knew it, Haruhi's ability to subconsciously alter reality had later become a source of stability instead. The last time when an external force had tried to divert the course of history from its proper path had been in April, and the attempt had been swiftly and decisively thwarted, in a manner that underlined the fact that the scheme hadn't had any chance of succeeding in the first place. Maybe such an overwhelming show of force was acting as a preventive measure, making any potential antagonists think twice before they pushed forward with their futile plans. Whichever way it was, the SOS Brigade had been enjoying an extended period of relatively peaceful and untroubled existence for over two months already, and I wasn't going to be the one to complain about it.
last time when an -- last time an ('when' is extraneous here)
thwarted, in -- thwarted in (alternately, with rewording, you can break this large sentence into two smaller ones): thwarted, in -- thwarted. It happened in a manner....
The last sentence can be moved to the next paragraph (or broken out into a stand-alone paragraph, or left on its own, whichever you like best).
Heh, even Kyon wonders where the dramatic tension went. =_=
The longer I think about it, the more I realize that novels 9-11 (really, 10-11) just don't really sit well with me.... And I can't help but notice a marked downturn in new Haruhi fanfics corresponding with the release of the translations in English. :/
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMHowever, the largest change could be seen in Haruhi herself if one knew where to look. She was still just as energetic and excitable as ever, and would on occasion get some new idea that temporarily turned her immediate surroundings into a hotbed of more or less questionable activities, but anybody who observed it on a merely superficial level would miss the most important development. As much as it strains the definition of the word to say this, Haruhi was undeniably becoming more normal.
herself if -- herself, if (Optional.)
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMIn my opinion, it was not as much a matter of her growing up into a better person, as it was one of her once again becoming the nice person she had originally been, and I had several good reasons for believing so after all the things that I had learned during the incident in April.
Hmm. Something about this scans awkwardly. I think 'once again becoming the nice person she had originally been' feels a bit stilted. Perhaps 'remembered that she could have fun with others instead of at their expense' or something? I'm not sure, but the original lines come across as a bit stiff. I admit, I'm kind of stuck on good alternatives, but I'll note it sticks out. No arguments against Kyon's sentiment, though. :)
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AM"My current smile is completely genuine and heartfelt. There has not been a single instance of closed space forming after that incident in April, which means that the first time in four years I get to sleep through the night unperturbed. I was not even fully aware of how large a burden the eternal vigilance had become until this reprieve. Quite honestly, I am feeling refreshed, almost like a different person, and I sincerely hope for things to stay this way."
Hmm, I thought closed space instances were way down following Sigh. Maybe 'eternal vigilance' to 'constant readiness'? (This is probably very nitpicky: 'vigilance' means 'to remain watchful,' which isn't something the espers appear to worry about -- they're just granted knowledge when required. Acting on that does require readiness, though.)
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMKoizumi paused momentarily to watch as a fortuitously placed line drive brought a run for the home team, and chuckled before continuing.
The comma before 'and' is reflexive here and can be dropped (I do this same thing
constantly). There's surprisingly few locations you want to preceed an 'and' with a comma, outside of list items (except when you're using 'and then', mostly, which is usually actually just another form of list item for actions).
Gah, another meeting. @_@
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AM"Then, you know as much about the whereabouts of the other members of the anti-SOS Brigade as I do. Ever since the joining of the timelines in April there has not been a single sighting of the person known as Fujiwara, so we might have gotten permanently rid of him, although it goes without saying that one can never be completely certain when it comes to time travelers. On the other hand, that alien interface of the Sky Canopy Dominion is still attending Kouyouen and does not seem to be interested in communicating with us at the moment. Of course, I am not privy to whatever communications the two alien factions might be having with each other. That is the current situation, and there are not any discernible forces acting toward destabilizing it."
Hmm. Has Kyon ever called them the anti-SOS brigade to anyone else? I honestly can't recall.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMKoizumi stopped talking and I spent some time watching other students at the perimeter of the field before concentrating on the game again. It looked like the match was wrapping up, and unless the visiting team would make an unexpected comeback the home team would take an easy win after the last inning. Because of that I wasn't particularly interested in waiting until the game was over, so I stood up and headed back to the main building. Koizumi was not in a hurry and was determined to stay until the end of the match, so as I walked away he just reminded that we'd be seeing each other after the school hours again.
determined -- decided (I think; determined adds a lot of weight to the decision (though, if you want to show Koizumi making a big deal out of considering his options as though the situation were monumental, that could work, too)).
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMIn July it was already way too late to catch May sickness, and in any case Haruhi was never sick in the first place, but I was almost certain that there was something in her mind that she was holding back. On occasion, she would abruptly stop talking, even in the middle of a sentence, and stay silent for a good while before continuing with some other, completely unrelated topic. Or, she might suddenly lose all interest in a particular idea that she had only a moment ago pursued like it was her entire raison d'etre, and just sit still for ages, contemplating some inner vision she wasn't willing to share with others. I had previously seen what Haruhi looked like when she was bored, annoyed or just dispirited, and this spell was none of those. It wasn't even the muted aura of a Haruhi who was secretly hatching a new plan for making the world a more interesting place. No, there was something else, but for the life of me I couldn't figure out what it was and there wouldn't be any point in asking, anyway.
And it's not her 'not sure what expression to show' expression? (Mentioned in novel nine, IIRC; seems it's ... the perfect one for the situation, except that Kyon would recognize it.)
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMLike people living for generations on the slopes of a dormant volcano, drawn to the spot by the abundantly fertile soil, the SOS Brigade had gathered itself around the imposing Mt. Haruhi because of the vantage point it provided. However, it had gradually started to look like the volcano might be waking up from its long slumber. The tremors, while still faint, were arriving at more or less regular intervals, making the population cautious. Would this be just a case of the mountain turning about in its sleep before settling down for centuries again, or would the night sky suddenly start raining fire and ash, sweeping away everything that people had managed to build?
Amusing sidenote: Mountains are typically given the 'san' honorific (Ie., 'Fuji-san').
Hmm. In retrospect, I'm not convinced this analogy is spot-on. Mostly because the difference in scale of time; Haruhi's 'dormancy' (and subsequent impending erruption) is fairly recently, but the analogy uses 'generations'. I think this can be addressed by noting that the volcano was once active and drove people away; that will reinforce the relative 'ages' of this volcano. Actually ... you could carry that a lot further if you wanted, especially since it's going to tie into your conclusion.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMThen, there was yet another new, more mundane element in the situation. Shortly after the beginning of the school year, and evidently on her own initiative, Haruhi had taken it on herself to help me with studying. It had originally started by Haruhi making me learn the minimal amount of tricks to pass an upcoming math quiz, and eventually evolved into full-blown lectures on whichever topic she found pertinent at any given time, usually during breaks when there wasn't anything else to do.
I don't think the 'evidently' is required in the first sentence.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMIt wasn't exactly a regular or a particularly systematic curriculum, as Haruhi followed her own interests and lines of thought that were as unfathomable as the migration patterns of bluefin tuna in the uncharted depths of the ocean, sometimes pressing a certain topic for two or three days in a row and then forgetting the whole thing for several days, so that I already started to suspect that she had lost all interest in the project until she picked up the books again.
Gah. Too much sentence. I like the analogy, and it feels very Kyon-like (you're better at that aspect than I am, that's for certain). I think the issue is you're trying to fit his analogies into asides in a single sentence, when they can be broken out more than that. It's fine to have Kyon's rambling thoughts take multiple sentences to cover a single thing -- that's very true to him.
Alternately, simplify the analogies (though, I really like them -- this one in particular).
a regular or a particularly -- a regular or particularly (the 'a' is extraneous.)
An example revision (turning this single sentence into ... erm ... four smaller ones):
Quote from: suggestionIt wasn't exactly a regular or particularly systematic curriculum, as Haruhi followed her own interests and lines of thought. These were as unfathomable as the migration patterns of bluefin tuna in the uncharted depths of the ocean. Sometimes she would press a certain topic for two or three days in a row and then forget the whole thing for just as long; I would start to suspect that she had lost all interest in the project until she picked up the books again.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMWhatever I thought in general about being the focus of Haruhi's sporadic efforts of making the world a more learned place, even if only by a vanishingly small amount in total, I had to admit that her approach was working. After a long, depressing downward slope that had dominated my performance record for the entire first year there had recently been a definite turn for the better, and although I wasn't anywhere near the top of the list like Haruhi, it had started to look less likely that I would be doomed to spend time as a ronin after the high school.
Fridge horror: Kyon does so poorly at school because Haruhi wants to be able to offer him something.
...begone, dark thoughts! >_<
Sorry. Not sure where that came from.
Ah ... Kyon would ... not become a ronin for failing high school. A ronin is someone who graduates high school and then fails the college entrance exam (as Kyon was in Later).
'High school' as a location can have an article before it, but as an institution probably shouldn't:
after the high school -- after high school -OR- the high school term
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMBesides having my own grades on the rise, I had also gradually started to understand how Haruhi could always get top scores in every exam without seemingly doing any work at all. It wasn't so much a matter of being able to rapidly pick up new facts, as it was about picking up the right facts and ignoring everything else, something that Haruhi seemed to be able to do intuitively, without even realizing that it was a feat beyond the abilities of most students, myself including. If anything, I felt that on my own I somehow always managed to pick up the exactly wrong facts on any topic, providing me with an endless supply of utterly useless information.
Interesting.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMThus, the situation was slowly undermining my confidence in the entire educational system, if most of the material that we were required to go through was only there to make it harder to find the few important bits in the middle of all the chaff. Who knows, some day Haruhi might be in a position to revolutionize the entire learning process, and it would probably be something that she would do without even noticing it. It would be all in a day's work for her, considering all the other things that she had created inadvertently, like that brigade logo that attracted data beings, or the literature club editorial column that according to Asahina-san contained the founding principles of time traveling technology. Come to think about it, what hidden secrets might still be contained in the movie that we had made for the culture festival? Maybe in a hundred years' time people would be able to decrypt the ultimate answer to life, universe and everything from that movie? In a chance event like that, I wasn't quite certain whether I should feel proud or embarrassed about my part in it all.
Aha, Hitchiker's Guide reference.
I'm not certain about the possessive on 'years'. While I think it's technically correct (in the immortal words of Bureaucrat #1.0: "the best
kind of correct!") -- you are referring to the time as a property of 'a hundred years' -- I don't think I've seen it that way. Well, I couldn't find anything genuinely solid, but a googlefight between the two demonstrates that Google finds the phrases identical (but "hundred years time" won anyway). Dangit.
Okay, back from the Chicago Manual of Style: You're doing it right. Never mind! (But, I learned something new today.)
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMAnyway, even my tender and eternally concerned mother who had raised me had already noticed the change, and had tried to find out the specific reason through circumspect and seemingly offhand questions. Evading my mother's inquiries made me feel somewhat conflicted. On one hand, I was receiving undue merit as long as she suspected that I had achieved the results through my own diligent effort, and on the other hand the situation would become even more complicated if I told her the real reason behind my improving grades. For all I knew my mother would probably insist to have Haruhi visiting us, maybe even regularly, so that my mother would get a chance to show her gratitude, and since Haruhi wasn't really used to receiving praise for the things she did on her own volition, she might decide to drop the whole project permanently, leaving me to my own devices again.
"who had raised me" feels extraneous, here (part of this is because this is another very long sentence).
...yeah, that's.... You keep telling yourself that, Kyon. That final sentence is very long again. Suggest revising:
Quote from: suggestionsFor all I knew my mother would probably insist to have Haruhi visiting us, maybe even regularly. Then my mother would get a chance to show her gratitude, and since Haruhi isn't really used to receiving praise for the things she does on her own volition, she might decide to drop the whole project permanently, leaving me to my own devices again.
Some tense changes following the full-stop.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMSo, whatever I did, trouble somehow always seemed to find its way around to me. Still, I wish for the sake of my future prospects to stay in your favor, at least concerning this issue, Haruhi-sensei!
This ... doesn't really feel like trouble finding its way to Kyon? Maybe it's just me-- I think the takeaway feels more like 'Kyon finds things to worry about constantly anyway'. Maybe 'Whatever I did, I'd always find something to be troubled about'? I mean, Kyon does describe himself as restless (or having restless behaviors) from time-to-time, so it feels like it might fit, but for where things are in this setup, I don't think events quite warrant making a big deal out of things.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMAt that point my rumination was interrupted by a brisk call that was immediately recognizable.
"Oi! Kyorosuke!"
Not required, but you have the option of ending the first paragraph there with a colon (or a comma, and bringing Tsuruya's dialog into the same paragraph).
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMI raised my gaze and saw an excited upperclassman waving to me at the other end of the corridor. It had been a while since I had seen Tsuruya the last time and as I walked closer I wondered what she might have in mind. It didn't take too long to find it out.
seen Tsuruya the last time and -- seen Tsuruya last and (extraneous)
find it out -- find out
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AM"Hiyas, how are you? Saw you there and remembered that there's something that I must asks about the summer vacation. Are you still intending to come and visit that castle that we've talked about. I would need to know soon to have enough time for the arrangements."
That third sentence should end in a question mark, I think. :p
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMNow that you mentioned it, you're right. The vacation is almost here already but I still don't know anything about the trip. You should probably talk with Haruhi, although I haven't heard her mention the whole thing lately.
While I like this technique (when the author doesn't decide that ALL of Kyon/whoever's dialog must be this way (talk about too much of a good thing; his dialogue is in quotation often enough in the original novel >_<)), I feel it works best if Kyon's thoughts imply what he might say; here you just have Kyon's dialog without quotation marks. At least ... I always get the sensation that the reason people respond to Kyon's narrative is because what he
actually says is somewhat different from what he's thinking. Personally, I use this to have Kyon wonder things in a vague sense and get specific responses -- and I think that generally works well for most of the other unspoken communication, too. But here, it's awfully specific. I'd suggest something along the lines of:
Quote from: suggestionNow that she mentions it, that's a good question. The vacation has nearly come upon us, and I remain as clueless as ever, despite Haruhi's regular drills. Naturally, I'm sure she has all of those details, even if she's neglected to share them with us.
If that makes sense. Looking back at it, I think what made it stick out is that Kyon's using the specific 'you' (to Tsuruya) outside of dialog. That seems odd ... but maybe I need to reread again. <_<;
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AM"I'll talk with Haru-nyan later but right now I haven't gots the time. Sorries for not taking care of it before, but I have been megas busy with the studies. Teachers don't speak about anything else than what we needs to know for the university exams. It's cramming and cramming day in, day out, you'll soon see yourself!"
with the studies. -- with studies. -OR- with my studies.
Suggested: day out, you'll -- day out; you'll -OR- day out, as you'll (add 'as')
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AM"Oh right, that reminds me! Pardon me for prying, but is everything well with the brigade?"
Not sure she'd say 'Pardon me for prying', unless she asked specifically how things are between Kyon and Haruhi.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMI certainly think so. As well as it has ever been, if you ask me.
This contrasts oddly against Kyon's 'trouble comes down on me' thought. Well, no. I think I can see both reflecting a status quo, but I'm not sure if it applies. Then again.... Hm. I'll just note it stuck out for me, but may not be anything. :)
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMFor Asahina-san? I can't really think of anything ... is there something that I should worry about?
Oh, boy! It's time for me to explain elipses again! (You may have noticed I far, far overuse this tool of writing:)
An ellipses covers a specific omission in text. We use it (also) in fiction to indicate a pause in dialog, and consistency is (as always) much more important than anything else. I cannot stress how much more important it is that you be consistent rather than follow any of my other suggestions. >_> This is very much 'fringe' in terms of how many people care/use it right.
Moving on: An ellipses is three periods (or the special 'elipses' character, which you've used here), but
does not terminate a sentence. This means that an ellipses that terminates a sentence should have the three periods (or be the special character) trailed by an additional period any time it ends a sentence.
Spacing regarding ellipses isn't standardized, as long as it's consistent. For what it's worth, this is my personal ellipses style-guide:
Quote from: examples"This sentence trails off...."
"This ... trails off."
"This sentence.... Well, the point is, it trailed off."
I could go on in this vein for hours, but I expect you'd rather I didn't. Come to think of it, I do this so often, I probably already
have told you about this.... >_<
The point of it is, I'm not clear on what the omitted words that make Tsuruya's remark a single complete sentence. I think it may be two different sentences. <_<;
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMTsuruya cocked her head to the side and examined me sharply.
"In that case you must forget that I even asked about it. Because, if you gots too worried about it then you'd perhaps do something that would cause trouble, for you and Mikuru, and for Haru-nyan as well, and I wouldn't want anything like that to happen. So, no worries, right?"
If you say so. I don't even know what this is all about.
I don't either. That was a strangely cryptic and foreboding remark....
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMNone that I'm aware of....
Oops. Guess you already knew after all! >_>;;
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMAt that moment I remembered something that I had been thinking about a couple of days ago but somehow managed to forget until now. For some unknown reason a seemingly serendipitous idea presented itself and I acted on that impulse, not considering the possible consequences all the way through. My bad, but as the saying goes, things always look clearer with hindsight.
... or actually, there is something. If it's not too much of a burden, I'd like to ask for a small favor.
I usually suggest not trailing an ellipses with a space if it's at the start of a sentence (though, this is mostly only an issue if you have it happen mid paragraph, which I sometimes do).
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AM"Never mind, just drop by whenever, and if I'm not at home I'll leave a message for the servants so they can help you! And, way to go! I'm appropriately impressed!"
Somehow, this endorsement does not seem like a good one. :p
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMI cleared the last stretch to my intended destination and entered the class 2-5. After just a few months of the new term the place already felt almost like a second home to me with all its familiar details, especially the one currently sitting on her seat, looking out of the window in apparent contemplation.
entered the class 2-5. -- entered class 2-5. -OR- entered the 2-5 classroom.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMRegardless of what anybody else said, the only way to avoid leaving out some essential detail was to admit that Haruhi was Haruhi. I couldn't care less about the fact that there were entire organizations full of people devoted to studying her every whim like ancient oracles predicting fortunes from cracks in scorched turtle shells. None of those people sat next to her in this class and I had to wonder how many of them could see her as an actual person instead of some abstract, supernatural resource to be controlled and possibly exploited for purposes that were deemed worthy by the powers that be. In the circle of people who were aware of the secret my trust only reached as far as the membership of the SOS Brigade, but not to the respective factions behind those members.
For that last sentence, since you're already specifying the limitations on Kyon's trust, I think you can drop the 'but'.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMI sat down on my own seat and turned around to face the peerless brigade chief who was completely unaware of her position in the eye of this maelstrom of secrecy and shady motivations. Well, she had wished for the world to revolve around herself, but would she really be happy if she ever found out that it was true? Right now she kept staring through the window in a way that I could only describe as reflective, without acknowledging my presence in any way. It bothered me slightly although I couldn't pin down the exact reason for the uneasy feeling.
right now she kept -- right now she keeps (tenses)
slightly although -- slightly, although
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AM"Kyon! Sometimes I really doubt whether you have what it takes to be a member of the SOS Brigade. You should be cheering for the home team, not jeering!"
Hm.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMI expected to be served a swift retort as I saw that Haruhi was already in full swing like a national league hitter, ready for driving my lazy pitch right out of the field, but then she suddenly stopped in her tracks. She looked me directly in the eyes for a fraction of a second, as if having second thoughts about her intended reply, before snapping her mouth shut without saying a word and turning her head to the side again. I could see that she was muttering something to her reflection in the window, but I couldn't hear what it was because of the general din caused by other students returning to the class.
Something about this whole thing is weirding me out, but I'll get back to that later.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AM"I'm not accountable to you, especially for my personal matters, and anyway, as the leader of the brigade it is my prerogative to decide when a meeting is held and when it isn't. I must be elsewhere which means that the meeting is canceled, isn't that obvious enough?"
I don't like Kyon's introspection that Haruhi's softening/opening up to people contrasted with her actually being colder/ruder to him than she was in the novels that went before this. Something about that feels off.... Maybe Kyon's underestimating Haruhi's distraction? But then, he's also mentioned it's 'not bothering him' while saying at the same time it was 'trouble that found its way to him'.
I'm uncertain.
Anyway.
The thing that really weirds me out is how much of this prologue maps to the opening for the third act of
The Dream of.... Admittedly, this doesn't have the same horrifyingly squicky/dysfunctional elements that that thing did (really, really, I don't suggest reading it!). So, I may be unsettled for no reason, just because that was evoked by a similar opening (second year summer vacation, things are ostensibly improving between Kyon/Haruhi but it's not really reflected well in their 'onscreen' interactions, and Haruhi's concealing some plan involving the upcoming vacation (didn't read far enough into
Dream to find out what her plan was, there)). I'm sure it's just a coincidence; those things aren't terribly specific.
Though, I suppose that you're both Finnish authors. Is there some cultural appeal to the concept/setup I'm unaware of, perhaps? Maybe it's a reference to a story I'm not familiar with?
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AM"And remember, this is just for today. Failing to be present tomorrow is totally unacceptable and will incur a heavy penalty without exceptions!"
Well, this certainly wasn't something that happened every day. On my way to the club room I wondered whether it was the time to start worrying. Probably not. After all, didn't I have my own personal interests to attend to, as well?
What? Sure it is -- Haruhi tosses the 'death penalty' around constantly. Unless she's been letting off, in which case Kyon should probably note that it's been a long time since she's done it (seeing as she doesn't seem to have employed that tactic against Kyon to get him to study).
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMAs always, I knocked on the door and opened it only after hearing Asahina-san's welcoming greeting. She had already changed into her maid uniform and was just selecting a suitable blend of tea from her personal storage box. Nagato was also present, reading a book in her corner, but at this point it was such a self-evident fact that it took a conscious effort to even notice it. Asahina-san gave me a happy, innocent smile that momentarily wiped away all my concerns.
Minor note: The second year classes are closer to the clubroom -- I think it was pointed out in the last novels that Kyon/Koizumi had to leave the clubroom once Mikuru showed up to let her change (unless Kyon was delayed by walking to Haruhi).
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMThat sounded like a good idea. It would be a real pity to let it go to waste, especially since it was specifically made by Asahina-san.
Is 'specifically' the right word?
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMKoizumi walked in and picked up a pack of cards.
Since he's already in the scene, maybe, 'walked through the door' or 'stepped in through the doorway' (presuming that's where he's standing)?
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMAsahina-san continued her tea brewing rituals and me and Koizumi ended up playing some rounds of five-card draw without bets. It was such a simple game that I could let my mind wander around while playing. Although Haruhi's recent behavior was one of the issues that I couldn't simply ignore, if for no other reason than the knowledge that the consequences would eventually reach me with the inescapable certainty of the Earth rotating around its axis, it was also a long term concern rather than an acute one. Instead, I kept pondering the casual remark made by Tsuruya today.
rituals -- ritual (I think)
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AM"I see. Maybe I should have chosen the hanafuda pack instead?"
I couldn't even bother asking what Koizumi was insinuating with the oblique remark that he seemed to find somehow amusing.
Another unfamiliar loanword. I stand by the suggestion of just working the definitions into the narrative, wherever possible. :)
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMI picked up my cup and thanked Asahina-san who was now serving Koizumi on the other side of the table. It was fairly hot in the club room this late in the afternoon, and I noticed that Asahina-san absent-mindedly swept sweat from her face after giving Koizumi his cup. Now that I thought about it, it had to be rather uncomfortable to wear the maid uniform in this weather, but I couldn't possibly suggest that she switched to something lighter. Beside the fact that my concern would be all too easy to misinterpret, in the worst case Haruhi might hear about it as well and actually make it happen. The maid uniform was at least a rather respectable choice, so any change would likely be to the worse.
First sentence, missing a comma after 'Asahina-san'. Second sentence, I'd replace 'swept' with 'wiped' to avoid the unintentional (?) alliteration.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMIncidentally, that reminded me about the secret Mikuru folder on the club computer. I had finally gathered enough determination and permanently deleted the folder with its contents in late April. It hadn't been an easy decision but most certainly the right one. If Yasumi could find the folder so easily then it would be only a matter of time until Haruhi did the same by accident, and that wasn't a risk I was willing to take at this point. Now, after Tsuruya's remark, I actually felt relieved by the knowledge that the compromising photos couldn't be the cause of Asahina-san's trouble, whatever it was.
Third sentence, missing a comma before the 'but'.
Fourth sentence, missing a comma before 'then'.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMThere was a moment of silence when everybody concentrated on drinking their tea. While I relished the exquisite blend that Asahina-san had chosen for the occasion there was also a hint of melancholy transience in the atmosphere. On a normal day, unless Haruhi was specifically pushing forward one of her manic projects, she didn't actually do that much beyond being present and occasionally joining a discussion, but still, it was precisely her presence that gave the SOS Brigade its purpose. Right now I could see it very clearly that without Haruhi we were just a group of four high school students, no matter how extraordinary, idly passing their time by drinking tea after the school hours. There was nothing wrong with that in itself, but at the same time it felt lacking, fundamentally incomplete. Serene and comfortable but ultimately ... boring. The me from one year ago would have been shocked to hear myself openly admitting that much.
the occasion there was -- the occasion, there
it was precisely her presence -- suggest dropping 'precisely'.
see it very clearly -- see very clearly ('it' is extraneous here)
This is a rather large paragraph in general (a comment I should have been making more regularly, and haven't been; apologies). >_<
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMOh boy. Just as Taniguchi had said in jest at some point, after the most tumultuous year of my life I was now completely and irrevocably infected by the Suzumiya virus that had found its way to every cell of my body, and I knew that I didn't even want to find a cure.
I would break that second sentence up into two, I think. It feels like a bit of a run-on.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMAfter I had finished my tea I placed the cup back on the table, and when Asahina-san asked whether I wanted some more I declined. For a short while everybody just sat there without saying anything until Nagato closed her book, and the sound of it, like a chairman banging his gavel, marked the termination of this shadow meeting of the brigade. With the usual observances we all adjourned to our own directions, except for Asahina-san who had to stay behind to clean up the tea equipment and change her clothes.
I think you want a comma after that last 'Asahina-san'.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMWhen I got out of the schoolyard I took a deep breath and tried to shake off the lingering concerns like a dog dries its fur after a swim. It was still a bright, sunny day outside, and my duties for the day weren't over yet, so I set my sights on the next destination.
Second sentence, you have 'bright sunny day' and then 'day' again later. To avoid repetition, maybe reword to something like:
Quote from: suggestionIt was still bright and sunny outside, but my since my duties for the day weren't over yet, I set my sights on the next destination.
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMFortunately, considering the purpose of my current mission, the Tsuruya estate was not located too far away from North High. In fact, parts of it could even be seen from the slope that I climbed up from Kouyouen on my way to school every morning, so it only took me around fifteen minutes until I was standing in front of the imposing wooden gate of the Tsuruya mansion. I pushed the button of a modern intercom that had been installed in the wall that surrounded the mansion, and waited for reply. It was a hot and humid afternoon, the air was standing still without the slightest breeze and I noticed that I was sweating after the walk along the hillside.
mansion, and waited -- mansion and waited
afternoon, the air -- afternoon; the air
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMFor a good while the only noises that I could hear were the distant hum of the city and the incessant chirping of cicadas, and I already started to wonder whether anybody had even heard the doorbell, but then the intercom was turned on and I heard a familiar voice.
Oop. Repetition of 'and', and incidentally, one comes right where you've ended a complete sentence:
cicadas, and I already -- cicadas. I had already (change comma to full stop, drop 'and', add 'had')
And then it's two complete sentences. :)
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMHaruhi had to go somewhere so we didn't have a meeting today.
Ack. And this is one of the reasons that I don't like Kyon
never having dialog properly offset. My first thought was, "Why is Kyon telling us something we already know?" not "Is this spoken, or thought?" >_>
Muphrid adores doing the same thing -- it's a great tool, but also a horrible crutch. It's really best used sparingly....
...well, that's my opinion, anyway, but I admit to seeing it so overused I actually somewhat intentionally underuse it myself. >_>;;
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AM"Is that so? Looks like you might not be the only one who gots ideas, then. It pleases me greatly to see that things are going well!"
I don't know anything about that. I'm only doing this to avoid drawing any unwanted attention.
Hearing this, the high-spirited upperclassman burst into a riotous laughter and gave me a friendly slap on the shoulder.
"Just keep saying that and I'll keep disbelieving you, and we'll all be happy, nyoro? Follow me."
I am not at all following either what Kyon isn't telling us, or what Tsuruya's not telling us. I'll just say I find Tsuruya's attitude annoyingly condescending; I think she'd be a lot more vague instead of teasing/mocking. And if she's trying to give Kyon hints ... eh.
Anyway, if the hints are aimed at the readers, I confess: I have no clue what Kyon's planning, and am equally confused as to what Tsuruya's planning (if it's at all relevant). If it's just to establish that some plan is percolating in the background, then the first instance (where Tsuruya told Kyon not to think about it (contrasted to her bringing it up again herself, here)) is sufficient, more likely than not.
Eh, something I didn't comment on the time -- was Mikuru's 'depression earlier in the year' refering to the
Melancholy of Asahina Mikuru? Otherwise, I'm not sure what incident that's alluding to (and probably, it could be slightly clarified a tiny bit), there.
Well, this squarely places the ball in my court to apologize. 'Again with the stereotypes?' was a particularly inapt idiom on my part given that I haven't seen Brian stereotype anything before. It simply refers to the fact that I deal with people who stereotype this or that other group of people almost every day, and I generally tune that sort of thing out, and here it was cropping up for me yet again :-/
EDIT: I note that the impression was probably further exacerbated by my musings on whether or not my mental picture of the characters in Kaurismaki movies was that bad, which might also have been misunderstood. My memory of those movies was that the characters were deadpan to such a degree that the resulting impression seemed somewhat hackneyed.
Yes, these excuses on my part are definitely kind of weak. More to the point, this is what forgetting "think before you write" looks like on the outside.
In fact, if I were to suddenly insist that everyone around me be perfectly tolerant and politically correct, I would eventually have no job, no friends, no career prospects, and I would in some sense be the most intolerant person around to boot. I didn't take into account that when stereotyping is pointed out as such in a liberal society, it is generally taken as a (societally protected) act of moral castigation and belittlement of the person doing the stereotyping. While I appreciate the fact that this mechanism is considered necessary to keep cultural intolerance to a minimum where diverse cultures are in close contact, it was frightening to see how easily it could be set at work.
Brian, I did not wish to express any implication that you are an intolerant person. Having met a large number of genuinely intolerant people (and perhaps having had a few of their habits rub off on me :-/), it unfortunately did not occur to me that my comment would cause you to see yourself this way. In fact, all I meant to express was that at first I thought there was no basis for drawing that particular connection based on two fics of very different quality, and so I'd tuned the comment out, but then I noticed a few slight parallels which made me think a little. Guhh... to think it was so easy for me to poison the atmosphere without meaning to...
So, everyone, please accept my apologies for causing this.
*formal bow*
And the rest (now rewritten from what I lost thanks to the character limit (oops)):
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMShe took a pair of outdoor shoes and we walked around the main house to a smaller side building that was more like a shed or garage holding miscellaneous garden tools. Tsuruya introduced me to an elderly man who was currently sorting through the equipment.
"This is Hakase-san, the estate gardener. He already knows what you're looking for and will show you around. I must go and change clothes but if you need anything else just let me know. Laters!"
^_^;;
Unexpected! I'm flattered. :p
I also want to make a quick note here that Tsuruya collecting her shoes and following Kyon is a very brief transition. It's well handled, but I'm noticing that a lot of your sentences seem to be a bit too ... hmm. I can say 'wordy'? It feels like you're trying to perfectly describe every detail, and your sentences have generally grown quite a bit.
I'm not ... sure, but I get the impression you spent more time (possibly reworking?) those parts; the first paragraph here, though is very simple and concise.
Now, Kyon is prone to long, rambling thoughts, so that's actually brilliantly done on your part! (I've been told I'm pretty good at Kyon's 'voice', but I just don't have the knack to properly capture Kyon's analogies, so I'm actually taking
lots of notes from you on Kyon's characterization here; I really like that.) There are some instances where the narrative gets a bit wordy; it starts looking like my first-drafts to myself. >_>;;
I've heard that sculptors work by carving away everything in the stone that's not the sculpture -- say, an elephant. So, to turn a block of stone into an elephant, one just chips away all the 'non-elephant' bits. Writing doesn't work quite the same way, since we're starting with a blank slate, but sometimes (in my experience) I write huge blocks of story that aren't very good. So, by chipping away the extra stuff and smoothing out the narrative flow, I end up with something that really does work. It feels like something similar may be happening here. >.>
Mostly noting the contrast and pointing this out as a very good example of keeping it concise. :)
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMAfter I had properly thanked Tsuruya for her courtesy she disappeared into the house and I was left with the gardener who observed me appraisingly as if I were a particularly unruly sapling in dire need of some pruning. He hadn't so far said a single word that I'd have heard. The contrast to Tsuruya's cheery chattering couldn't have been stronger.
gardener who -- gardener, who
appraisingly as if -to-> appraisingly -- as if (suggestion)
I'd have heard -- I'd heard
chattering -- babbling (to avoid alliteration)
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMI was already starting to feel uncomfortable and Tsuruya's latest comments made me reconsider the wisdom in making the decision in the first place, but it was too late to back off now as I was here already, wasn't it? The silent gardener rummaged through his tools and came up with a small shovel and a squat, unadorned clay pot that he gave to me with the minimal amount of instruction.
First sentence is awkward and doesn't scan neatly -- I'd suggest rewording.
Also, if he's silent, how does he give instruction? (He could actually have written instructions, I suppose....) Suggest 'near-silent'?
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMI carried the shovel and the pot and followed the short man whose head was almost completely bald on the top and glistened in the bright sunlight. We walked in a leisurely pace past the buildings and gardens of the main complex into the forest behind the mansion. I had been on the estate grounds during the treasure hunt in February but as far as I could tell we weren't going in the direction of that mountain now. Instead, we went downhill to a vale between the surrounding hills and once we arrived at a small natural pond surrounded by a thicket I immediately saw that it was the exactly right place.
If you want to avoid repetition of 'pot', some instances could be replaced with 'vessel' (repetition may not bother you; not everyone really minds it).
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMThe gardener made a slight gesture with his hand, indicating that I was free to choose what I wanted. I walked around the pond until I found something that closely matched my preconceived idea, and when I looked at the gardener he gave me a small approving nod. After some digging and manual adjustment the pot got properly occupied and I could wash my hands in the pond. We then walked the same route back to the mansion where I gave the shovel to the gardener and thanked him cordially for his effort.
'got properly occupied' scans oddly. Maybe 'pot was properly filled'?
mansion where -- mansion, where
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMHowever, I still had to walk all the way back to North High carrying my new trophy, and although the load wasn't terribly heavy I was already tired and sweating profusely by the time I finally reached the club room and could drop the pot and its contents to the proper place. Oh boy, I didn't need Haruhi to task me with pointless errands any more because after a full year of training I managed do it all by myself! I poured some water in the pot and left the club room the second and final time for the day.
Oh, I see ... the flower that Yasumi created?
'could drop the pot and its contents to the proper place.' -- going back to the 'mission' context, maybe:
'could set down my burden, completing the mission'?
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AMHaving completed the task that had unwittingly talked myself into, I went home for dinner. Nothing worth mentioning happened that evening, at least as far as I was aware of, and I went to bed in a cautiously optimistic mood. On the whole, it hadn't been too bad a day, and if there wasn't anything significantly worse looming in the horizon then this might turn out to be a perfectly fine summer after all. One can always hope, right?
unwittingly talked myself into -- convinced myself to undertake (nitpicking on my part, because Kyon doesn't actually speak in the entire thing -- and while it could be used to indicate his internal dialog, he actually does go out of his way to avoid telling the reader what he's planning)
Okay. That's it!
On the chance that some of this has somehow offended or otherwise been inappropriate, I assure you that such was
entirely unintentional. As I've mentioned to you before, Sarsaparilla, my intentions are always to accomplish good and help, no matter how seldom I am able to realize those intentions. I truly mean nothing offensive, and if something here comes across that way, rest assured that I will hate myself for it infinitely more than you will. >_<
Apologies for the drama!
Quote from: Arakawa Seijio on October 26, 2011, 01:13:34 AMBrian, I did not wish to express any implication that you are an intolerant person. Having met a large number of genuinely intolerant people (and perhaps having had a few of their habits rub off on me :-/), it unfortunately did not occur to me that my comment would cause you to see yourself this way. In fact, all I meant to express was that at first I thought there was no basis for drawing that particular connection based on two fics of very different quality, and so I'd tuned the comment out, but then I noticed a few slight parallels which made me think a little. Guhh... to think it was so easy for me to poison the atmosphere without meaning to...
Easily, the fault could be just as much for mine for not taking the ten minutes to think about my reaction before I had it. That, too, would have saved us a lot of trouble. >_>;;;
Let's shake e-hands and call it a lesson learned on both our parts. ^_^;;
Quote from: BrianThe longer I think about it, the more I realize that novels 9-11 (really, 10-11) just don't really sit well with me.... And I can't help but notice a marked downturn in new Haruhi fanfics corresponding with the release of the translations in English. :/
I have mixed feelings about the 9-11 arc. There are a lot of new elements introduced and a lot of potential for new possibilities, yet those elements come in and exit neatly. I mean, I had the basic idea for
The Coin in my head well before 10 & 11 came out, and while I was relieved that they didn't require me to make huge changes, I was disappointed that they didn't, too. Maybe there'll be a 12 and some more significant repercussions will be seen, but...I'm not sure.
Quote from: BrianQuote from: sarsaparilla"And remember, this is just for today. Failing to be present tomorrow is totally unacceptable and will incur a heavy penalty without exceptions!"
Well, this certainly wasn't something that happened every day. On my way to the club room I wondered whether it was the time to start worrying. Probably not. After all, didn't I have my own personal interests to attend to, as well?
What? Sure it is -- Haruhi tosses the 'death penalty' around constantly. Unless she's been letting off, in which case Kyon should probably note that it's been a long time since she's done it (seeing as she doesn't seem to have employed that tactic against Kyon to get him to study).
I think the unusual thing is for Haruhi to skip going to the club room; regardless, that could be clarified a touch.
Quote from: Muphrid on October 25, 2011, 01:06:05 PMActually...why would a high school have an all-star team? Do they do that there?
Well. I've had a bit too much rum to handle proper research just now, but my brain says they
might in Nishinomiya, given the relative importance of Koushien. It's certainly feasible -- and even if it's unlikely, it seems entirely possible that Kyon would consider the team to be 'all-star'. I suppose quotation marks could be justified.
Quote from: Muphrid on October 25, 2011, 01:06:05 PMQuoteAnyway, even my tender and eternally concerned mother who had raised me had already noticed the change, and had tried to find out the specific reason through circumspect and seemingly offhand questions. Evading my mother's inquiries made me feel somewhat conflicted. On one hand, I was receiving undue merit as long as she suspected that I had achieved the results through my own diligent effort, and on the other hand the situation would become even more complicated if I told her the real reason behind my improving grades. For all I knew my mother would probably insist to have Haruhi visiting us, maybe even regularly, so that my mother would get a chance to show her gratitude, and since Haruhi wasn't really used to receiving praise for the things she did on her own volition, she might decide to drop the whole project permanently, leaving me to my own devices again.
"who had raised me" can be cut. Otherwise, this line of reasoning seems like a very plausible Haruhi-esque reaction.
I sense this is going to be a recurring trend, but I disagree. Haruhi understood and somewhat even sought out positive reactions for her behavior after the Cultural Festival. Perhaps I read too much into it, but I get a sense of lingering guilt in Haruhi's subconscious for the oh-so-conveniently sprained-wrist/sore throat of two members of ENOZ as the reason she didn't handle the praise well-- But consider that after that she went out of her way to arrange the SOS Brigade giving her old toys away for children, and then her interest in legitimately helping Sakanaka vs. just giving up on Emiri's case when it turned less interesting than she hoped -- weighing a depressed dog against a missing person, no less!
I should disclaim repeatedly that this may just be me and my take on things (and Dr. Baccardi (but I suspect he's not a real doctor >.>)).
Quote from: Muphrid on October 25, 2011, 01:06:05 PMQuote"Kyon! Sometimes I really doubt whether you have what it takes to be a member of the SOS Brigade. You should be cheering for the home team, not jeering!"
This is a great line.
To contrast: A little bit, it actually bothered me that Haruhi even
joked about Kyon not being part of the brigade anymore (part of why I considered her cold/rude to Kyon). Death penalties, warnings of doom, complaints that he's always going to be the lowest ranking member, sure -- that's Haruhi all over.
But 'him not being there' even being on the table? That didn't come up even when Kyon looked like he was going to
punch her! :\
Yes -- just double-checked that in
Sigh. >_< Even then, she didn't want him to go away, just to cooperate with her.
Quote from: Muphrid on October 25, 2011, 01:06:05 PMOverall: the narration seems very natural. It sounds like Kyon, and that's the most important thing. All the nit-picking above over style and stuff is really quite minor compared to that. I'd avoided to some extent the outline and other information you had before, but I know the basic thrust of what's to come. In that respect, I feel like this might be a bit slow to develop, but not unduly so. On finishing this part, it does seem like dividing at the first break might be inappropriate, as it doesn't catch what Kyon's done here in going to the Tsuruya estate, so that question may still take some thought.
On the whole, though, you should be very happy with this piece so far. It's very good.
I have to echo that; I've learned quite a bit about how to portray Kyon from this. :)
Quote from: sarsaparilla on October 25, 2011, 02:28:28 PMAgain what I said above ... I really shouldn't use baseball metaphors but the temptation was too strong. >_>
And once again, I disagree! (I must be an incredibly disagreeable sort, I suppose. :/)
Baseball metaphors are fine; you can always ask for help with research if you're not sure of something. I'm not sure where it went (and I may actually be thinking back to the Refuge) but we used to actually have a fanfiction/general research thread for when authors wanted second-opinions or more information on how to make something work.
Here, you tried something and Muphrid suggested an alternative that (at a glance) seems more applicable. That seems to be one of the purposes of submitting something to a smaller group of peers first, right?
Basically.... Don't be afraid to experiment or try to work things into the scene that 'feel right' or are 'tempting'. It seems like it worked out pretty well here, to me. :)
Quote from: sarsaparilla on October 25, 2011, 02:28:28 PMActually, my original plan was to label the first three chapters (altogether around 40k words) as Prologue I, II and III, and start the main story after that ... somebody might see that as a bit excessive, though....
But to meet the minimal requirements for a prologue, I'll have to carry it at least to the end of the second half of Chapter I.
I wouldn't worry so much about the technical requirements for the prologue as much as what works for the story, which is pretty much again echoing Muphrid. The arc covered by novels 9-11 had an aggregiously long prologue, I think almost 40% of the first book. @_@
Oh dear, this thread has grown
fast! There's much more commentary than original text by this point.
Quote from: Arakawa Seijio on October 25, 2011, 05:03:03 PMIt filters the target audience, which might be a good thing if you keep in mind that readers who make it to the later chapters are going to have a high tolerance for detail. You can spend less time worrying about whether the later chapters move too slowly when you need to get involved with the psychological elements, and more time actually exploring what you want to explore.
That is a good point. :)
Quote from: Arakawa Seijio on October 25, 2011, 11:56:29 PM
QuoteIn my opinion, it was not as much a matter of her growing up into a better person, as it was one of her once again becoming the nice person she had originally been, and I had several good reasons for believing so after all the things that I had learned during the incident in April.
Ooh... I'm guessing this refers to an implication (via the happy-face pin that Haruhi used to wear) that Yasumi is something akin to Haruhi in her elementary school days, personality-wise? I assume this will get explored further.
Yes, and yes.
Quote from: Arakawa Seijio on October 25, 2011, 11:56:29 PMSeems to suggest that Haruhi actually stops tutoring Kyon completely for two-three days in a row.
That is the intended interpretation, that it's a kind of sporadic on/off effort for Haruhi (which further confuses Kyon concerning her motives).
Quote from: Arakawa Seijio on October 25, 2011, 11:56:29 PMIncidentally, the Kaurismäki trilogy is highly recommended as a... unique experience. Not necessarily as a good way to understand Finland, maybe? I'm not sure how those movies are viewed domestically (curious to hear sarsaparilla's opinion on this)... to me it looks like a directing style that deliberately tries to make Finns look alien and opaque.
I haven't seen that many Kaurismäki movies myself, but the issue is somewhat complicated. The ... oddities ... are entirely real, and part of the Finnish culture. While actual manifestation of the traits depends very much on the demographic group (age, social class, location, etc.) they are still immediately recognizable to the large majority of the population. As to how they are viewed, I would personally say that it's mainly a mixture of endearment and subtle (self-deprecating) humor (a typical Finn sees the traits as mostly sympathetic). On the whole, all Kaurismäki movies explore the darker back alleys of the Nordic welfare state, and thus give a very ... particular ... perspective into the Finnish society. But yes, that's a part of Finland in its raw, non-Photoshopped state.
And, thanks for the feedback!
Quote from: Brian on October 26, 2011, 01:09:16 AMI hadn't heard the Japanese meaning of 'shosho' before, only the slang Spanish one, which is.... Erm. Anyway! >_>;;
The literal Japanese definition seems to be 'here and there', which I gather from context must mean something about 'vacation', but this is not (I believe) a commonly known loanword. I'd go with the clearer word
Actually,
shousho is the name of a certain period of the solar calendar (http://en.wikipedia.org/wiki/Xiaoshu) and marks the beginning of the 'hot season' (the literal translation is 'little heat'), thus the intended meaning of the sentence was "it's already hot before the 'official' date". It also constrains the time frame of the narrative, because the beginning of shousho never falls beyond July 8 on the Gregorian calendar.
I'll probably drop
joujun, though, as it is largely redundant.
Quote from: Brian on October 26, 2011, 01:09:16 AMI would suggest an em-dash in place of the comma in the second sentence
So far I've completely avoided dashes because I don't know whether they survive the FF.Net format butchering. Looks like I must conduct some experiments again. I already learned that it's possible to have proper sentence ending ellipses by inserting the coded character entity
hellip followed by a dot. Still haven't found a way to make a clean section break, though.
Quote from: Brian on October 26, 2011, 01:09:16 AMHeh, even Kyon wonders where the dramatic tension went. =_=
The longer I think about it, the more I realize that novels 9-11 (really, 10-11) just don't really sit well with me....
I was rather disappointed as well. My theory is that the author published book 9 without thinking the plot all the way through, and essentially wrote himself into a corner, which then translated into the long hiatus and essentially a rather weak conclusion. To be completely honest, one of my motives for writing this fic is exactly to see whether I can create something better than that, at least plot-wise.
Quote from: Brian on October 26, 2011, 01:09:16 AMI thought closed space instances were way down following Sigh.
That's my interpretation as well, that they were rare but not completely non-existent until the situation escalated during the 9-11 arc again. Here I'm postulating that after that they stopped completely (extrapolation, I know, but there's a rather plausible explanation for that).
Quote from: Brian on October 26, 2011, 01:09:16 AMAnd it's not her 'not sure what expression to show' expression?
No, it's something else. ^_^
Quote from: Brian on October 26, 2011, 01:09:16 AMAmusing sidenote: Mountains are typically given the 'san' honorific (Ie., 'Fuji-san').
Indeed, that would've been Kyon's original thought but I couldn't find a way to translate the pun.
Quote from: Brian on October 26, 2011, 01:09:16 AMFridge horror: Kyon does so poorly at school because Haruhi wants to be able to offer him something.
I am certainly aware of the possibility, and actually left the door open for a (somewhat) more benign interpretation, i.e., that the effect is real but unintentional, as in if Haruhi and Kyon both pick a number for lottery and Haruhi then wins by the virtue of being herself, it also means that Kyon loses unless he just happens to pick the same number as Haruhi, which is unlikely. So, Haruhi doesn't actually wish for Kyon to lose but that still happens through basic probability and Haruhi's wish to win.
Also, Kyon is
way too erudite for his age, a thing that I kind of lampshaded in the passage as well.
Quote from: Brian on October 26, 2011, 01:09:16 AMThis ... doesn't really feel like trouble finding its way to Kyon?
Ok, 'trouble' is a wrong word for what I tried to say, will rephrase.
Quote from: Brian on October 26, 2011, 01:09:16 AMThat was a strangely cryptic and foreboding remark....
There isn't anything sinister lurking behind Tsuruya's comment, it's just a bit of foreshadowing for certain things that will eventually be discussed during the Florence arc, and are related to Asahina's character growth and status as a time traveler.
Every member of the brigade will get some character growth during the story, even Koizumi. >_>
I know that I've written darker stuff before, but I want this story to be benign on all levels.
Quote from: Brian on October 26, 2011, 01:09:16 AMI don't like Kyon's introspection that Haruhi's softening/opening up to people contrasted with her actually being colder/ruder to him than she was in the novels that went before this. Something about that feels off.... Maybe Kyon's underestimating Haruhi's distraction?
That is one of the unfortunate side effects of the artificial split of the chapter into two halves. Haruhi is planning something specific for the next day (and hence this comment:
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AM"And remember, this is just for today. Failing to be present tomorrow is totally unacceptable and will incur a heavy penalty without exceptions!"
) and may come through as somewhat prickly, when in fact she's trying her hardest to avoid telegraphing her intentions (and the plan is also the reason for why she's skipping the meeting). The next day will have a completely different mood. Though, since Kyon has a plan of his own it becomes a bit of a Xanatos pileup -- the mental image I've been having for this chapter is that both of them are playing high stakes poker and bluffing like pirates.... But I'm still trying to keep the situation balanced.
Yes, the first half of the chapter doesn't show Haruhi in the best possible light, but my sincere hope is that it will look better in retrospect. There's one dangerously cute moment for Haruhi in the second half, but because of Kyon's (unintentional or deliberate, take your pick) obliviousness, it may require a bit of reading between the lines to notice it.
Also, the impression depends a lot on the tone of voice Haruhi is using, something that is not properly conveyed in the written format. I tried to use Kyon's observations to suggest that Haruhi is not being aggressively confrontative but I may have failed. Will have to meditate on the issue.
Quote from: Brian on October 26, 2011, 01:09:16 AMThe thing that really weirds me out is how much of this prologue maps to the opening for the third act of The Dream of.... Admittedly, this doesn't have the same horrifyingly squicky/dysfunctional elements that that thing did (really, really, I don't suggest reading it!). So, I may be unsettled for no reason, just because that was evoked by a similar opening (second year summer vacation, things are ostensibly improving between Kyon/Haruhi but it's not really reflected well in their 'onscreen' interactions, and Haruhi's concealing some plan involving the upcoming vacation (didn't read far enough into Dream to find out what her plan was, there)). I'm sure it's just a coincidence; those things aren't terribly specific.
Though, I suppose that you're both Finnish authors. Is there some cultural appeal to the concept/setup I'm unaware of, perhaps? Maybe it's a reference to a story I'm not familiar with?
It doesn't ring a bell for me, so it's most likely coincidental, and the plans mentioned here are not related to summer vacation. I haven't read
The Dream and don't even feel inclined to do so, but what little I know about it should be enough. I'm most definitely not going in the same direction.
As a completely unrelated side note, the author's pen name 'Perkele' means a particular supernatural being in the Finnish folklore, later identified with the Devil when Christianity was imported to Finland. It's also the most common and well-known Finnish swearword, about as flexible in its various applications as the F-word is in English, although instead of a sexual undertone the Finnish word indicates aggression -- it's possible to tell how enraged somebody is by the length of the rolling 'r' sound in the word (the longer the more enraged, to comical extremes).
Quote from: Brian on October 26, 2011, 01:09:16 AMSure it is -- Haruhi tosses the 'death penalty' around constantly.
My bad, the 'unusual' part was a reference to Haruhi skipping the meeting. Will rephrase.
Quote from: Brian on October 26, 2011, 01:09:16 AMMinor note: The second year classes are closer to the clubroom -- I think it was pointed out in the last novels that Kyon/Koizumi had to leave the clubroom once Mikuru showed up to let her change (unless Kyon was delayed by walking to Haruhi).
Hmm ... I'll have to see how that might change some details. Good point.
Quote from: Brian on October 26, 2011, 01:09:16 AMQuote from: sarsaparilla on October 25, 2011, 09:28:06 AM"I see. Maybe I should have chosen the hanafuda pack instead?"
I couldn't even bother asking what Koizumi was insinuating with the oblique remark that he seemed to find somehow amusing.
Another unfamiliar loanword. I stand by the suggestion of just working the definitions into the narrative, wherever possible. :)
That was a bit of a bilingual genius bonus, and only made sense if the reader noticed that while on the surface Kyon and Koizumi were talking about the card game they were playing, they were actually talking about relationships (with plausible deniability should anybody point out the fact). This is one of the devices that will be used repeatedly in the story.
Hanafuda is a Japanese card set with a somewhat different selection of cards. Koizumi picked the western set and they played five-card draw, an entry-level game for that set. The unvoiced thought was that had he picked a
hanafuda pack instead, they would probably have ended playing another game known as
koi-koi, the name of which in that context means 'continue', but could be understood as something else altogether.... (Gotta love the incredible ambiguity of the Japanese language.)
I believe that Kyon got the reference. ^_^
Ok, I know that I'm being very circumspect here, but I don't know how to make the issue slightly more obvious without totally blowing it up. I thought that it would be completely acceptable if the reader just skips that comment as random gratuitous Japanese.
Quote from: Brian on October 26, 2011, 01:09:16 AMthis is one of the reasons that I don't like Kyon never having dialog properly offset. My first thought was, "Why is Kyon telling us something we already know?" not "Is this spoken, or thought?"
Ok, that's a stylistic error I've been making all the time, and must learn to correct.
Quote from: Brian on October 26, 2011, 01:09:16 AMI am not at all following either what Kyon isn't telling us, or what Tsuruya's not telling us. I'll just say I find Tsuruya's attitude annoyingly condescending; I think she'd be a lot more vague instead of teasing/mocking. And if she's trying to give Kyon hints ... eh.
Ok, not the message I was trying to get through. Will rephrase.
Quote from: Brian on October 26, 2011, 01:09:16 AMwas Mikuru's 'depression earlier in the year' refering to the Melancholy of Asahina Mikuru? Otherwise, I'm not sure what incident that's alluding to (and probably, it could be slightly clarified a tiny bit), there.
Yes.
Quote from: Brian on October 26, 2011, 01:15:09 AM
I also want to make a quick note here that Tsuruya collecting her shoes and following Kyon is a very brief transition. It's well handled, but I'm noticing that a lot of your sentences seem to be a bit too ... hmm. I can say 'wordy'? It feels like you're trying to perfectly describe every detail, and your sentences have generally grown quite a bit.
There may be several factors contributing to my rambling. First, a typical Finnish word maps to several words or even a complete sentence in English, and thus a Finnish sentence can easily balloon into a paragraph in English if all the details are translated verbatim. Second, the Finnish language naturally leans toward extremely long, complicated sentences and some of that style necessarily carries over when I write English prose, as the patterns of thinking have been ingrained in my mind.
Even past such 'localization' concerns, when I slip into character and go through a particular scene, the experience is just as vivid and detailed as if I was watching it on TV, and there are lots of insignificant details that I never write down despite remembering them. So, I'm already cutting out a lot of stuff, and keep doing it on every round of revision. Sometimes it's just hard to decide what is irrelevant and what isn't (my subconsciousness has a habit of surprising me with seemingly superfluous details that on a closer inspection aren't).
Quote from: Brian on October 26, 2011, 05:01:22 AM
it actually bothered me that Haruhi even joked about Kyon not being part of the brigade anymore (part of why I considered her cold/rude to Kyon). Death penalties, warnings of doom, complaints that he's always going to be the lowest ranking member, sure -- that's Haruhi all over.
But 'him not being there' even being on the table? That didn't come up even when Kyon looked like he was going to punch her!
Honestly, I wasn't even aware of the possibility that there could be any actual threat in there. Maybe it's exactly because in my mind Kyon dropping / getting dropped out of the brigade is something completely unthinkable. Ah, a blind spot. -_- I ... will rephrase the sentence. How about:
Quote from: HaruhiKyon! I'm not asking you to grab a pair of pom-pons and start jumping up and down in excitement, but you should at least be cheering for the home team instead of jeering!
The implied mental image lifts the overall mood of the discussion ... for me, in any case. ^_^
Anyway, that was a lot to digest, I'll do my best to get everything in. I very much appreciate the feedback.
And, about Kyon's voice. I've noticed that he mostly draws his similes from a pool of culturally specific themes, with some math and physics thrown in. I've tried to emulate it by utilizing a list of kigo (http://en.wikipedia.org/wiki/Kigo). Getting it nailed down perfectly is beyond my abilities, so I'm trying to come up with something that is similar in style if not the specific content.
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMActually, shousho is the name of a certain period of the solar calendar (http://en.wikipedia.org/wiki/Xiaoshu) and marks the beginning of the 'hot season' (the literal translation is 'little heat'), thus the intended meaning of the sentence was "it's already hot before the 'official' date". It also constrains the time frame of the narrative, because the beginning of shousho never falls beyond July 8 on the Gregorian calendar.
I'll probably drop joujun, though, as it is largely redundant.
...that's what I get for checking my outdated kana/kanji dictionary, instead of using wiki. Heh, Hal's been insisting I upgrade, and this appears to prove him right.
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMSo far I've completely avoided dashes because I don't know whether they survive the FF.Net format butchering. Looks like I must conduct some experiments again. I already learned that it's possible to have proper sentence ending ellipses by inserting the coded character entity hellip followed by a dot. Still haven't found a way to make a clean section break, though.
In my memory, dashes tend to be fine, as long as there aren't more than three of them. A normal dash is a dash, but if the special em-dash character isn't availible for what ever reason, a double-dash suffices in plaintext. Though, I appreciate your efforts in making ff.net display things correctly.
There's a laundry list of things that ff.net can/will do to formatting. Off the top of my head: Almost any instance of three (or more) characters of any sort get omitted entirely (or pared down to three/less). I used 'XXX' to indicate scene-breaks, since ff.net strips out '***' for some reason. Spaces following any word with italics seem to get stripped out. Anyone who uses '!?' (or the inverse) will find their punctuation pared down or stripped out. Bleah.
Hard-coding <hr> tags should work.... Well, all of that's somewhat iffy -- ff.net actually goes through and occasionally updates whatever it is that they maintain that causes these issues -- they've stripped all the scene-breaks out of even some of my older stories, though very inconsistently. It's possible that writing in .doc format and exporting it to ff.net works better, but that's just another hoop to jump through to get things onto ff.net.
More to the point -- do you have any interest in maintaining your own webspace?
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMI was rather disappointed as well. My theory is that the author published book 9 without thinking the plot all the way through, and essentially wrote himself into a corner, which then translated into the long hiatus and essentially a rather weak conclusion. To be completely honest, one of my motives for writing this fic is exactly to see whether I can create something better than that, at least plot-wise.
I think the delay between volumes alone indicates that your theory is quite likely. For what it's worth, I think you're off to a good start. :)
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMThat's my interpretation as well, that they were rare but not completely non-existent until the situation escalated during the 9-11 arc again. Here I'm postulating that after that they stopped completely (extrapolation, I know, but there's a rather plausible explanation for that).
That makes sense to me.
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMQuote from: Brian on October 26, 2011, 01:09:16 AMThat was a strangely cryptic and foreboding remark....
There isn't anything sinister lurking behind Tsuruya's comment, it's just a bit of foreshadowing for certain things that will eventually be discussed during the Florence arc, and are related to Asahina's character growth and status as a time traveler. Every member of the brigade will get some character growth during the story, even Koizumi. >_>
I know that I've written darker stuff before, but I want this story to be benign on all levels.
In brighter light, shadows have more contrast. I didn't think it was ominous, just something that promoted a sense of wariness. Erm. Maybe overstated that a bit....
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMThat is one of the unfortunate side effects of the artificial split of the chapter into two halves. Haruhi is planning something specific for the next day (and hence this comment:
Quote from: sarsaparilla on October 25, 2011, 09:28:06 AM"And remember, this is just for today. Failing to be present tomorrow is totally unacceptable and will incur a heavy penalty without exceptions!"
) and may come through as somewhat prickly, when in fact she's trying her hardest to avoid telegraphing her intentions (and the plan is also the reason for why she's skipping the meeting). The next day will have a completely different mood. Though, since Kyon has a plan of his own it becomes a bit of a Xanatos pileup -- the mental image I've been having for this chapter is that both of them are playing high stakes poker and bluffing like pirates.... But I'm still trying to keep the situation balanced.
...wow, I didn't get that at all, especially since almost everything Kyon does/discusses that's 'gamelike' involves Koizumi, not Haruhi; her contribution is that he should be a cheerleader, not a participant. FWIW, the situation feels incredibly unbalanced. Haruhi's plan is some looming phenomenal thing that Tsuruya slips up on warning him about twice. Kyon's plan makes Tsuruya giggle. And then (if I follow): 'We're going on an international trip' vs 'I went to our mutual friend's place and dug up a plant'.
But -- that feels true to the way things frequently are between them. Kyon's earnest but unwilling to put the proper effort in because he hates looking bad in comparison, so if he can say it was a half-hearted effort in the first place.... So, while I can't see it as being equal, I do see it as being true to the setting and characters.
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMYes, the first half of the chapter doesn't show Haruhi in the best possible light, but my sincere hope is that it will look better in retrospect. There's one dangerously cute moment for Haruhi in the second half, but because of Kyon's (unintentional or deliberate, take your pick) obliviousness, it may require a bit of reading between the lines to notice it.
Also, the impression depends a lot on the tone of voice Haruhi is using, something that is not properly conveyed in the written format. I tried to use Kyon's observations to suggest that Haruhi is not being aggressively confrontative but I may have failed. Will have to meditate on the issue.
I have a suggestion for this.
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMAs a completely unrelated side note, the author's pen name 'Perkele' means a particular supernatural being in the Finnish folklore, later identified with the Devil when Christianity was imported to Finland. It's also the most common and well-known Finnish swearword, about as flexible in its various applications as the F-word is in English, although instead of a sexual undertone the Finnish word indicates aggression -- it's possible to tell how enraged somebody is by the length of the rolling 'r' sound in the word (the longer the more enraged, to comical extremes).
...wow. Just.... Wow.
I really have no idea what to say, except that really fits my image of the guy, and feels true to the one conversation we had. >_<
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMQuote from: Brian on October 26, 2011, 01:09:16 AMMinor note: The second year classes are closer to the clubroom -- I think it was pointed out in the last novels that Kyon/Koizumi had to leave the clubroom once Mikuru showed up to let her change (unless Kyon was delayed by walking to Haruhi).
Hmm ... I'll have to see how that might change some details. Good point.
And also a suggestion for this. Now for some time travel:
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMQuote from: Brian on October 26, 2011, 05:01:22 AMit actually bothered me that Haruhi even joked about Kyon not being part of the brigade anymore (part of why I considered her cold/rude to Kyon). Death penalties, warnings of doom, complaints that he's always going to be the lowest ranking member, sure -- that's Haruhi all over.
But 'him not being there' even being on the table? That didn't come up even when Kyon looked like he was going to punch her!
Honestly, I wasn't even aware of the possibility that there could be any actual threat in there. Maybe it's exactly because in my mind Kyon dropping / getting dropped out of the brigade is something completely unthinkable. Ah, a blind spot. -_- I ... will rephrase the sentence. How about:
Quote from: HaruhiKyon! I'm not asking you to grab a pair of pom-pons and start jumping up and down in excitement, but you should at least be cheering for the home team instead of jeering!
The implied mental image lifts the overall mood of the discussion ... for me, in any case. ^_^
I think I came down on that a bit too hard (I shouldn't C&C under the influence; oh, coding is fine, but C&C...). The original remark can stay in, as Kyon himself isn't one to really read anything into it. Haruhi, OTOH, I think would regret even the implications-- But since there should be a reason for Haruhi and Kyon to be delayed before getting to the clubroom
anyway....
There's an opportunity just before Kyon and Haruhi part to have her show concern for his wellfare and double-back on her remark about questioning his worthiness to be in the brigade-- That's a pretty ideal place for her to badger Kyon about his study habits (possibly even, depending on how you want to play things, grabbing his wrist and holding him in place while she lectures him on which pages he should read, or the like). It doesn't have to be the most endearing thing in the world, since you've got plans for that, but something that runs counter to the previous remark would address both of those situations simultaneously.
And Kyon can remain cheerfully oblivious. :)
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMQuote from: Brian on October 26, 2011, 01:09:16 AMQuote from: sarsaparilla on October 25, 2011, 09:28:06 AM"I see. Maybe I should have chosen the hanafuda pack instead?"
I couldn't even bother asking what Koizumi was insinuating with the oblique remark that he seemed to find somehow amusing.
Another unfamiliar loanword. I stand by the suggestion of just working the definitions into the narrative, wherever possible. :)
That was a bit of a bilingual genius bonus, and only made sense if the reader noticed that while on the surface Kyon and Koizumi were talking about the card game they were playing, they were actually talking about relationships (with plausible deniability should anybody point out the fact). This is one of the devices that will be used repeatedly in the story.
Hanafuda is a Japanese card set with a somewhat different selection of cards. Koizumi picked the western set and they played five-card draw, an entry-level game for that set. The unvoiced thought was that had he picked a hanafuda pack instead, they would probably have ended playing another game known as koi-koi, the name of which in that context means 'continue', but could be understood as something else altogether.... (Gotta love the incredible ambiguity of the Japanese language.)
In retrospect, I recall seeing 'hanafuda' in my translation of the Haruhi novels (and it wasn't explained there, either). I don't want to boast, but if even I don't catch it, it's probably pretty obscure.... For what it's worth, I used the 'koi' pun directly in Later, so that part I did get; I'm only passingly familiar with 'koi-koi'.
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMI believe that Kyon got the reference. ^_^
Ok, I know that I'm being very circumspect here, but I don't know how to make the issue slightly more obvious without totally blowing it up. I thought that it would be completely acceptable if the reader just skips that comment as random gratuitous Japanese.
If you're okay with it, then it's okay. If I were to write it, I'd handle it differently; what matters is that it works for you. :)
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMOk, that's a stylistic error I've been making all the time, and must learn to correct.
I really do like the style when it's used sparingly. >_>;;
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMQuote from: Brian on October 26, 2011, 01:09:16 AMI am not at all following either what Kyon isn't telling us, or what Tsuruya's not telling us. I'll just say I find Tsuruya's attitude annoyingly condescending; I think she'd be a lot more vague instead of teasing/mocking. And if she's trying to give Kyon hints ... eh.
Ok, not the message I was trying to get through. Will rephrase.
The only reason I say this is because Tsuruya hints at something, tells Kyon not to think about it, and then hints at it again. Considering that Kyon generally looks up to her (he asked her opinion on if he was a 'good person'), and that she should remember that Kyon was effectively the slowest one when it came to the winter mystery.... I think she's trying to be helpful and encouraging, but in that case, her hints could just be a bit more optimistic, while remaining vague. Then it comes across as, "If you don't get it, things will work out," instead of, "There's something you don't know, and I want to remind you of that without explaining it!"
As with everything, this could be just me.
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMThere may be several factors contributing to my rambling. First, a typical Finnish word maps to several words or even a complete sentence in English, and thus a Finnish sentence can easily balloon into a paragraph in English if all the details are translated verbatim. Second, the Finnish language naturally leans toward extremely long, complicated sentences and some of that style necessarily carries over when I write English prose, as the patterns of thinking have been ingrained in my mind.
Even past such 'localization' concerns, when I slip into character and go through a particular scene, the experience is just as vivid and detailed as if I was watching it on TV, and there are lots of insignificant details that I never write down despite remembering them. So, I'm already cutting out a lot of stuff, and keep doing it on every round of revision. Sometimes it's just hard to decide what is irrelevant and what isn't (my subconsciousness has a habit of surprising me with seemingly superfluous details that on a closer inspection aren't).
That's illuminating. Sometimes I notice that you use words that could be superfluous since other words in the same sentence imply the same thing -- I've already remarked on where. I'll keep that in mind when providing commentary.
For what it's worth, the message still carries in English; we just like smaller, more easily digestable bits. :)
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMAnyway, that was a lot to digest, I'll do my best to get everything in. I very much appreciate the feedback.
I'm glad to have helped. :D
Quote from: sarsaparilla on October 26, 2011, 08:20:34 AMAnd, about Kyon's voice. I've noticed that he mostly draws his similes from a pool of culturally specific themes, with some math and physics thrown in. I've tried to emulate it by utilizing a list of kigo (http://en.wikipedia.org/wiki/Kigo). Getting it nailed down perfectly is beyond my abilities, so I'm trying to come up with something that is similar in style if not the specific content.
Aha, a resource! Excellent; thank you very much for the link! :)
Quote from: Brian on October 26, 2011, 12:21:30 PM
In my memory, dashes tend to be fine, as long as there aren't more than three of them. A normal dash is a dash, but if the special em-dash character isn't availible for what ever reason, a double-dash suffices in plaintext. Though, I appreciate your efforts in making ff.net display things correctly.
Ok, I tried it and both the encoded en-dash and em-dash are preserved properly. Yay for a typographical tool I've been missing.
Quote from: Brian on October 26, 2011, 12:21:30 PM
Hard-coding <hr> tags should work....
That's what I've been doing, but I'd very much prefer an empty line as the section break. So far the site has stubbornly refused to co-operate with me on this issue.
Quote from: Brian on October 26, 2011, 12:21:30 PM
More to the point -- do you have any interest in maintaining your own webspace?
I don't know how to do that, or how difficult or expensive it is ... or who would even want to visit such a page. At the moment I'm content to be a freeloader on sites maintained by other people.
I'm glad that you're tolerating me on this site despite me being, well, me.Quote from: Brian on October 26, 2011, 12:21:30 PMthe situation feels incredibly unbalanced. Haruhi's plan is some looming phenomenal thing that Tsuruya slips up on warning him about twice. Kyon's plan makes Tsuruya giggle. And then (if I follow): 'We're going on an international trip' vs 'I went to our mutual friend's place and dug up a plant'.
Actually, it's not at all like that. Tsuruya genuinely thinks that Kyon's idea is good (and I agree with her, it's the second tile in the chain of dominoes) and doesn't know anything about Haruhi's plan (other than using her intuition to suspect that there is one). Haruhi's plan is not at all related to the summer vacation, and then ... something else happens. But I'm getting ahead of myself here.
Quote from: Brian on October 26, 2011, 12:21:30 PMThe only reason I say this is because Tsuruya hints at something, tells Kyon not to think about it, and then hints at it again. Considering that Kyon generally looks up to her (he asked her opinion on if he was a 'good person'), and that she should remember that Kyon was effectively the slowest one when it came to the winter mystery.... I think she's trying to be helpful and encouraging, but in that case, her hints could just be a bit more optimistic, while remaining vague. Then it comes across as, "If you don't get it, things will work out," instead of, "There's something you don't know, and I want to remind you of that without explaining it!"
Tsuruya doesn't speak anything about Haruhi's plan on the first meeting, and doesn't return to the topics of the first meeting during the second one, these are two completely separate issues. There are many more moving parts here than in my previous fics, and most of them aren't even intended to be visible at this point.
I'll be taking a closer look at everything she says, to avoid misinterpretations, as I'm only trying to be vague, not intentionally misleading.
Quote from: Brian on October 26, 2011, 12:21:30 PMThere's an opportunity just before Kyon and Haruhi part to have her show concern for his wellfare and double-back on her remark about questioning his worthiness to be in the brigade-- That's a pretty ideal place for her to badger Kyon about his study habits (possibly even, depending on how you want to play things, grabbing his wrist and holding him in place while she lectures him on which pages he should read, or the like). It doesn't have to be the most endearing thing in the world, since you've got plans for that, but something that runs counter to the previous remark would address both of those situations simultaneously.
Hmm ... it probably won't fit in in that particular form, but it might be possible to adjust it a bit. I'll see what I can do.
On the topic of uploading to FFN, I think they go out of their way to deny people the use of an empty line as a break, so we have all manner of makeshift solutions. I'm currently using a centered # symbol.
Honestly, the restrictions of FFN-compatible HTML strike me as very limiting. It doesn't understand headers or css it seems, so all formatting has to be hard-coded. That's not something people should need to do, in my opinion, and writing something to be FFN-compatible only to put it elsewhere with a different set of conventions and peculiarities is a hassle. I know Brian uses a variant of Markdown to achieve some measure of format independence. I personally use LaTeX because it makes the input of accented characters extremely simple (though not without a lot of additional complexity and overhead) and a perl script to parse those files into HTML, plain text, or other formats as needed (though for FFN I use latex2rtf to convert ultimately to an odt file). At any rate, there are options to make it easier to convert between formats and worry less about that--since, after all, writers shouldn't have to worry so much about that stuff when writing itself is difficult enough.
Quote from: sarsaparilla on October 26, 2011, 04:37:32 PMQuote from: Brian on October 26, 2011, 12:21:30 PM
Hard-coding <hr> tags should work....
That's what I've been doing, but I'd very much prefer an empty line as the section break. So far the site has stubbornly refused to co-operate with me on this issue.
You won't get that to work on ff.net. :(
They're actually opposed to the extra space -- won't allow more than one newline between lines of text (or characters). I'm not sure why they strip out what they do -- URLs I can understand, as that prevents spammers, but what's wrong with a line of dashes or stars? Are they afraid people are going to post ASCII art, or something? O_o?
Bah -- annoyance.
Quote from: sarsaparilla on October 26, 2011, 04:37:32 PMQuote from: Brian on October 26, 2011, 12:21:30 PM
More to the point -- do you have any interest in maintaining your own webspace?
I don't know how to do that, or how difficult or expensive it is ... or who would even want to visit such a page. At the moment I'm content to be a freeloader on sites maintained by other people.
From personal experience, it's not that hard to make a rudimentary webpage -- Hal's even taught me .css and helped me out (I should say provided) the java tool on my site that switches between themes. The main reason I suggest it is because sometimes I got irritated by ff.net changing my stuff, and it seems you're not entirely satisfied, either.
Difficulty isn't terrible, and I think we'd be more than willing to help you get off the ground -- but it would also give you a chance to showcase your drawings (either in a gallery, or within the stories themselves, like the original light novels). I know ff.net can't handle that.... Cost is irrelevant for this offer, unless you start using your account to host large file transfers or illegally pirated software/media (which I somehow doubt is a concern, outside of translated material, which we're generally cooler about). For the last, I can imagine quite a few people -- I for one am curious as to what you think is a nice visual formatting methodology for your stories, and I think it'd be great to see the art included. ;)
Since I've failed all subtlety: I have a lot of pull with the administrators of the site (Hi, Drac, Rez, Hal!), so it's not too much trouble to ask to get a free account set up for you as well (we're an association of friends, not a business) -- or if you're not interested in the maintainence aspect, I wouldn't mind hosting it for you on my site directly and managing it as per your requests (I've been meaning to work on my web coding skills for a while, so another chance to do the same wouldn't bother me at all -- plus, I feel I have to offer something to thank you for that amazing fanart. ^_^;; If it's something as simple as providing you web-hosting, well, I'd be glad to arrange it).
Quote from: sarsaparilla on October 26, 2011, 04:37:32 PMI'm glad that you're tolerating me on this site despite me being, well, me.
I think my position as 'most self-depricating' is being challenged. ^_^;;
Quote from: sarsaparilla on October 26, 2011, 04:37:32 PMActually, it's not at all like that. Tsuruya genuinely thinks that Kyon's idea is good (and I agree with her, it's the second tile in the chain of dominoes) and doesn't know anything about Haruhi's plan (other than using her intuition to suspect that there is one). Haruhi's plan is not at all related to the summer vacation, and then ... something else happens. But I'm getting ahead of myself here.
Ah, okay; I even found where you'd already clarified that in another reply, so that's entirely my mistake. A good example of why my commentary should be taken with a grain of salt! :p
Quote from: sarsaparilla on October 26, 2011, 04:37:32 PMTsuruya doesn't speak anything about Haruhi's plan on the first meeting, and doesn't return to the topics of the first meeting during the second one, these are two completely separate issues. There are many more moving parts here than in my previous fics, and most of them aren't even intended to be visible at this point.
I'll be taking a closer look at everything she says, to avoid misinterpretations, as I'm only trying to be vague, not intentionally misleading.
Hmm. I think I see-- I'll have to re-read it. I admit, my C&C prevented me from really getting the flow of the story, as I notice more on the first pass, typically, and my micro-scale view was not the best for the meta/macro-scale, due to the constant stops for research, fact-checking, and the occasional meeting. <.<
Quote from: sarsaparilla on October 26, 2011, 04:37:32 PMHmm ... it probably won't fit in in that particular form, but it might be possible to adjust it a bit. I'll see what I can do.
I always like when my suggestions spark an even better idea, so I'm glad to see you've got something on that front. :)
Edit: Oh, one possible way (somewhat) around the newline issue on ff.net-- Though it'll look hideous (IMO) without indenting (which ff.net will not allow you in any way, shape, or form): You can end every line manually -- removing the double-spacing, effectively -- and just leave a single blank newline to separate out segments.
Quote from: Brian on October 26, 2011, 05:24:40 PM
They're actually opposed to the extra space -- won't allow more than one newline between lines of text (or characters). I'm not sure why they strip out what they do -- URLs I can understand, as that prevents spammers, but what's wrong with a line of dashes or stars? Are they afraid people are going to post ASCII art, or something?
So far the most inconspicuous thing that I have found is a single, centered
sdot as its own paragraph.
I should probably standardize my formatting as the number of fics is still small, and try to find some automated thing for switching between formats. At the point it's a mess and I'm doing the format conversion manually (using the search/replace function of the text editor) which is slow and prone to errors.
Quote from: Brian on October 26, 2011, 05:24:40 PMI have a lot of pull with the administrators of the site (Hi, Drac, Rez, Hal!), so it's not too much trouble to ask to get a free account set up for you as well
I'm humbled by the offer, but I don't want to cause extra trouble for others, and there really isn't enough material for setting up a separate site with what I have right now. Maybe after a while, with possibly this fic done and especially if I can talk myself into drawing that Ranma doujin which would indeed require some kind of a site. So, thanks, I will give it a serious consideration and come back to the issue at some later point.
Well, it may seem like trouble, but to us it's practically trivial, in all honesty. >_>;
A standardized formatting process is a good idea (I've lost probably more time than I've spent writing trying to update formats as my style etc. have evolved over the years). But, I understand it can also seem to be a somewhat daunting undertaking. My last remark on that, then, will be that it's substantially easier to figure out what you might want to do with your site (and formatting style!) before you have a lot of content, as I myself learned the hard way. >_<
My knowledge may be out of date (haven't done any ff.net updates for a while), but didn't ff.net allow the addition of horizontal lines using the internal editor? As far as I remember it requires you to use their editor to manually replace your separators with their special magic horizontal lines, but it's at least unlikely to be stripped out by their filters. (If they were to censor a feature of their own editor, that would completely defy all logic and reason.)
Maybe my knowledge is out of date.
You can use that tool or the tag <hr>, which makes the same line.
(Ah, I failed to notice that sars says she already uses <hr>.)
Okay, shaking e-hands with Brian and, feeling somewhat relieved, moving on to the important stuff, namely C&C for sarsaparilla. I've only got a small bit to add to what people have noted, and in any case you're probably drowning in all the commentary -- a good sign that everyone is engaged by your opening, in my opinion.
Quotesometimes pressing a certain topic for two or three days in a row and then forgetting the whole thing for several days, so that I already started to suspect that she had lost all interest in the project until she picked up the books again.
Okay, so based on your clarification I can conclude that this needs to be revised in the other direction to make the meaning clear. 'The whole thing' seems to map to 'a certain topic' as opposed to Haruhi's tutoring project. Maybe (very tentatively) "sometimes pressing a certain topic for two or three days in a row, then suddenly forgetting the whole project for several days, so that I already started to suspect that she had lost all interest {in the undertaking / in my studies /
nothing here} until she picked up the books again."
Quotebeyond the abilities of most students, myself including.
Given the amount of C&C above, someone should've already pointed out that this should be "myself included".
Quoteit would probably be something that she would do without even noticing it. It would be all in a day's work for her, considering all the other things that she had created inadvertently,
Hmm... repeated 'it'. First I'd say "noticing it" should be just "noticing".
Quoteor the literature club editorial column that according to Asahina-san contained the founding principles of time traveling technology.
"the literature club editorial column that, according to Asahina-san, contained the founding principles..." -- I'd probably offset the clause by commas.
Quoteshe did on her own volition,
I'm more commonly used to seeing "of her own volition".
Not going to touch the Tsuruya-san dialogue, at this point proper Tsuruya lisp placement is incomprehensible to me on the level of quantum mechanics :-D ... EDIT: or should I say :-Đ
QuoteThose concepts only tried to artificially constrain her by hiding the issue inside an arbitrary box with a convenient label on it, while missing the most crucial aspects.
This remark by Kyon merits some thunderous applause, in my opinion.
Ooh... below I start to run out of steam in terms of suggesting obvious revisions as well. The issue is that the connector and comma placement style seems to me non-standard, but the deviations actually work to keep it extremely readable. Blindly correcting it to a more standard style would cause it to become far more stilted than it actually is, so my instinct is not to touch anything:
QuoteHaruhi stared me with the unflinching focus of a martial artist who had just issued a formal challenge to an opponent of questionable prowess. So, humankind as a whole was still falling short of Haruhi's extremely rigorous standards, but there wasn't much I could do about it. On the other hand, Haruhi certainly could but she hadn't tried anything as drastic as completely rewriting the world after that one fateful night, the details of which I couldn't possibly think about too closely in the current situation. Since then a bit over a year had already passed, and while there had been several unpleasant and some truly dangerous incidents along the way, it was my steadfast opinion that on the average the change was for the better. In the end I made only one statement that was undeniably true.
If a paragraph like that cropped up in one of my own drafts, I'd be faced with the dilemma of keeping it as-is, or tearing it apart on a molecular level to fit my own conceptions of what a tightly written paragraph looks like.
I'm also not sure how recently you put up that claim on your ff.net profile that it generally takes you a while to put together a well-crafted sentence.
So, um, let's go through things this way. There's nothing
wrong with the style you're using (apart from the stuff that previous C&Cers have caught), but if you feel the need to change some things...
Quote from: arbitrarily revised
So, humankind as a whole was still falling short of Haruhi's extremely rigorous standards, but there wasn't much I could do about it. Haruhi, on the other hand, certainly could; but ever since her attempt to rewrite the world that one fateful night, the details of which I couldn't possibly think about too closely in the current situation, a year had passed without any {???further attempts in that particular direction??? -- or something like that}. In spite of a series of unpleasant and truly dangerous incidents along the way, it was my steadfast opinion that, all in all, things had been changing for the better.
{paragraph break sets up return from reverie}
In the end, I settled for {one statement / the one statement -- not sure which nuance you want - the latter implies Kyon thinks the situation is a bit complicated but at least there's one thing about it which is obvious} that was undeniably true.
Actually, now that I've attempted to revise this paragraph, a definite question is raised about what you mean by "couldn't possibly think about too closely". No matter how much I try, I just can't figure out if it means that Kyon doesn't want to remember the details of that *ahem* embarrassingly personal incident, or if it means that he would have done well to pay attention to it given what is about to happen.
And only now (having used a semicolon in the above paragraph) do I notice that there actually isn't a single semicolon anywhere in your prologue. Nor anywhere in the first 7 chapters of Shadow (I didn't bother looking further) which suggests that you may not be aware of its uses. (Or, I don't know, you may be aware of it but have some aversion to using it yourself?)
Given that your style tends towards long sentences, learning to employ this under-appreciated item of punctuation might eventually simplify your life a great deal. Used properly, it can essentially add a new intermediate level of hierarchy and organization to a long sentence.
I'm not confident enough to give an entire lecture about the semicolon like Brian does with the ellipsis; however, you can probably find an article detailing the basic uses. The list of thing you can do with definitely do with it starts with using it as a 'milder' version of the period; this is useful if you want to tie two sentences a little closer together without using 'and'. It's also used in conjunction with a number of conjunctions such as 'however', 'thus', and similar; however, to get a detailed description you'll have to Google some grammar guide which is more authoritative than I am.
If you wish to go completely overboard, the semicolon can be abused in truly ridiculous ways, such as replacing the comma to produce a list of clauses which in turn contain lists of A, B, and C which does D; lists of letters starting at Q, or R, or even S; or perhaps, rather than a list, some other construction requiring a comma.
I have no opinion on how your specific writing style might change with the addition of semicolons, and I'm not going to develop one since it's obviously not my decision :-]
Okay, that's about all I feel ready to handle for this chapter. Realizing that the reason I find your style hard to revise is because it lacks a tool that's used by me all the time has given me something to digest.
You can of course feel free to ignore all of the above and consider me to be a patronizing twat or something. (English isn't even my first language, either!) In the meantime I will not hesitate to analyze your writing style, there's definitely things I could learn from it on my part...
As for novels 9-11:
Quote from: sarsaparillaI was rather disappointed as well. My theory is that the author published book 9 without thinking the plot all the way through, and essentially wrote himself into a corner, which then translated into the long hiatus and essentially a rather weak conclusion.
I don't know about that, but I did find the whole
Kuyou is able to remotely incapacitate and kidnap Haruhi, then crucify her on a heavy-handed symbolism courtesy of Fujiwara
thing to be kind of... squicky, I have to admit. I probably haven't seen enough Evangelion to be sufficiently desensitized to the sudden use of cross imagery?
Anyhow, good luck with the remainder of the prologue!
Quote from: Arakawa Seijio on October 26, 2011, 09:58:33 PMAnd only now (having used a semicolon in the above paragraph) do I notice that there actually isn't a single semicolon anywhere in your prologue. Nor anywhere in the first 7 chapters of Shadow (I didn't bother looking further) which suggests that you may not be aware of its uses. (Or, I don't know, you may be aware of it but have some aversion to using it yourself?)
To be honest, I find that most people who know English natively aren't really clear on how to handle a semi-colon correctly. I've only started using them properly in the last 5 years, and most of the recent improvement in my use of them is thanks to Halbarad.
Quote from: Arakawa Seijio on October 26, 2011, 09:58:33 PMI'm not confident enough to give an entire lecture about the semicolon like Brian does with the ellipsis; however, you can probably find an article detailing the basic uses. The list of thing you can do with definitely do with it starts with using it as a 'milder' version of the period; this is useful if you want to tie two sentences a little closer together without using 'and'. It's also used in conjunction with a number of conjunctions such as 'however', 'thus', and similar; however, to get a detailed description you'll have to Google some grammar guide which is more authoritative than I am.
Heh; my confidence isn't in my words, but in repeating someone else's; for the proper use of ellipses, I consult the Chicago Manual of Style. From what I recall of semi-colon use, you're spot-on here, so I can't imagine why you wouldn't be more confident about them. Having nothing to add, I just want to remark that as far as I know this is accurate; (and a useful list of the more common correct usages above, and some of the less common correct usages below -- so:) well done!
Quote from: Arakawa Seijio on October 26, 2011, 09:58:33 PMIf you wish to go completely overboard, the semicolon can be abused in truly ridiculous ways, such as replacing the comma to produce a list of clauses which in turn contain lists of A, B, and C which does D; lists of letters starting at Q, or R, or even S; or perhaps, rather than a list, some other construction requiring a comma.
[...]
I probably haven't seen enough Evangelion to be sufficiently desensitized to the sudden use of cross imagery?
...I feel incredibly jaded now, that I found the symbolism annoyingly over-the-top -- I actually broke from reading to roll my eyes at it. >_>;
Quote from: Arakawa Seijio on October 26, 2011, 09:58:33 PM
what you mean by "couldn't possibly think about too closely". No matter how much I try, I just can't figure out if it means that Kyon doesn't want to remember the details of that *ahem* embarrassingly personal incident, or if it means that he would have done well to pay attention to it given what is about to happen.
The latest novels make it quite clear that Kyon has been having what he himself calls 'dangerous' thoughts, and thinking about a particular, intimate detail of the almost-end-of-the-world incident while sitting face-to-face with the person in question certainly qualifies (there's a rather similar short scene in book 11, I think). He's too reluctant to even think about the possible consequences of entertaining such thoughts in Haruhi's presence, so he just blocks them. I suspect that even more than being afraid of Haruhi's reaction should she notice something, Kyon is wary of what he himself might do in the situation.
Quote from: Arakawa Seijio on October 26, 2011, 09:58:33 PMAnd only now (having used a semicolon in the above paragraph) do I notice that there actually isn't a single semicolon anywhere in your prologue. Nor anywhere in the first 7 chapters of Shadow (I didn't bother looking further) which suggests that you may not be aware of its uses. (Or, I don't know, you may be aware of it but have some aversion to using it yourself?)
You won't find any semicolons in my fics because I've been consciously avoiding them. Semicolon and the Finnish language don't mix, so students are taught to avoid it completely. About the only place where it might be found is some translated technical document.
...which means that I must learn something new and unfamiliar. After some reading I think that I've grasped the basic idea; proper application might be harder. But yes, I can see how it could help in cases where it's not possible to express a single, integral idea in just one sentence. Thanks for drawing my attention to this!
Quote from: Arakawa Seijio on October 26, 2011, 09:58:33 PMEnglish isn't even my first language, either!
If it's not too impolite to ask, would it be French, then? I must say that compared to us Finns you've got the better deal when it comes to languages. Every Finn must learn Finnish and Swedish, two languages that are utterly useless outside the Nordic countries, and then the actually useful languages on top of that. French is my fifth language and I'm just not tenacious enough to raise my skill in it to the same level with the rest of them. C'est dommage. -_-
And, thanks again for the feedback. It looks like I've got the next couple of evenings booked up with getting everything processed!
The first half-chapter has been revised, attachment updated, and the issues that I had with it addressed to the extent that I pushed it to FFN in its current form. If any glaring mistakes remain, I'll update accordingly.
Beyond fixing stuff that was broken, I added one completely new scene after the last class which accomplishes several things. It postpones Kyon's arrival to the club room as needed, allows Haruhi to make a more positive contribution in this first half (combined with some adjustment to her lines elsewhere her attitude feels much better now), shows that Haruhi's unorthodox tutoring method is not just an informed ability, and provides a somewhat interesting window into her way of thinking. Oh, and in my humble opinion it contains some of the funniest lines in the half-chapter as well. ^_^
In retrospect, the worst problem with the split first half was that Haruhi was completely passive. This was supposed to be compensated by her actions during the second half, but now that the revised version has the additional scene, the remaining problems look minor in comparison.
The new disclaimer is interesting and touches on a number of issues with the broader Haruhi fanfic community I've heard complaints about here and elsewhere (namely, basing things solely on the anime continuity which has barely any character development compared to the novels).
Sorry about the HTML tags in the quotes below, I diff'ed the two versions and C&Ced through the stuff that'd changed.
Quote<p><i>Shousho</i> — the official start of the hot season according to the solar calendar — was still ahead,
To avoid having Kyon sound like a dictionary, I'd say something like "Shousho -- the official start of the hot season, if you go by the solar calendar -- was still ahead,". Which is still a bit dry... I'm trying to rack my brains to figure out how this can be made even more casual.
QuoteSometimes she would press a certain topic for two or three days in a row and then forget the whole thing for just as long;
Thumbs up; in context, that makes the answer to my question about that paragraph extremely clear.
Quotelast class of the day that happened to be physics.
Maybe ", which happened to be physics."? There's something to be said for revising other parts of the sentence to work well with "that", but I don't think there's any need to go through contortions.
Quote"Kyon? The next exam will have a problem or two from these last two pages, so make sure that you've got them covered."
Seems a bit too calm and bureaucratic for Haruhi... well, actually no. If they've been doing this for a while, she might not feel the need to end every order she gives with an exclamation mark.
This might also be part of her overall mood, that she's giving this line thoughtfully (with a tone as though she was reminding herself of something) rather than being brash and assertive as per usual. Indicating something like that might enhance the flow of things -- there's a lot of ways to deliver the line to explain why it isn't the standard "order + ! + optional threat of penalty" you'd generally expect from Haruhi.
QuoteHaruhi stared me as if I had just expressed a desire to join an underwater trombone band.
Doctor!Haruhi: "How would that even work... wait, but if you made appropriate adjustments to the instruments... well, and the players... OH. MY. GOD. BEST IDEA EVER. We have to go try this right now!!"
QuoteHere, let me show.
Should be "let me show you".
QuoteSee, all these question are the same.
question -> questions, of course.
Quote…and we get two legs and one arm from acceleration, you only have to add the height and mass to complete it. There's your formula."
Yep, definitely goes a long way towards explaining how Haruhi could derive basic time plane theory without even noticing :-D
Quotebut if you have something in your mind then spit it out.
Standard expression is "something on your mind", but... enhh... it's about 50-50 whether you need to fix it. If I'd seen this exact sentence in a Tanigawa novel, I'd take it in stride and suspect it was just some weird Japanese-ism on the part of Kyon.
QuoteKoizumi walked through the door and picked up a pack of cards.
Wait, I thought Koizumi was... oh (looks at full version - it's just as weird there), I get it, he was just standing in the doorway before, then he's finally walking into the room. That suggests that you should still take a crack at revising this.
*tries and fails to picture Koizumi standing in a doorway for an extended period of time - would he just stand there or lean against the doorframe, and how??... visual imagination is evidently still frotzed out from attempting to imagine live-action versions of Mikuru belonging to various ethnicities*
Quotetold that I shouldn't do anything.
Seems to have slipped through the C&Cers' nets before, either "told me not to do anything" or "told me that I shouldn't do anything"...
QuoteMaybe I should have chosen the <i>hanafuda</i> card set instead?
Again, might need to be re-edited. "Perhaps I should have gone with the hanafuda cards instead?" / "Perhaps I should have gone with the hanafuda deck instead?" / "Maybe I should have chosen the hanafuda cards instead?"/ variations thereon seem to me less stilted.
Quotedrinking tea after the school hours.
Hmm... "after school hours", or even just "after school" is more customary.
Quotetoo late to back off now as I was here already, wasn't it?
On second reading I sort of tripped over this part. I was sort of expecting "as I was here already, wasn't I?"
Alternately "too late to back off now, wasn't it, seeing as I was here already?"
QuoteOh boy, I didn't need Haruhi to task me with pointless errands any more because after a full year of training I managed do it all by myself!
Should be "to do it all by myself", and, additionally...
Hmm... trying to be certain of your intent here... is what you were trying to get "because, after a full year of training, I managed to do it (invent pointless errands) all by myself!".
Whatever revision might be made here is only 66% necessary, so you can ignore the fact that I had an issue with this. It strikes me as a neat bit of potential humour, if it could be clarified: Haruhi has trained Kyon well enough to do pointless errands that he now does them (humour in the fact that the adjective pointless unintentionally carries forward to 'them') all on his own initiative.
It sort of echoes the bit in the recent novels where Haruhi and Kyon simultaneously come up with the same stupid idea of catching 101 hamsters - Kyon sarcastically and Haruhi in all seriousness. Then Kyon has a moment where he thinks "oh god, Haruhi has successfully brainwashed me into following her thought processes".
Sorry if getting an entire new round of possible revisions for your already-revised chapter frustrates you. Some of this is stuff I missed, some of this is the fact that a couple of your revisions had a somewhat patched, awkward quality. None of it is particularly damaging to an overall impression of the story -- that it's very detailed, and going interesting places.
Oh, and in answer to your question, my first language is Russian, though I don't identify very well with the modern incarnation of that culture. (It explains, for instance, how I get to know so many intolerant people, making me *head against wall* somewhat tone-deaf to the more nuanced Western approach to such things.)
(EDITED FOR CLARITY) As for my French, it is barely adequate for me to walk into a restaurant in Montreal and make an order, without the waiter switching to English on me. This is in fact slightly more challenging than walking into a restaurant in, say, Paris, because from my experience Parisians prefer to struggle to communicate with you in French, over struggling to communicate in English, whereas people in Montreal all know English anyways, and prefer to just do whatever it takes not to waste their time with you. Whereas if you force Parisians into speaking English, they more often than not go into full-on Tourist Hate Mode. Particularly if you're there in tourist season.
Quote from: Arakawa Seijio on October 28, 2011, 11:34:21 AM
Seems a bit too calm and bureaucratic for Haruhi... well, actually no. If they've been doing this for a while, she might not feel the need to end every order she gives with an exclamation mark.
This might also be part of her overall mood, that she's giving this line thoughtfully (with a tone as though she was reminding herself of something) rather than being brash and assertive as per usual.
This is the intended interpretation. I think that it was Brian who pointed it out during the initial round of discussing the summary, that Haruhi's tutoring is something that just works. I agreed, and decided to make it the kind of interaction that both of them actually, if not overtly, enjoy without feeling an urge to turn it into an arm wrestling match, and that then leads to other things.
Quote from: Arakawa Seijio on October 28, 2011, 11:34:21 AMYep, definitely goes a long way towards explaining how Haruhi could derive basic time plane theory without even noticing :-D
There isn't any support for it in the canon, but whenever I try to map Haruhi's thought patterns I imagine that she has some form of abstract - visual synesthesia, which would certainly manifest itself in rather peculiar ways.
In fact, Haruhi's explanation of the potential energy formula actually makes sense, at least for a very particular definition of the word 'sense'. ^_^
Quote from: Arakawa Seijio on October 28, 2011, 11:34:21 AMHmm... trying to be certain of your intent here... is what you were trying to get "because, after a full year of training, I managed to do it (invent pointless errands) all by myself!".
Yes, that is the intended message, and I adjusted the sentence to make it more clear.
Of course, Kyon is just being tsundere with this plan of his :p
Quote from: Arakawa Seijio on October 28, 2011, 11:34:21 AMSorry if getting an entire new round of possible revisions for your already-revised chapter frustrates you.
Absolutely not. As I have mentioned elsewhere, writing in English feels like drawing while blindfolded to me. I can believe that I'm doing fine but I'm not able to verify it myself, so I'm infinitely grateful for all feedback, and hopefully also learning, bit by bit.
Quote from: Arakawa Seijio on October 28, 2011, 11:34:21 AMOh, and in answer to your question, my first language is Russian, though I don't identify very well with the modern incarnation of that culture.
I like the soft and flowing quality of spoken Russian but I can't speak it myself beyond a couple of everyday phrases.
Not sure how I missed this one:
Quote"Don't tell me that you are again planning to sign us up as a team for the tournament?"
This reads a bit strange. It kind of all runs together. Maybe a dash or a colon after "me" and something like
"Don't tell me--you're planning to sign us up for the baseball tournament again?"
The big thing to me is the placement of "again"; it's not wrong where it is, but it reads better (to me) at the end of the sentence.
Otherwise, I thought Haruhi's unique perspective on physics was very clever. I can't make heads or tails of how she puts things together, but that's probably best, as Kyon clearly has no idea either, so we can share in his bewilderment.
Quote from: Arakawa Seijio on October 28, 2011, 11:34:21 AMQuote<p><i>Shousho</i> — the official start of the hot season according to the solar calendar — was still ahead,
To avoid having Kyon sound like a dictionary, I'd say something like "Shousho -- the official start of the hot season, if you go by the solar calendar -- was still ahead,". Which is still a bit dry... I'm trying to rack my brains to figure out how this can be made even more casual.
Actually, these are always tricky to do well. I think it's pretty good as it is, and your suggestion (Arakawa) is a bit smoother. At the same time, sometimes Kyon is pretty dry in tone (which allows him to snark better; that goes hand-in-hand with his deadpan).
Quote from: Arakawa Seijio on October 28, 2011, 11:34:21 AMOh, and in answer to your question, my first language is Russian, though I don't identify very well with the modern incarnation of that culture. (It explains, for instance, how I get to know so many intolerant people, making me *head against wall* somewhat tone-deaf to the more nuanced Western approach to such things.)
(EDITED FOR CLARITY) As for my French, it is barely adequate for me to walk into a restaurant in Montreal and make an order, without the waiter switching to English on me. This is in fact slightly more challenging than walking into a restaurant in, say, Paris, because from my experience Parisians prefer to struggle to communicate with you in French, over struggling to communicate in English, whereas people in Montreal all know English anyways, and prefer to just do whatever it takes not to waste their time with you. Whereas if you force Parisians into speaking English, they more often than not go into full-on Tourist Hate Mode. Particularly if you're there in tourist season.
I only know one human language with any degree of competence, so that's pretty impressive to me.
Quote from: sarsaparilla on October 28, 2011, 08:37:29 AMBeyond fixing stuff that was broken, I added one completely new scene after the last class which accomplishes several things. It postpones Kyon's arrival to the club room as needed, allows Haruhi to make a more positive contribution in this first half (combined with some adjustment to her lines elsewhere her attitude feels much better now), shows that Haruhi's unorthodox tutoring method is not just an informed ability, and provides a somewhat interesting window into her way of thinking. Oh, and in my humble opinion it contains some of the funniest lines in the half-chapter as well. ^_^
In retrospect, the worst problem with the split first half was that Haruhi was completely passive. This was supposed to be compensated by her actions during the second half, but now that the revised version has the additional scene, the remaining problems look minor in comparison.
Hm. I didn't get a sense of passiveness as much as pensiveness. She was restrained, but showed effort in keeping herself there. Well, I interpet things very differently from most, so don't put too much weight into my perspective. >_>
Anyway, re-reading (and just going through it casually, instead of trying to pick apart the small details.
Hum. Strangely, the impression I get from that first bit about Haruhi and the opposition is:
Haruhi: "No one makes trouble in my stories but
me!"
Yuki: "...."
Haruhi: "With some special exceptions."
Which is somewhat comical. Heh. My mind goes strange places, sometimes.
Quote from: sarsaparilla on October 28, 2011, 08:37:29 AMKoizumi stopped talking, and I watched other students around the perimeter of the field for a while before concentrating on the game again. It looked like the match was wrapping up, and unless the visiting team could make an unexpected comeback, the home team would take an easy win after the next half-inning. I wasn't particularly interested in a game with an obvious outcome, so I stood up and headed back to the main building. Koizumi was in no hurry and decided to stay through the end of the match, so as I walked away he just reminded that we'd be seeing each other after school hours again.
Last sentence appears to be missing a 'me': 'he just reminded
me that we'd...'
Alternately, reminded can be replaced with 'remarked', and the sentence is fine.
Quote from: sarsaparilla on October 28, 2011, 08:37:29 AMHaruhi, on the other hand, certainly could; but she hadn't attempted anything as drastic as completely rewriting the world after that one fateful night, the details of which I couldn't possibly think about too closely in this situation without risking a radical change in the overall atmosphere.
That semi-colon is immediately trailed by an interjection. (I do this frequently when I write -- it's grammatically incorrect, so I do it stylistically; one of the benefits of understanding the rules is knowing when you can break them >_>;;.) I don't think it works exceptionally well in this instance, however. In fact, those two sentences have opposing themes, so I don't think they should be connected; semi-colons attach phrases and sentences that are similar, or basicaly restate and clarify the same or similar points; while I could see how this might be applicable here, it would probably work better with a third (somewhat more neutral) sentence in the same theme to connect them.
My suggestion would be to drop the 'but', though then it feels a little stilted.
Alternately, in this case, you could turn that semi-colon into a full-stop, which would also work. It's two separate sentences, one noting that Haruhi is capable of a thing, and the next immediately countering that she hasn't shown any sign of following through on that capability. I think an em-dash instead of a semi-colon could work there, also. Either attached to the ending of the first sentence: ("...certainly could-- But she hadn't...") This suggests Kyon abruptly cutting that line of thought off and switching to counter his initial suggestion (which feels like what you were going for). Or centered to suggest that the first thread is complete (even without end punctuation): ("...certainly could -- But she hadn't...")
Elsewise, em-dashes.... Erm. I'm actually going to dig out the Chicago Manual of Style again and brush up on those -- I'll try to have a more concise explanation of their use, in keeping with my ellipses guide. Maybe ignore this suggestion until I can give you something more solid on that. ^_^;;;
Quote from: sarsaparilla on October 28, 2011, 08:37:29 AMEventually, the bell rang to announce the end of the last class of the day that happened to be physics.
There should be a pause before 'that' (or 'which', if you take that substitution).
Quote from: sarsaparilla on October 28, 2011, 08:37:29 AM"You're supposed to remember the principle, not the formulas. Here, let me show."
This should be show 'you', or 'demonstrate' instead of 'show'.
Um.... Haruhi's explanation of physics confused me. Admittedly, I have no idea what those formulae are, so I have a hard time trying to figure out anything of what she's getting at; I just chucked that into my mental, "Haruhi does MAGIC without realizing it!" file.
I was probably just thinking about it too hard.
Quote from: sarsaparilla on October 28, 2011, 08:37:29 AM"Oh right, Kyon? I've got some errands to run so there won't be an official meeting today. Tell the others that they can leave whenever they want."
As an exclamation, 'Oh' should typically be trailed by a comma (unless it's part of a phrase, like 'Oh boy', or 'Oh my' (but even in those instances, the comma can be added; it's more of a preference issue)). This may make a somewhat akward construction where you have a lot of commas, so.... "Oh, right, Kyon?" does work, but so does "Oh, right-- Kyon?" (though, this may be a stylistic option you don't care for; it's kind of iffy, I suppose).
I notice that the entire conversation in the club room has almost no speech indicators. I ... think this is something I've bugged Muphrid about before (or possibly, actually, someone else on the FFML) -- it's a valid stylistic option; I'm just noting it. There are a few places where the speaker must be infered through context because it is unclear otherwise, however. One thing I really must suggest is not having the speaker's actions and dialog in separate paragraphs -- putting them together makes it much clearer who is speaking. Also, if we're looking at the baka-tsukai translation specifically, it's probably important to note that their translation is servicable, but not the best example of proper English. How much effort we want to spend on adhering to that style vs. the one in the official translations....
Anyway, as an example:
Quote from: sarsaparilla on October 28, 2011, 08:37:29 AM"Well ... I'm already preparing tea. Maybe we could stay at least until it's ready?"
That sounded like a good idea. It would be a real pity to let it go to waste, especially since it was made by Asahina-san.
Koizumi walked through the door and picked up a pack of cards.
"In that case, how about playing some quick game while we wait? As there are four of us here today, we could try bridge this time."
"Um ... what is that?"
Seeing Asahina-san's confused expression, Koizumi chuckled.
"I was just joking, please ignore me. I am afraid that it would take too long to go through the rules, anyway."
This is your original. Generally, as a rule of thumb, you don't want to have thoughts/actions from multiple characters in a single paragraph, outside of action sequences (this is a subtle trick that alters the feel of the pacing -- putting multiple characters in a paragraph helps capture some of the frantic intensity of such scenes, I've found). So, I would suggest revising it to something like this:
Quote from: suggestion"Well ... I'm already preparing tea. Maybe we could stay at least until it's ready?"
That sounded like a good idea. It would be a real pity to let it go to waste, especially since it was made by Asahina-san.
Koizumi walked through the door and picked up a pack of cards. "In that case, how about playing some quick game while we wait? As there are four of us here today, we could try bridge this time."
"Um ... what is that?"
Seeing Asahina-san's confused expression, Koizumi chuckled. "I was just joking, please ignore me. I am afraid that it would take too long to go through the rules, anyway."
Kyon's narration and thoughts/implied dialog are one line. Koizumi's action is tied to his dialog. Mikuru's dialog is on its own, but she was the last genuine speaker, so it's clear enough through context. The final line contains both Mikuru and Koizumi, but it feels like it's more Koizumi's sentence than Mikuru's, and he's the next speaker, so those also can be tied together -- it also helps clarify the original line.
I don't often use this technique, outside of my experimental stylistic stuff (
Our Inevitable Fate is an example), but well handled, this is a very good tool. :)
Quote from: sarsaparilla on October 28, 2011, 08:37:29 AMAfter I had finished my tea I placed the cup back on the table, and when Asahina-san asked whether I wanted some more I declined.
I can't quite put my finger on why, but 'whether' scans awkwardly here; I'd replace it with 'if'. I think it's because I expect 'whether' to be reflexively followed by an 'or not' at some point, which could just be me.
Quote from: sarsaparilla on October 28, 2011, 08:37:29 AMTsuruya giggled on the other side of the line as I looked up at the small camera almost completely concealed in a recess above the gate. I could hear steps from the other side of the wall and a middle-aged female servant appeared on the other side of the gate. She opened the gate for me and led me through the front yard to the entrance hall where Tsuruya was waiting, still in her school uniform.
Repetition on 'gate'; I suggest 'entrance' as one possible alternative, though I imagine you could find others.
How does Kyon see her through the gate before it's opened? (If I recall correctly from the anime, they're fairly imposing and not easy to see through.) I think this may just be a word-ordering issue.
Quote from: sarsaparilla on October 28, 2011, 08:37:29 AMHowever, I still had to walk all the way back to North High carrying my new trophy, and although the load wasn't terribly heavy I was already tired and sweating profusely by the time I finally reached the club room and could put down the pot and its contents. Oh boy, I didn't need Haruhi to task me with pointless errands any more because after a full year of training I managed do it all by myself! I poured some water in the pot and left the club room the second and final time for the day.
Having completed the task that had unwittingly convinced myself to undertake, I went home for dinner. Nothing worth mentioning happened that evening, at least as far as I was aware of, and I went to bed in a cautiously optimistic mood. On the whole, it hadn't been too bad a day, and if there wasn't anything significantly worse looming in the horizon then this might turn out to be a perfectly fine summer after all. One can always hope, right?
I would end the first paragraph here after the exclamation point for impact, and break out the 'watering the plant' line into a separate paragraph or the begining of the next. It makes a nice contrast, I think.
I think it felt pretty deliberate versus unwitting. >_>
One thing I realized that I don't get (the one thing I don't like about commenting for you is how often I must advertise that I'm not terribly bright >_<): What happened 'one year ago' that the flower compliments? All I can think of is one year after Haruhi told Kyon about the baseball story he presents her with the flower, but I can only grope for that conclusion based on a PM you sent me; I'm just missing all of the clues in the story itself to try and puzzle that one out. I'm also under the impression that the timing's off for that, so guess two is ... something to do with Tanabata, but the flower doesn't really seem to tie into that, either.
Oh, well. :)
Having had a chance to read it and not try to pick it over with a fine-tooth comb has given me a better impression of the story as a whole (I should have followed my earlier pass with a second one, but like they say, "Hindsight is 50/50." (That's an intentional malaprop, by-the-by. >.>))
So ... I enjoyed it; the character interactions feel right, and your style is becoming pretty well established. :)
Quote from: sarsaparilla on October 28, 2011, 03:03:55 PMThis is the intended interpretation. I think that it was Brian who pointed it out during the initial round of discussing the summary, that Haruhi's tutoring is something that just works. I agreed, and decided to make it the kind of interaction that both of them actually, if not overtly, enjoy without feeling an urge to turn it into an arm wrestling match, and that then leads to other things.
I think it came up when we were discussing what Haruhi had tried that worked and what didn't, yeah. That sounds familiar. I can't even remember what the 'not very good' example was anymore. >_>
Quote from: sarsaparilla on October 28, 2011, 03:03:55 PMThere isn't any support for it in the canon, but whenever I try to map Haruhi's thought patterns I imagine that she has some form of abstract - visual synesthesia, which would certainly manifest itself in rather peculiar ways.
In fact, Haruhi's explanation of the potential energy formula actually makes sense, at least for a very particular definition of the word 'sense'. ^_^
That's a billion times more awesome than my synethesia. o_O Admittedly, I only have sound -> geometry; it sounds like....
Hum, now that you mention it, I can imagine this -- Haruhi certainly says something in Melancholy that could connect her with at least a mild form of ordinal-linguistic-personification (http://en.wikipedia.org/wiki/Ordinal_linguistic_personification) -- the rest could quite neatly follow. Very interesting.
Quote from: sarsaparilla on October 28, 2011, 03:03:55 PMAbsolutely not. As I have mentioned elsewhere, writing in English feels like drawing while blindfolded to me. I can believe that I'm doing fine but I'm not able to verify it myself, so I'm infinitely grateful for all feedback, and hopefully also learning, bit by bit.
Well, it won't take you very long to surpass me at this rate. ;)
QuoteI notice that the entire conversation in the club room has almost no speech indicators. I ... think this is something I've bugged Muphrid about before (or possibly, actually, someone else on the FFML) -- it's a valid stylistic option; I'm just noting it. There are a few places where the speaker must be infered through context because it is unclear otherwise, however. One thing I really must suggest is not having the speaker's actions and dialog in separate paragraphs -- putting them together makes it much clearer who is speaking. Also, if we're looking at the baka-tsukai translation specifically, it's probably important to note that their translation is servicable, but not the best example of proper English. How much effort we want to spend on adhering to that style vs. the one in the official translations....
This is something that surprised me when I started buying the Brown translations--that they shared the same aversion of dialogue tags in favor of dialogue being entirely on a separate line, so you don't even know who's speaking until the next paragraph. It made me think that perhaps the original Japanese versions were the same way and, for that matter, that they must be unusual in this respect compared to other Japanese literature. After all, why do something so peculiar-looking in English if it's common Japanese convention and not meant to stick out?
But, maybe Brown and company were influenced by the fan translations, just like how the "Super size me!" line snuck into the dub. At any rate, to be as close an imitation to Kyon's narrative style as possible, one could argue that that weird separation between dialogue and action should be observed. It's weird enough to read, though. Just the idea seems, to me, a bit painful to consider writing.
Yeah, I really despise the Mikuru/Fujiwara discussion in novel 11. That doesn't feel at all 'stylistic' and totally feels 'badly written'. >_<
I think I read it ... eight or nine times, tracking dialog on a sheet of paper, and even then, much of it does not become clearer (then again ... maybe I just can't hack it?). There's something of an issue there of 'keeping in with the original style' and 'writing something readable.' I like the original style, or at least much of it, but that's one element I think needs to be seriously reigned in -- and I have to criticize Tanigawa for handling it (IMO) poorly. :\
Edit: I think in retrospect I had a long discussion with Slacker about it, and All the Small Things. That was a long time ago, so if there was a more recent one, it was probably Cobb, and I lack the motivation to pull that discussion back up again. =_=
Quote from: Brian on October 28, 2011, 06:39:17 PM
Quote from: sarsaparilla on October 28, 2011, 08:37:29 AMHaruhi, on the other hand, certainly could; but she hadn't attempted anything as drastic as completely rewriting the world after that one fateful night, the details of which I couldn't possibly think about too closely in this situation without risking a radical change in the overall atmosphere.
That semi-colon is immediately trailed by an interjection. (I do this frequently when I write -- it's grammatically incorrect, so I do it stylistically; one of the benefits of understanding the rules is knowing when you can break them >_>;;.) I don't think it works exceptionally well in this instance, however. In fact, those two sentences have opposing themes, so I don't think they should be connected; semi-colons attach phrases and sentences that are similar, or basicaly restate and clarify the same or similar points; while I could see how this might be applicable here, it would probably work better with a third (somewhat more neutral) sentence in the same theme to connect them.
My suggestion would be to drop the 'but', though then it feels a little stilted.
*Facepalm* that was actually my correction of sars' earlier version.
You were asking about why I don't consider myself an authoritative source on semicolons..
To touch on this very briefly for those who were not on IRC (there I am 'Fujiwara Masamichi' at work and 'Suou Kuyou' at home, Arakawa ;) (someone else claimed the 'brian' nick when I was offline for a year+)):
One of the major benefits of posting corrections and commentary in a public forum is that if you are incorrect, someone else can step in and make an interjection. I could link an unspeakable number of posts to the FFML where I got something wrong and was corrected. To err is human, and this is a forum where we're all looking to have those checked. I personally like to think that this community 'safety net' is something to encourage more commentary, so I'm all for it. :)
In this case, I call 'no harm; no foul'. ;)
Quote from: Brian on October 29, 2011, 06:20:29 AM
To touch on this very briefly for those who were not on IRC (there I am 'Fujiwara Masamichi' at work and 'Suou Kuyou' at home, Arakawa ;) (someone else claimed the 'brian' nick when I was offline for a year+)):
Is 'Fujisawa' a contraction of 'Fujiwara Masamichi', then? (Or is that a typo?)
(Particularly since I *think* I saw both nicks logged in at the same time. I presume you just keep an IRC window constantly open on your home computer even when you're physically at work...)
Also, was your decision to have those nicknames pre- or post- Novel 11? It seems a bit fitting given how we found out Fujiwara (um... if that really isn't a typo...) and Kuyou were collaborating a little closer than expected.
Quote from: Brian on October 29, 2011, 06:20:29 AM
One of the major benefits of posting corrections and commentary in a public forum is that if you are incorrect, someone else can step in and make an interjection. I could link an unspeakable number of posts to the FFML where I got something wrong and was corrected. To err is human, and this is a forum where we're all looking to have those checked. I personally like to think that this community 'safety net' is something to encourage more commentary, so I'm all for it. :)
No, I just found it sort of funny to see someone pontificate on the benefits of semicolons like that, then immediately go on to misuse them, even more funny that 'someone' turned out to be myself, and I hope people share some of that amusement.
Quote from: Brian on October 29, 2011, 06:20:29 AM
In this case, I call 'no harm; no foul'. ;)
Exactly; we're not writing mission-critical software for hospitals, here.
Quote from: Arakawa Seijio on October 29, 2011, 06:28:34 AMIs 'Fujisawa' a contraction of 'Fujiwara Masamichi', then? (Or is that a typo?)
Nope. Fujisawa Masamichi is a character from the anime
El Hazard. He is a teacher, a drunkard, a smoker, and his hobbies are mountain climbing, and always looking after the wellfare of his students. His physical strength increases to super-human levels when he abstains from drinking or smoking, and doubly if he abstains from both.
I never thought he was a role model until I realized I had grown into him. ;)
Quote from: Arakawa Seijio on October 29, 2011, 06:28:34 AM(Particularly since I *think* I saw both nicks logged in at the same time. I presume you just keep an IRC window constantly open on your home computer even when you're physically at work...)
Also, was your decision to have those nicknames pre- or post- Novel 11? It seems a bit fitting given how we found out Fujiwara (um... if that really isn't a typo...) and Kuyou were collaborating a little closer than expected.
Yes on both counts, but I interpet Kuyou (the character I play on IRC) as per K:BDH; a benign presence that's just incredibly alien, not generically unfathomable evil out to kill Haruhi. <.<
I maintain a login at home for logging purposes; at some point in the future I'll stop using the work log-in and just VNC in from work. I've just been exceptionally lax about setting that (and the VPN) up. >_>;;;
Quote from: Arakawa Seijio on October 29, 2011, 06:28:34 AMNo, I just found it sort of funny to see someone pontificate on the benefits of semicolons like that, then immediately go on to misuse them, even more funny that 'someone' turned out to be myself, and I hope people share some of that amusement.
If we can't laugh at ourselves, who can we laugh at?
I do mean what I said about doing the same (or worse) countless times myself. Consider: I didn't catch your correction when it was offered; instead I noticed it only at the last possible opportunity.
Quote from: Arakawa Seijio on October 29, 2011, 06:28:34 AMQuote from: Brian on October 29, 2011, 06:20:29 AM
In this case, I call 'no harm; no foul'. ;)
Exactly; we're not writing mission-critical software for hospitals, here.
Oh, that was a stressful job. ;_;
I must say that the discussion is already at this point delving deeper into the finer points of writing than I had hoped to ever reach. It's a very good thing, and as I'm perhaps more interested in staying consistent through the story than in hitting some particular target of 'correctness' (well, I do try to use correct language as well, but the issue looks a bit fuzzy to me), I'm willing to revise these first chapters as many times as needed until they are within acceptable bounds for everybody, and then try to carry that particular style to the future chapters.
Basically, the fundamental issue seems to be: is it possible to separate the original author's personal style, overall Japanese (light novel) style, and any artifacts introduced in the translation process from each other, in order to achieve as accurate an imitation as possible, or if the answer is negative, which style would manage to capture the original intent? I have been aware of the question but I never thought that I'd get to a level where it becomes a major obstacle.
So, once again, I've incorporated all the suggestions and updated the attachment. Since the changes were minor, there shouldn't be a need for another full round of revisions. ^_^' *tempting fate*
Concerning my style, I don't leave things unexplained and vague with the intention to somehow tease the readers, I just want to leave room for personal interpretations and little details that can easily be overlooked, but which provide serendipitous surprises if somebody notices them. As an example, here's a detail that nobody has commented so far:
On the baseball field, instead of the match, Kyon uses some time to watch other students around the field, then suddenly decides that he isn't interested in the game any more, and goes back to the class. His first comment to Haruhi when he gets there? "Didn't see you around."
My version of Kyon has rather formidable powers of obfuscation, at least concerning certain issues, and it's only through small slips like this that his true thoughts can be inferred. ^_^ I absolutely don't mind if nobody notices these kinds of details, just writing them in pleases me greatly.
And, since it has caused much bewilderment, I feel obliged to tell a bit more about Haruhi's take on physics in this story. >_>
The base units of the SI system are various appendages. Meter is an arm, second is a leg and kilogram is a head (not mentioned in the passage but ampere would be a wing and kelvin a tentacle :p). Derived units are creatures made out of these basic building blocks, put above if multiplied and below if divided. There was some computer game where you could make arbitrary creatures out of such body parts, I think.
Because Haruhi likes energy, she equates it with the human shape. The unit of energy is kg m2 / s2 which in Haruhi-speak turns to "one head and two arms above, two legs below -- that's a human". The problem that Haruhi is using as the example gives mass and height (and implies gravitational acceleration) and asks for potential energy to be solved. Since the units must match on both sides of the equation, the problem turns into a task of making a 'human' shape out of the given parts that are arm-above-two-legs-below (acceleration), arm-above (height) and head-above (mass). The correct answer is just to put them together as they are, and thus the formula for potential energy is E = m g h You don't have to remember the formula because there's only one possible combination of mass, acceleration and height that has the same unit as energy, so it must the correct one.
To be quite honest, that is more or less the way I avoided learning anything in high school physics classes, though back then I wasn't aware that others didn't see things the way I did. I was just mystified why the teacher would want to waste hours on end trying to get us remember some arbitrary formulas through rote memorization and goofy mnemonics. >_>
Ah, so the stupid fancy word for that is dimensional analysis. (Though during my own education I wasn't ever asked to do it in terms of arms and legs.) What does Haruhi do for constant factors? (It took physicists way too long to figure out that to get energy to stay conserved they needed to write kinetic energy as E = 1/2 m v^2)
Does she have some notion that kinetic energy is only half as <some adjective> as potential energy?
Quote from: Arakawa Seijio on October 29, 2011, 10:12:30 AM
Ah, so the stupid fancy word for that is dimensional analysis. (Though during my own education I wasn't ever asked to do it in terms of arms and legs.)
(goes to wiki) I see ... yes, that's the thing. It's a whole separate discipline? I wonder why it wasn't even mentioned in high school.
Quote from: Arakawa Seijio on October 29, 2011, 10:12:30 AMWhat does Haruhi do for constant factors? (It took physicists way too long to figure out that to get energy to stay conserved they needed to write kinetic energy as E = 1/2 m v^2)
Does she have some notion that kinetic energy is only half as <some adjective> as potential energy?
I didn't think it out that far other than realizing that there'd have to be a triangle somewhere.
This discussion is going to weird places....
Quote from: sarsaparilla on October 29, 2011, 10:23:29 AM
(goes to wiki) I see ... yes, that's the thing. It's a whole separate discipline? I wonder why it wasn't even mentioned in high school.
I'm weirdly tempted to embark on a comprehensive comparison of Finnish and Canadian high school education... anyhow... as far as I remember, both systems rank ludicrously high on a worldwide scale. From what you said earlier it sounds like Finland has a definite advantage in terms of how they do language education, my experience with French class in Canada was... laughably bad (especially considering the fact that it
does, after all, have official-language status and is therefore mandatory to teach) and it actually put me off from learning that language properly.
Quote from: sarsaparilla on October 29, 2011, 10:23:29 AM
I didn't think it out that far other than realizing that there'd have to be a triangle somewhere.
*slaps forehead* it's bloody obvious. If energy is a person, then potential energy is Kyon, unless you kick his ass he doesn't go anywhere and he is therefore twice as dense as Haruhi, who always runs around getting things done on her own initiative, and can therefore be used to stand in for kinetic energy.
And since in Haruhi's experience most ordinary humans are lazy idiots like Kyon, regrettably he becomes the standard unit for measuring energy.
QuoteThis discussion is going to weird places....
If a discussion of Haruhi's thought processes
didn't go weird places, I'd say we weren't doing the job properly.
Also, after looking at the original Japanese version of the novels, I notice that blank lines in between paragraphs are used extremely sparingly. Mostly the dialogue-heavy scenes run together as follows:
Quote from: How Year1!Haruhi reacts to attempts by people to talk to her
「ねえ、昨日のドラマ見た? 九時からのやつ」
「見てない」
「えー? なんでー?」
「知らない」
「いっぺん見てみなよ、あーでも途中《とちゅう》からじゃ解《わか》んないか。そうそう、だったら教えてあげようか、今までのあらすじ」
「うるさい」
こんな感じ。
Formatting the above according to English conventions, of course, causes the scene to balloon to take up twice as much space on a page, and arguably changes the pacing. In my opinion this is one of the trickier obstacles to exactly recreating the tone of the original novels.
Quote from: Brian on October 29, 2011, 06:39:55 AM
I interpet Kuyou (the character I play on IRC) as per K:BDH; a benign presence that's just incredibly alien, not generically unfathomable evil out to kill Haruhi.
Just noticed this one.
Actually, it is -- at least in principle -- possible to argue that canon!Kuyou has a case of extreme blue and orange morality. Specifically, she doesn't seem to get (among other things) the concept of individuality. Add to that the fact that data beings don't seem to share the view on death with humans either, so from her point of view what Fujiwara asked her to do might not differ from a situation where a human is asked to pour a quart of water to the pot while cooking. It's hard to say which way Kuyou will go in the canon but I'd be rather disappointed to see her turned into a simple 'evil' character. Asakura is similarly ... disruptive, and ax-crazy on top of that, and there's still a lot of mileage to get from that character.
QuoteAlso, after looking at the original Japanese version of the novels, I notice that blank lines in between paragraphs are used extremely sparingly. Mostly the dialogue-heavy scenes run together as follows:
What is the significance of the lines with smaller or faded quotation marks?
QuoteConcerning my style, I don't leave things unexplained and vague with the intention to somehow tease the readers, I just want to leave room for personal interpretations and little details that can easily be overlooked, but which provide serendipitous surprises if somebody notices them. As an example, here's a detail that nobody has commented so far:
On the baseball field, instead of the match, Kyon uses some time to watch other students around the field, then suddenly decides that he isn't interested in the game any more, and goes back to the class. His first comment to Haruhi when he gets there? "Didn't see you around."
My version of Kyon has rather formidable powers of obfuscation, at least concerning certain issues, and it's only through small slips like this that his true thoughts can be inferred. ^_^ I absolutely don't mind if nobody notices these kinds of details, just writing them in pleases me greatly.
I think as long as you have a clear idea of the subtext you intend, these things will generally work out. When you do it enough, people will pick up, though maybe not every single hint.
Regarding the physics and dimensional analysis, I must say I'd look forward to seeing how Haruhi treats electromagnetism. Just what would be a coulomb? :P But in all seriousness, at least here in the States there's some level of emphasis placed on dimensional analysis (or casually, just
units); My university mandates that almost all the undergraduates take two introductory physics courses--one in mechanics and another in electromagnetism. On the exams, the instructors tell us as graders to take off as much as 40% for an incorrect answer with the wrong dimensions (and for treating vectors as scalars, among other things).
Quote from: Muphrid on October 29, 2011, 02:17:55 PM
QuoteAlso, after looking at the original Japanese version of the novels, I notice that blank lines in between paragraphs are used extremely sparingly. Mostly the dialogue-heavy scenes run together as follows:
What is the significance of the lines with smaller or faded quotation marks?
Let's see... it might display differently on your computer than mine, but I see two kinds of quotation marks:
Quote「見てない」
These are the standard Japanese quotation marks used to indicate dialogue, of course;
Quote途中《とちゅう》
And these are used in place of furigana. Since this is a light novel, there is a lot of furigana in it, even for embarrassingly simple stuff like "扉《とびら》", so it can be read by more or less anyone down to elementary school children.
Furigana are generally written
above or
beside the kanji which they're meant to elucidate (depending on writing direction), but since I have the novels in .txt format, that option is unavailable. When advanced typesetting is unavailable, special quotation marks are used instead as you can see here.
Is that what you were wondering about?
Quote from: Muphrid on October 29, 2011, 02:17:55 PM
My university mandates that almost all the undergraduates take two introductory physics courses--one in mechanics and another in electromagnetism. On the exams, the instructors tell us as graders to take off as much as 40% for an incorrect answer with the wrong dimensions (and for treating vectors as scalars, among other things).
Hmm... mandatory physics.. pretty advanced policy. 40% for wrong dimensions is about right if somehow the quantity of the answer is still correct, but unless it's obviously just a typo at the end , it generally indicates a failure to understand exactly what you're measuring, and would probably result in even more marks taken off.
Then again, my university was always famous for having resoundingly harsh grading policy.
Ah, I was referring to this:
Quote from: Arakawa Seijio on October 29, 2011, 11:36:25 AM
Quote from: How Year1!Haruhi reacts to attempts by people to talk to her
「ねえ、昨日のドラマ見た? 九時からのやつ」
「見てない」
For some reason, when I quote these lines, initially all the quotation marks appear the same, but in the post and as soon as I start editing the field, the quotation marks on the first line look bigger and darker. Maybe that's just some kind of encoding artifact, and they're all really meant to be the same. If that's the case, then the scene just consists of alternating dialogue line by line? I'm not sure I understand how this would make it balloon by comparison.
Ah... encoding difficulties, eh? Apologies for thinking you didn't know about inline furigana, then.
My point is that English dialogue puts a blank line every time a different person starts speaking, so instead of
Quote「ねえ、昨日のドラマ見た? 九時からのやつ」
「見てない」
「えー? なんでー?」
「知らない」
「いっぺん見てみなよ、あーでも途中《とちゅう》からじゃ解《わか》んないか。そうそう、だったら教えてあげようか、今までのあらすじ」
「うるさい」
こんな感じ。
we get
Quote「ねえ、昨日のドラマ見た? 九時からのやつ」
「見てない」
「えー? なんでー?」
「知らない」
「いっぺん見てみなよ、あーでも途中《とちゅう》からじゃ解《わか》んないか。そうそう、だったら教えてあげようか、今までのあらすじ」
「うるさい」
こんな感じ。
which feels much slower and/or much less descriptive. In general, seeing such a barren expanse of dialogue in English would prompt me to try to insert action in between the various phrases more or less as follows (sorry for mixing languages, by the way):
Quote「ねえ、昨日のドラマ見た? 九時からのやつ」
「見てない」
「えー? なんでー?」the foolish person would inevitably go on to ask.
Haruhi would scowl to indicate to the one accosting her that they just weren't getting it.
「知らない」
「いっぺん見てみなよ、」some of the particularly audacious challengers might persist, although at this point it would be akin to trying to obtain the attention of a brick wall,「あーでも途中《とちゅう》からじゃ解《わか》んないか。そうそう、だったら教えてあげようか、今までのあらすじ」
「うるさい」
こんな感じ。
to make it feel somewhat less opaque. But this is
way outside the rules of translation. In general it's rare to see so much undecorated dialogue in a well-written English language fanfiction of this exact novel series... which makes for an inevitable style divergence.
It's even more pronounced when I load the full novel and skim back and forth through it - dialogue is tightly packed onto the screen, so the absence of frequent observations by the narrator isn't particularly noticeable, and a blank line becomes a pretty drastic way of indicating a major break in the action. In comparison, the translation I have sometimes starts to feel like it's sleepwalking a little.
I think those blank lines are conventional only on the internet, really. I snagged an excerpt from the Brown website with a portion of the first novel. Dialogue there is on separate lines, but there aren't any blank lines between, just an indent for a new paragraph like you'd expect.
Quote from: Muphrid on October 29, 2011, 04:00:04 PM
I think those blank lines are conventional only on the internet, really. I snagged an excerpt from the Brown website with a portion of the first novel. Dialogue there is on separate lines, but there aren't any blank lines between, just an indent for a new paragraph like you'd expect.
It must be a matter of taste, but I found that excerpt almost unreadable. It felt like listening to some motormouth who speaks incessantly at 40 MPH so that after a while the text just sort of blurs into one huge block filling the entire page.
Actually, it is kind of counterproductive that we even have think about typographical issues. I would have expected to see a system where there is a separate tag for each element of prose, and then some program that creates the desired layout based on them....
...!
Actually, even
I might be able to create something that converts from a custom markup set to HTML. I dug around a couple of days ago when the issue of formatting was first mentioned and found something called
sed that can do automatic text substitution, but the syntax looked so arcane that I couldn't bother to even try.
But!
I know that there are computer-oriented people around. How much work would you estimate it to take to design a set of custom tags just for different elements of prose, and some contraption to translate them to HTML or some other viewable format?
That would remove the entire headache of thinking about the layout while writing, if it's all in a single style file.
I think that phenomenon is precisely why text on the internet tends to be set off with blank lines. On a screen, it gets very wall-of-texty. As a book in hand, well, every book I've ever read is like that excerpt (and, honestly, the Brown translations use fairly large font, which ought to make it more readable on a screen as well).
I've never used sed specifically, but I think the foundation of sed is the use of regular expressions, which is basically what I use to convert between formats. The basic idea of a regular expression is pretty simple: you want to find something in the text and replace it with something else. I think the majority of its complicated syntax is do so really sophisticated substitutions. For instance, I have a line in my perl script that looks like this:
$str =~ s|^([^<\\].+)\n$|<p>$1</p>\n|g;
So $str would be a line in the file, =~ means to modify it based on the regex. I use | as the delimiter because otherwise all the slashes tend to run together. s for substitute. The first ^ means find the beginning of the line. The () set off what I want stored as the variable $1. The [] mean a specific character, the ^ inside them means any character that's not what follows, so not a < or a \ (which is escaped with \\). The dot means any character, and the + means 1 or more times. So what this does is find any line that doesn't already begin with a \ or a < (as you would have in, say, a <br/> tag) and wrap it in <p> tags. It's something I use after I've already taken care to strip out any other LaTeX commands and replace them with proper HTML entities, particularly <hr/> or <br/> for a simple break.
But that's a self-made solution. Brian seems to have pretty good results with Markdown. Perhaps he could speak to how that works?
Quote from: sarsaparilla on October 29, 2011, 04:25:05 PMA perfect description of the markdown customization that Jon made for Brian.
You ... very likely could create such a thing. I don't know that you'd need to, though, since it's already been done. :p
I have only a few minutes here before I run to work, so to make this somewhat brief:
http://daringfireball.net/projects/markdown/
This is markdown, which is the basic utility. It converts raw text into .html; that whole page is written in markdown (though, it also uses .css, so it takes a little bit of doing to have it output stuff that complex).
Here's a rundown of the syntax:
http://daringfireball.net/projects/markdown/syntax
And here's a little java tool you can paste something you type out into to try it out for yourself without the hassle of installing:
http://daringfireball.net/projects/markdown/dingus
Jon's customizations allow me to use an additional entity within markdown, which is {styletag}, followed by {/styletag}. Those get replaced with <div class="styletag"> and </div> respectively. They also preserve whitespace by replacing indentation (spaces) with ... er ... indentation. >_>;; At any rate -- the body of the story uses the main stylesheet, and then I can use custom classes for inset texts in different styles -- those actually live here: http://pishoque.net/brian/stories.css (you can see the 'epigraph' style tag, for example, which separates text out by slightly different rules, demonstrated at the top of every page of
K:BDH, or the 'haiku' style tag in any chapter of
Later)).
I don't know that this is the best solution, but it's one that's worked quite well for me. :)
Quote from: Brian on October 29, 2011, 05:12:56 PM
http://daringfireball.net/projects/markdown/
This is markdown, which is the basic utility. It converts raw text into .html; that whole page is written in markdown (though, it also uses .css, so it takes a little bit of doing to have it output stuff that complex).
Mm-hmm. It still looks mostly like something that converts from one standard typography into another, custom defined typography. I was thinking about something that doesn't by default use any typography, with element ordering the only important thing, and then tags that tell what kind of elements they are, not as in layout but as in meaning. So, it would look something like:
(default=kyon)
(tell; actor=haruhi)Haruhi waved the document describing the new syntax like a tribune ready to decree the new law of the land.
(talk:haruhi)This is the best thing since the invention of water, because it's made by me!
(talk:koizumi)One couldn't expect less from our illustrious leader.
(think)Oh no, don't encourage her!
(talk)Besides, water was discovered, not invented. Wait, never mind, that doesn't help the issue in any way.
Might be hard to define a syntax that is flexible enough for all possible uses, though. Oh well, must make a mental note and see whether something eventually pops up.
Sounds like something that could be done in xml? But I do wonder how much one can abstract out the elements of the story and separate them from, say, quotation marks and formatting without getting something that doesn't look like written language at all or relies on automation where the human element is needed. The system would have to accommodate the detail that you want.
For instance, I said before I use LaTeX. LaTeX documents have an existing syntax and commands and stuff, and generally you would use it with them with the LaTeX program to typeset the document according to commands. LaTeX is flexible, though, and you can define your own commands. You can use the same content and typeset it in different ways. For instance, I have The Coin separated into individual files per chapter, with a master document that includes those documents and typesets them as a pdf looking like that earlier Brown excerpt or, instead, as a double-spaced manuscript that I can print and proofread (which I do with each chapter as well). So, LaTeX tries, I think, to achieve independence between presentation and content. What makes it unsuitable for text and html is that it's not designed to do that. It probably can be done because TeX in general is Turing complete and can in principle do anything any program can do. The solution I've used, with perl scripts and the like, is just much easier to implement.
But, to get at your example, you could do something in LaTeX like define a command to do, like:
\tell{Kyon}{Haruhi}{Haruhi waved the document describing the new syntax like a tribute ready to decree the new law of the land.}
And when you define the \tell command, you have it do with that information whatever you want. Maybe, in the simplest form, it would wrap the line in quotes. I think that's the basic idea of what you're saying. Alas, LaTeX probably isn't what you're looking for since it the only formats it achieves real independence between input and output is with dvis and pdfs.
Quote from: sarsaparilla on October 29, 2011, 06:12:28 PMMm-hmm. It still looks mostly like something that converts from one standard typography into another, custom defined typography. I was thinking about something that doesn't by default use any typography, with element ordering the only important thing, and then tags that tell what kind of elements they are, not as in layout but as in meaning. So, it would look something like:
(default=kyon)
(tell; actor=haruhi)Haruhi waved the document describing the new syntax like a tribune ready to decree the new law of the land.
(talk:haruhi)This is the best thing since the invention of water, because it's made by me!
(talk:koizumi)One couldn't expect less from our illustrious leader.
(think)Oh no, don't encourage her!
(talk)Besides, water was discovered, not invented. Wait, never mind, that doesn't help the issue in any way.
Might be hard to define a syntax that is flexible enough for all possible uses, though. Oh well, must make a mental note and see whether something eventually pops up.
Er, huh. That's ... not what I had thought it was. I think my solutions would take a substantial degree of cludging to do what you're looking at. Actually ... I can't say I really like how mechanically such tags render the text. Part of what I like about Markdown is that it's unobtrusive enough to be read in plaintext as well as the .htm output.
Edit: Really, actually, hearkens back to simple script format. More on this at the footer, since this edit is likely to be overlooked.
Quote from: Arakawa Seijio on October 29, 2011, 03:40:50 PMIt's even more pronounced when I load the full novel and skim back and forth through it - dialogue is tightly packed onto the screen, so the absence of frequent observations by the narrator isn't particularly noticeable, and a blank line becomes a pretty drastic way of indicating a major break in the action. In comparison, the translation I have sometimes starts to feel like it's sleepwalking a little.
Backing up what Muphrid touched on with this one a bit:
Part of this is the conversion from pages to digital documents. Pages cost money because they're physical objects, so the text is more dense because it's cheaper (and the original scans don't bother to change this because a scan is simpler than a scan + an edit). Translators didn't have the same limitations, since they were paying in electrical charges on silicon instead of processed wood pulp, and they were going to be going through the entire text one line at a time anyway.
Other than the odd moments Jon feels compelled to run out and publish an anthology of my writing, I (personally) aim to publish only online -- so physical page space just isn't an issue. At 80% column width, I can waste 20% of the page, and it doesn't cost a penny more than using 100%.
This somewhat models the shift in proper journalistic style as one moves from newsprint to online blogging-- A parallel examination of the issue by ... Scott McCloud regarding the shift in comics from 'filling the paper' to 'using webspace as desired' -- is out there, but I wasn't able to find it online.
Quote from: Arakawa Seijio on October 29, 2011, 02:29:12 PMHmm... mandatory physics.. pretty advanced policy. 40% for wrong dimensions is about right if somehow the quantity of the answer is still correct, but unless it's obviously just a typo at the end , it generally indicates a failure to understand exactly what you're measuring, and would probably result in even more marks taken off.
I've never taken a class on physics outside of high-school. Wiki don't fail me now. >_>;;
Quote from: sarsaparilla on October 29, 2011, 02:10:59 PMQuote from: Brian on October 29, 2011, 06:39:55 AM
I interpet Kuyou (the character I play on IRC) as per K:BDH; a benign presence that's just incredibly alien, not generically unfathomable evil out to kill Haruhi.
Just noticed this one.
Actually, it is -- at least in principle -- possible to argue that canon!Kuyou has a case of extreme blue and orange morality. Specifically, she doesn't seem to get (among other things) the concept of individuality. Add to that the fact that data beings don't seem to share the view on death with humans either, so from her point of view what Fujiwara asked her to do might not differ from a situation where a human is asked to pour a quart of water to the pot while cooking. It's hard to say which way Kuyou will go in the canon but I'd be rather disappointed to see her turned into a simple 'evil' character. Asakura is similarly ... disruptive, and ax-crazy on top of that, and there's still a lot of mileage to get from that character.
Likewise; I would like to see more of her develop as a character. I suppose at this point, that (and almost anything to do with Sasaki) are the most interesting angles left for the novels to pursue....
Quote from: sarsaparilla on October 29, 2011, 09:44:54 AM
I must say that the discussion is already at this point delving deeper into the finer points of writing than I had hoped to ever reach. It's a very good thing, and as I'm perhaps more interested in staying consistent through the story than in hitting some particular target of 'correctness' (well, I do try to use correct language as well, but the issue looks a bit fuzzy to me), I'm willing to revise these first chapters as many times as needed until they are within acceptable bounds for everybody, and then try to carry that particular style to the future chapters.
I'm pretty sure I've always maintained that consistency trumps accuracy (it really does), so I agree with this sentiment wholeheartedly. ^_^;
Quote from: sarsaparilla on October 29, 2011, 09:44:54 AMBasically, the fundamental issue seems to be: is it possible to separate the original author's personal style, overall Japanese (light novel) style, and any artifacts introduced in the translation process from each other, in order to achieve as accurate an imitation as possible, or if the answer is negative, which style would manage to capture the original intent? I have been aware of the question but I never thought that I'd get to a level where it becomes a major obstacle.
I believe the bottom line on this one is that a translation is always going to be a translation -- not the original. It will undoubtedly be possible to come close (very much a 'milage varies'issue, on this one), but there's always going to be a question of when things are 'close enough' while still being readable, and then (another one!) what becomes acceptible in the process.
The two extremes are: something that's perfectly readable in a new language, and shifts things to map very well to local culture, which risks losing some of the unique original cultural twists (to a degree,
A Baroque Tale was an attempt to do that same thing with
Ranma 1/2, and then deconstruct it immediately after). The alternative is something that ends up reading like a technical document, completely full of foreign words and interactions, each of which is accompanied by a map of footnotes and explanatory links (
Sky and Shore is the closest I've ever gotten to that).
One brings the reader into the new setting, one brings the new setting to the reader; there's probably seldom a perfect balance. Instead, we reach for compromises, like using the foreign word and bringing the explanation into the narrative as subtly as possible.
Quote from: sarsaparilla on October 29, 2011, 09:44:54 AMOn the baseball field, instead of the match, Kyon uses some time to watch other students around the field, then suddenly decides that he isn't interested in the game any more, and goes back to the class. His first comment to Haruhi when he gets there? "Didn't see you around."
I thought that was cute; that's why it bothered me initially that it didn't look like Haruhi reciprocated.
Quote from: sarsaparilla on October 29, 2011, 09:44:54 AMThe base units of the SI system are various appendages. Meter is an arm, second is a leg and kilogram is a head (not mentioned in the passage but ampere would be a wing and kelvin a tentacle :p). Derived units are creatures made out of these basic building blocks, put above if multiplied and below if divided. There was some computer game where you could make arbitrary creatures out of such body parts, I think.
Because Haruhi likes energy, she equates it with the human shape. The unit of energy is kg m2 / s2 which in Haruhi-speak turns to "one head and two arms above, two legs below -- that's a human". The problem that Haruhi is using as the example gives mass and height (and implies gravitational acceleration) and asks for potential energy to be solved. Since the units must match on both sides of the equation, the problem turns into a task of making a 'human' shape out of the given parts that are arm-above-two-legs-below (acceleration), arm-above (height) and head-above (mass). The correct answer is just to put them together as they are, and thus the formula for potential energy is E = m g h You don't have to remember the formula because there's only one possible combination of mass, acceleration and height that has the same unit as energy, so it must the correct one.
To be quite honest, that is more or less the way I avoided learning anything in high school physics classes, though back then I wasn't aware that others didn't see things the way I did. I was just mystified why the teacher would want to waste hours on end trying to get us remember some arbitrary formulas through rote memorization and goofy mnemonics. >_>
...wow. I had to wiki that, as those aren't things I've heard of/learned about before. Hmm. I feel I've gotten rather a lot of insight into how Kyon must feel when Haruhi explains things to him, now. @_@
Edit: I was reminded of script format, when I took a second glance at that proposed syntax:
Quote from: poorly formatted script exampleKyon: "Old tricks are the best tricks."
Haruhi: *eyeing Kyon doubtfully* "So, why is it that script format is specifically banned on ff.net, then? And doesn't the community look down on it for some reason?"
Nagato: "That is because script fanfiction was popular in the early days of fanfiction, when beginning authors often held onto the belief that their works might some day be adapted by their franchises, especially in some of the first communities and groups to write fanfiction: Star Trek fans, circulating their stories through their fanzines and in real-print format at conventions.
Mikuru: "A...are you a Trekkie, Nagato-san?"
Koizumi: "I note that Nagato isn't performing her action as 'deadpan', and Mikuru wasn't as 'charmingly bewildered'.
Kyon: "Yours isn't 'condescending', either; those are inferred by default."
Nagato: *continuing at though uninterrupted* "Many earlier fanfiction for anime also used script format to try and capture the feel of the show. The author of this specific bit has something of an aversion to script format because on the FFML specifically, 'script format' was considered something only done in the early days of the list, before the membership grasped at the base of the literary monolith that was--
Haruhi: *nodding; blasts 'Also sprach Zarathustra' on a nearby sound system, prompting Mikuru to jump and hide behind Kyon*
Nagato: *unperturbed* "proper grammar and punctuation. From there, the list populace (and fandom in general), shifted away from script format, labeling it as too limited and generally 'not as good' as prose."
Haruhi: "Speaking of author bias, though...." *pauses to turn off sound system* "What's with _even more_ picking on Koizumi?"
Kyon: *evasive* "I ... have no idea what you're-- Look! It's a convenient change of subject!"
Munemoto Hiromasu: *falls through the ceiling, crashes to the floor; pained* "...ow."
Of course, doing it properly, all character names would be in all-caps, and stage directions should be more concise, etc.
I just realized that I missed the part where amps are wings and kelvins are tentacles. So an electric field would be a kg m/s^3/A = a head, an arm, three legs and a wing underneath. Oh man. This is blowing my mind.
Prologue II, this version deprecated and removed.
After a lot of dithering I've finally gotten the second half of the prologue done. This part completes the prologue, which is now a self-contained short story that can be read without worrying about the main story -- I even gave it a separate name.
This (half-)chapter is a thematically complex piece of work; there are more layers of meaning, interdependencies and moving parts than in all of my largest work to date (Shadow). The details of the arrangement are starting to slip even from my own grasp.
As I have set some very specific goals for this part, I would be very grateful to hear about any thoughts that it evokes past purely technical aspects.
On the subject of text formatting (I am a bit of an otaku* on that):
My philosophy is simple: you should pick a format in which to write which makes sense to you, provided either (a) people don't mind reading that format or (b) you can provide simple, unambiguous rules for transforming it into other formats which people don't mind reading.
Markdown meets both (a) and (b). Bricode (the extension Brian was talking about) doesn't do quite as well at (a), because the {haiku}{/haiku} is a bit weird, but it's still pretty good. But even so, all you need is (b), assuming you're willing to run a conversion script.
Based on the sample you've offered so far, I'm not sure your proposed formatting meets (b), but it intrigues me nonetheless. If you want to pursue this, let me know. (Feel free to start a new thread or PM me; it doesn't really belong on this thread, and as I'm not reading this fic**, I'm not sure what I'm doing on this thread either.)
* Using otaku in the more widespread Japanese usage, in which Kensuke Aida is a military-otaku, for instance. A text-formatting otaku's obsessions extend to things like font selection, kerning, and footnotes.***
** No aspersion on your fic intended; I don't read Haruhi fics in this community as a general rule, because I haven't done the prerequisite reading.
*** Did I mention the footnotes?
QuoteArriving at the class room, I noticed that Haruhi had again been faster than me. She was looking out of the window as usual, but unlike yesterday there was a large sports bag under her desk. There wouldn't be PE today, so it had to be something else.
"classroom", I think.
QuoteThus, I was on my own when I suddenly noticed a familiar figure walking away from me, toward the far end of the shrine area. She was at some distance and had her back turned at me but I was pretty certain that I recognized her. I hadn't seen her since last April, so what was she doing here now? I looked around but couldn't see the other brigade members nearby; after a moment of hesitation I decided to pursue the unexpected person, as her presence bothered me more than anything else that I had seen today. There were certain questions I wanted to ask from her.
I think just "ask her".
QuoteThus, I was on my own when I suddenly noticed a familiar figure walking away from me, toward the far end of the shrine area. She was at some distance and had her back turned at me but I was pretty certain that I recognized her. I hadn't seen her since last April, so what was she doing here now? I looked around but couldn't see the other brigade members nearby; after a moment of hesitation I decided to pursue the unexpected person, as her presence bothered me more than anything else that I had seen today. There were certain questions I wanted to ask from her.
"last" April suggests April first year? Or is redundant if it's April second year?
Quote"You're supposed to support your brigade commander when she needs help!"
This seems somewhat inconsistent with the use of "brigade chief" earlier.
QuoteWe took a local train back to Kouyouen and retrieved our school bags from the storage locker. That reminded me — had I carried this heavy bag the whole evening for no reason whatsoever?
It seems slightly more typical to say "the train" instead of "a train" for some reason.
I had quite a bit more typed out, but I had it in an unwritten file that I lost on the way home. In general, I like the levels of subtext in your writing. It makes the piece very engaging. That, to me, is the important part--give the piece depth and unanswered questions, and it'll hold on an intellectual level. All along, we see Haruhi trying to get Kyon's attention in various ways. The festival passage is very good, as the level of detail makes it feel like you're
there in the summer, on Tanabata night. Kyon dodges looking in Haruhi's eyes too much, lest he be entranced with the brilliance he sees within them. All very good stuff.
The prologue as a whole feels very Tanigawa-esque--it doesn't feel the need to come to a clear, unambiguous conclusion because it's not complete by itself (which, I think, is something I'm not so good at doing). I did feel that the abundance of Japanese might've been a bit high around the part with the fortunes, but not glaringly so. I liked all of Haruhi and Kyon's conversations, and Kyon's panic when Haruhi started talking about John Smith was well done. Nevertheless, I must wonder--is Haruhi's real wish to thank John Smith or to, say, involve Kyon with that and make him part of a secret, part of something she holds close to her heart? Maybe it's both.
On the mechanical side of things, something I notice is that where you use "everybody" exclusively, I use "everyone" exclusively. I have no idea why, in either direction. In addition, you have a tendency to neglect the comma needed for compound sentences. Example:
QuoteI stopped on the bridge to appreciate the unexpected sight and stood there in momentary contemplation when I heard somebody approaching from the direction of the shrines, running. The person soon came in clear view and I realized that I had subconsciously recognized her just by the sound of her steps. Come to think about it, who else would run around at a place like this?
Pedantically, it should be "clear view, and..." and so on. Now, there's leeway to ignore that comma for pacing, and I certainly would understand that, but it does seem like this comma is neglected quite a lot.
Quote from: Muphrid on November 18, 2011, 05:28:03 PMI did feel that the abundance of Japanese might've been a bit high around the part with the fortunes, but not glaringly so.
I noticed that myself, but had a hard time trying to find any English equivalents that were close enough. I may have to sacrifice some accuracy for readability in the final version.
Quote from: Muphrid on November 18, 2011, 05:28:03 PMNevertheless, I must wonder--is Haruhi's real wish to thank John Smith or to, say, involve Kyon with that and make him part of a secret, part of something she holds close to her heart? Maybe it's both.
I'm really happy to hear you say that.
You managed to home in on the main point of the whole episode. While Haruhi's intent to thank John Smith is genuine, it is just an excuse for her real plan that we never get to see because of what happens. There are four hints to the effect: the sports bag, Haruhi saying that thanking John Smith is her 25-year wish (fridge logic then suggests that the other, 16-year wish is even more important to her), Kyon remarking that something else is going on, and finally Haruhi's empty tanzaku under Kyon's pillow.
Portraying this the right way was a somewhat narrow tightrope to walk; on one hand I couldn't make it too obvious, and on the other I absolutely wanted to avoid the interpretation "Haruhi is only interested in John Smith and sees Kyon as nothing more than a means to find him."
As always, thanks for the feedback; I'll work the grammar issues into the next version.
Edit: Concerning the master format / formatting issues, I looked at XML, and if I got it right it could indeed be used in the manner I was thinking of, essentially adding a layer of meta-information on top of the material. However, as Jon pointed out, the conversion between that and a human-readable version of the text is not necessarily well defined, as there are issues that ultimately depend on the judgement of the author. This makes value of the whole exercise questionable.
I think that I'll keep writing in quasi-HTML for now, as it seems to be the path of least resistance. The manual replacements needed to convert from that to the final format are '...' to
hellip, '--' to
mdash and two successive line breaks to an end-paragraph/begin-paragraph pair, a rather simple task.
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PMAs I have set some very specific goals for this part, I would be very grateful to hear about any thoughts that it evokes past purely technical aspects.
Well-- I'll give it my best shot; I hope my comments are helpful, and I don't repeat Muphrid's comments, or Arakawa's (which I expect he will complete before I finish mine):
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PMWhen looking at the events of this summer with hindsight and trying to pick a definite moment when things started to go awry I might be inclined to choose this day; of course, I couldn't see that by the time. Perhaps more than anything else my shortsightedness was caused by the fact that the threat to the recently achieved and much cherished balance came from a direction I could never have foreseen — but then again, based on the way in which everything eventually unraveled I must assume that neither could anybody else.
On a personal note, I don't at all like the 'and now I foreshadow how things are going to turn out from this point' comment-- Not a complaint about your writing, it's just something I don't care for in stories in general. It's also something Tanigawa actually does in
Disappearance. The only reason I even bother bringing it up here is because it somewhat strains the idea of this piece standing alone, since it's obviously intended to serve as a hook for the rest of the work.
Just my opinion, which is worth very little; as always, disregard every comment that is not useful to you.
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PMIndeed, it's quite probable that I wouldn't have believed it even if I had received a written statement from my future self, personally delivered by a certain adorable time traveler, so in the end it didn't really matter either way. All things considering, I should be able to say with sincerity that I did my best.
If it ... doesn't matter, why did he bring it up? O_o?
Well-- My personal gripes aside; I would suggest using a Kyoniism here and have him liken it to something vague or obscure.
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PMMy little sister rushed into the room in her pajamas and caught Shamisen from the bed before it had an opportunity to slip away. I rubbed my eyes and picked up the alarm clock, noticing that because of this unsolicited intrusion I had just missed ten minutes of perfectly fine sleeping time.
it -- he -- the cat
(Shamisen is male ... unless we get into the technicalities of him being neutered; I'd expect Kyon to use 'he' in any case.)
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PMThe lively middle schooler ignored my reproach and hugged the struggling cat. "Shami, Shami, a big, droopy cat-pillow! Why can't I have him with me while I sleep?"
I'm actually pretty sure she's a year off from middle school-- Maybe two. She was ten in melancholy, so should be eleven here -- and that should be only an elementary schooler, still (unless I'm missing something; entirely possible). Middle school wouldn't start until she's at least twelve (depending on where in the calendar year her birthday falls).
More about that here:
http://en.wikipedia.org/wiki/Secondary_education_in_Japan
As always, you can totally ignore this in favor of your own internal consistancy to the story. And, naturally, you can likewise just ignore everything I say that you don't consider helpful.
I get the unfortunate impression that I'm too pushy with my comments, so remember -- they're only comments, and my generally misguided opinions. :x
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PM"You toss and turn so much in your sleep that it would scare the cat away. Besides, he's not a pillow and you better not try to use him as one or you'll get scratches."
Okay, now Shami's a 'he'; that 'it' must have been a typo.
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PMShe took a couple of dance steps around the room until the fretfully protesting cat finally managed to escape from the smothering embrace and disappeared downstairs in a blur like a furry cruise missile. That didn't reduce my sister's overflowing vigor a bit.
the smothering -- her smothering
Alternately, expand on it and leave it at the as something hyperbolic like: 'The smothering embrace of childish doom', etc.
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PM"Good for you. If you're feeling so brisk then why don't you go feed the cat and let me wake up at my own pace?"
You know, I've never seen the word 'brisk' applied to a person? Only behaviors and objects. I can't find anything wrong with it, I've just never seen it before. Peculiar.
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PMIt was really hard to believe that my sister and Miyoko were at the same class. Miyoko had always been polite and mindful, behaving like somebody much older than her actual age, and especially during this last year it had become rather evident that her body was also catching up in maturity. My sister, then, was in all respects the polar opposite. If I hadn't known better I might have thought that she was still in elementary school, especially when it came to her behavior. Despite their differences the two got along very well, and I could only hope that eventually some of Miyoko's admirable qualities would rub off on my sister as well.
at the same class -- in the same class -- in the same year (?)
My comments about middle/elementary school also apply here.
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PMArriving at the class room, I noticed that Haruhi had again been faster than me. She was looking out of the window as usual, but unlike yesterday there was a large sports bag under her desk. There wouldn't be PE today, so it had to be something else.
class room -- classroom
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PMWhat is fun for Haruhi is all too often an experience somewhere between consternation and outright panic for everybody else, but I couldn't make an argument to the effect because at that moment Okabe-sensei arrived to start the homeroom session. As we stood up I could hear Haruhi muttering something behind my back; one of the words might have been 'killjoy', but I didn't pay much attention to it.
the effect -- that effect
Haruhi's being awfully sterotypically tsundere here; she's annoying to me. *checks Muphrid's comments*
Guess it's just me-- Nevermind. Probably fine.
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PM"Say, Kyon, do you ever wonder why you do the things you do?"
Kyon: "I believe you told me not to question your orders before, so ... no?"
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PM"And even then, if we just do whatever we've always done, then doesn't it mean that we're not really free, and are held prisoners by our own habits instead? Shouldn't we face each challenge as if we were seeing everything the very first time, without any prejudices? Isn't that the only way to be truly independent?"
If I understand this, Haruhi's argument is complaining that she doesn't like growing up, and wants to cling to her impulses without them ever changing.
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PMAsahina-san, who had been setting up her tea brewing equipment, looked genuinely puzzled. "Um ... it was here when I arrived today, but not yesterday when we left, and I was the last one to leave because I had to change clothes...."
Which begs the question of how Kyon got in, come to think of it. The clubroom is locked when they go home.
Easy solution is that Mikuru had the responsibility, since she was there last, and just forgot. Or, if you prefer, was ordered to 'forget'.
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PMQuite frankly, the situation had momentarily been too close for comfort, which almost made me regret my earlier decision. Maybe I hadn't thought it all the way through, but it still seemed to be my lucky day. Despite her keen sense of intuition and fearsome tenacity when it came to things she considered important, it was sometimes surprisingly easy to lead Haruhi's attention astray.
Wait, what? Kyon's not immune to pride-- He'd take credit where it was due. Now that the surprise is sprung (and barring the fact that Haruhi is evidently indifferent to 'someone' getting into her locked clubroom after hours (recall they had to go get the keys in melancholy, in the 'dream)) Kyon just....
Oh well. I guess the implication is that Haruhi knows, and is playing dumb. I don't like that I'm reading one story, and have to puzzle out another one underneath it; sometimes I like to read a story just to read a story.
That's just me, though.
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PM"I am glad to say that my family has indeed been enjoying a period of peace and prosperity lately. On the other hand world peace doesn't seem to be any closer than a year ago."
Oh, I see where this is going.
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PMSo much for my lucky day. Oh boy!
"Oh boy" must be your translation of yare, yare-- It makes me think of Sam Becket and Quantum Leap.
...there's an idea for later.
Quote from: sarsaparilla on November 17, 2011, 05:57:57 PMMy private reverie was interrupted as abruptly as it started when I noticed that Haruhi had stopped eating her cake and was staring me from under her eyebrows like a particularly unimpressed crocodile that had just raised its head above the water level in the otherwise serene lagoon of my tropical paradise. Can that girl read my mind?
I ... have to admit, I don't like this character. So far, I've seen Kyon go out of his way to do nice things, then go further to not take credit, like he enjoys being a buttmonkey, or something.
And Haruhi leading Kyon on to think of Mikuru -- and then criticizing him for it seems to go directly against winter, when she wasn't upset at him considering her invitation to hug Mikuru with her.
You have a solid grasp of what you're doing, but I have a headache; I think I have to stop here. That's fine; I'm not able to offer much good commentary anyway, and I'm confident you'll be able to write the story you're trying to without my help. :)
Just blame it on my Kyon-fanboyism and assorted other distractions. Good luck; I know you're going to write an amazing story.
Quote from: Brian on November 19, 2011, 11:57:49 AMI ... have to admit, I don't like this character.
Quote from: Brian on November 19, 2011, 11:57:49 AMI think I have to stop here. That's fine; I'm not able to offer much good commentary anyway, and I'm confident you'll be able to write the story you're trying to without my help.
Ouch.
Well, thanks for the above, in any case.
Sorry -- but be assured, the issues are all with me; I believe you're writing a fine story regardless.
Regarding tsundere-ishness, I did notice that Haruhi was rather covert about what she was doing for most of the chapter--really until she asks him to help rearrange the lanterns with her. I felt that scene was a good payoff, but she does hide her intentions (as well as she can "hide" them) until then. Without speaking for Brian, I can see an argument for more neutral or unambiguously positive interactions, the argument being that tsundere-ish tendencies shouldn't be overdone, for though I consider them part of Haruhi's characteristic behavior, they can't dominate her behavior at this point in time. Now, on the other hand, given her anxiety over what she was planning, I can see an argument that she's trying to be coy and that's just how it comes out. Perhaps the best canon example to compare against (and check her behavior in that respect) would be the Valentine's Day chocolates.
On the other hand, I read into the conversation about things Haruhi looked forward to that she feels differently about as fairly neutral-positive, as Haruhi was willing to look to Kyon for advice and consider the possibility, even if only to herself, that her own priorities had changed.
As far as Kyon goes, it didn't strike me as unusual that, say, he wouldn't take credit for the bamboo. Kyon has pride, but he doesn't pander. That said, I can see how not even taking credit for bringing the bamboo there might be seen as a bit too coy. Dumping all the real credit on Tsuruya would seem to do the job, though it would require tweaking the Koizumi conversation later on.
That might be it, Muphrid. I guess my inner-Kyon just didn't like the one-sided-ness where it felt like Haruhi was constantly coming down on him, and then the bamboo plant was a chance for him to stand up for himself-- And he was so beaten down by that point he didn't bother. Telling him he wasn't penalized but was still ordered to pay for Haruhi later really hammered things down on that idea, followed by what felt like Haruhi fishing for something else to yell at Kyon about, as his spineless giving Haruhi her every demand and then some just wasn't good enough....
However-- This is probably just a sign that I lack the intelligence to enjoy the story properly, as I've commented before. Obviously, more discerning readers evidently see a rich and enjoyable subtext, and not ... what I did. I wouldn't take any of my complaints as even worth considering.
I'm realizing based on your presentation of Haruhi in The Coin, various other fics like The Dream of... and now Sarsaparilla's here-- It's gotta be me who's way off base. I just have a very different idea of Haruhi, and I really don't want to force/project my interpretations onto other people.
Quote from: Muphrid on November 19, 2011, 02:33:29 PM
I read into the conversation about things Haruhi looked forward to that she feels differently about as fairly neutral-positive, as Haruhi was willing to look to Kyon for advice and consider the possibility, even if only to herself, that her own priorities had changed.
The whole chapter is written four layers deep, deriving the form of each successive layer from the one underneath it until the surface layer is reached; that's why it was such a complex effort to put together, as I had to keep track of the causes and consequences of each layer separately. I didn't even expect anybody to immediately see through all four, but if people get stuck on the very first layer it suggests that I'm doing something fundamentally wrong; most likely the whole idea is flawed if it irritates people instead of engaging them into an intellectual exercise.
As an example, let's take a peek at what happens on layer two in this scene. When Haruhi says:
QuoteI've noticed that some of the things I used to look forward to feel rather insignificant now, and instead, some other things have become more important. Why is that so, shouldn't important things stay important regardless? Otherwise, aren't they something that only looks important but really isn't?
she actually means:
I know that a year ago I wished for the world to revolve around me, but right now I'd be content with being the center of your world. I want to hear you telling me that it's okay.
and then
QuoteAnd even then, if we just do whatever we've always done, then doesn't it mean that we're not really free, and are held prisoners by our own habits instead? Shouldn't we face each challenge as if we were seeing everything the very first time, without any prejudices? Isn't that the only way to be truly independent?
is derived from Haruhi thinking:
I realize that I've done things that I can't be proud of, but is it too much asked that you'd accept me the way I'm now? Later today I'm going to ask for your help and I hope that you consider it in earnest instead of resisting as a knee-jerk reaction.
The whole story is a huge
honne and
tatemae game between Haruhi and Kyon where everything that is said has several layers of meaning, and Kyon is
not showing all his cards to the reader.
But as I said, this whole thing may be a giant train wreck if I have erred too far on the side of "readers are geniuses". If that's the case then the story is most likely not even salvageable.
See, I'm a great fan of subtext and reading into things. The novels do that a lot, though, and I can understand the opposite school of thought--that for all the subtext we've had, it's about time we had some payoff with text instead.
Nevertheless, this is still a prologue, so I don't find reliance on subtext inappropriate, but I do wonder--Haruhi clearly must've put some thought into this plan of hers. Did she consider being more direct? If she did, why did she reject the idea?
That's an open-ended question. I'm not saying she necessarily should be more direct, but I'm curious how you think she would've gone about this decision.
@Brian: Haruhi immediately knows that Kyon brought the bamboo, and that throws her off balance. When she says "You're right! It means that we are finally receiving recognition!" she's not talking about the brigade. From then on, all they way until they arrive to the shrine Haruhi spends her time trying to find out exactly how much their balance has changed. Kyon knows this, and is actually the one who has the upper hand the whole time! E.g., he very carefully takes a third option when neither of the ones from which Haruhi wants him to choose entices him (the thing about the last piece of cake).
Kyon is the one who's winning the game of "I know you know I know" the whole day, that is, until the climax when both Kyon and Haruhi lose because of an external factor.
Quote from: sarsaparilla on November 19, 2011, 03:27:09 PMThe whole chapter is written four layers deep, deriving the form of each successive layer from the one underneath it until the surface layer is reached; that's why it was such a complex effort to put together, as I had to keep track of the causes and consequences of each layer separately. I didn't even expect anybody to immediately see through all four, but if people get stuck on the very first layer it suggests that I'm doing something fundamentally wrong; most likely the whole idea is flawed if it irritates people instead of engaging them into an intellectual exercise.
...four? My ... goodness. That's ... really impressive! o_o
Quote from: sarsaparilla on November 19, 2011, 03:27:09 PMAs an example, let's take a peek at what happens on layer two in this scene. When Haruhi says:
QuoteI've noticed that some of the things I used to look forward to feel rather insignificant now, and instead, some other things have become more important. Why is that so, shouldn't important things stay important regardless? Otherwise, aren't they something that only looks important but really isn't?
she actually means:
I know that a year ago I wished for the world to revolve around me, but right now I'd be content with being the center of your world. I want to hear you telling me that it's okay.
I will remark here (with my limited understanding) that this, specifically, won't work -- because it's directly addressed in the tanzaku scene, and Haruhi (there) says she's going to keep pursuing it. Unless I totally failed comprehension once more, but considering I only ever even looked for a second layer, that's (again) an issue with me, not your story.
Quote from: sarsaparilla on November 19, 2011, 03:27:09 PMBut as I said, this whole thing may be a giant train wreck if I have erred too far on the side of "readers are geniuses". If that's the case then the story is most likely not even salvageable.
Bah-- That's just silly. So one of your potential pre-readers (me) is a moron. That doesn't make your story flawed. Just too rich for one particular person to figure out. It certainly doesn't make your story a trainwreck. You seem to have a targeted audience -- one that's more able to puzzle things out than I, and also not burdened with my bizzare preconceptions. Muphrid seems to get it just fine, right? *sees response posted while he was typing this one* Case-in-point!
That's fine! If everyone wrote the same, we'd have no diversity. I think you're writing with real energy and shouldn't lose hope or get discouraged just because I'm (I think) running a slight fever and crabby after my first week of sobriety. Once again -- we can squarely place the blame on me for this one. :)
If you like, I can continue offering technical only-commentary, regarding the grammar and such. You seemed less interested in that, but feebly, that's all I feel capable of offering. Absolutely, I don't want you to stop writing your story. :x
Quote from: sarsaparilla on November 19, 2011, 03:45:02 PM
@Brian: Haruhi immediately knows that Kyon brought the bamboo, and that throws her off balance.
Then I just failed to understand, and this proves your story is fine. :)
(Also, I stopped reading before the 'last piece of cake' thing came up, so I wouldn't ever have gotten it.)
Quote from: Muphrid on November 19, 2011, 03:42:34 PM
See, I'm a great fan of subtext and reading into things. The novels do that a lot, though, and I can understand the opposite school of thought--that for all the subtext we've had, it's about time we had some payoff with text instead.
The whole idea of this story is to follow how the main characters dig through the layers of meaning until they get to the core. That is why I said that if starting with four layers is a failure then I don't have a story to tell, as it hits the bottom on the first try.
Quote from: Brian on November 19, 2011, 03:47:01 PM
I will remark here (with my limited understanding) that this, specifically, won't work -- because it's directly addressed in the tanzaku scene, and Haruhi (there) says she's going to keep pursuing it.
Actually, what happens is that Kyon unintentionally forces Haruhi's hand there. She wasn't going to bother with the bamboo wishes this time (indicated by the fact that she didn't even try to go out to get a bamboo) as she has something completely different in mind. However, when confronted with the task of writing new wishes she realizes that she can't write either of the wishes she has in mind on a tanzaku where the others can see it, and -- to save face -- finds an excuse to avoid it.
Quote from: sarsaparilla on November 19, 2011, 03:45:02 PM
@Brian: Haruhi immediately knows that Kyon brought the bamboo, and that throws her off balance. When she says "You're right! It means that we are finally receiving recognition!" she's not talking about the brigade. From then on, all they way until they arrive to the shrine Haruhi spends her time trying to find out exactly how much their balance has changed. Kyon knows this, and is actually the one who has the upper hand the whole time! E.g., he very carefully takes a third option when neither of the ones from which Haruhi wants him to choose entices him (the thing about the last piece of cake).
Kyon is the one who's winning the game of "I know you know I know" the whole day, that is, until the climax when both Kyon and Haruhi lose because of an external factor.
The idea that Kyon knows that Haruhi knows didn't escape me on the first read, but it seems like the only concrete evidence of this at the time is
QuoteHearing this, Haruhi turned around with a perplexed expression on her face, mouth halfway open but apparently unable to decide what to say. I put on my best deadpan impression. If this was going to reduce into a staring contest then my long and arduous training had not been in vain.
Now as I said, I'm a big fan of subtext. The idea that Haruhi was testing Kyon in some way several times after caught me by surprise at first, but it does make sense with the vibe I got from her asking if he'll buy her food at the festival.
I guess I view subtext as a statistical thing. With any given piece, the intended interpretation may not completely come out, but over several dropped hints and events, the odds that the reader will get what's up should rise. I don't think what's been given is too opaque. The big point is that Haruhi has some hidden intent regarding Kyon--the exact reason
why is by nature a good bit harder to divine because there are lots of valid reasons to perform the same action.
Quote
The whole idea of this story is to follow how the main characters dig through the layers of meaning until they get to the core. That is why I said that if starting with four layers is a failure then I don't have a story to tell, as it hits the bottom on the first try.
Not at all. I'm just saying I understand how and for what reasons the structure and technique of the story might fall a little flat based on personal preference. I think overall the story is quite fine.
Aah, I see, now. Definitely, I'm not at the rank I need to be to appreciate the genuine complications in this. :p
I'm sorry if my limitations have upset you, Sarsaparilla; if I can help with the technical aspects, and you wouldn't be bothered by that, absolutely I wouldn't mind. I just don't want to see you discouraged and giving up because of my inability to understand. :x
Personally, I always aim for Readers are Morons, and then try to apply liberal Genius Bonus so the story is accessible to more readers (a habit left over from ff.net, where the general readership.... Well). There's no reason more intellectual works shouldn't exist, and unlike me, you shouldn't feel compelled to pander when you write.
Quote from: Brian on November 19, 2011, 04:13:22 PM
if I can help with the technical aspects, and you wouldn't be bothered by that, absolutely I wouldn't mind.
I forgot to comment on this. Yes, I will definitely need help with the technical aspects; as I have told, when writing in English I still feel like drawing while blindfolded. I can write as much as I want but my brain refuses to tell me what's good and what isn't. Even beyond that, I know that my storytelling techniques are somewhat opaque and convoluted; when somebody gets frustrated with the story it's a clear sign that I should adjust the presentation, so all feedback is valuable.
However, ultimately I hope to be able to write a story that is enjoyable. I can't ask you to read something that you find distasteful; since I believe that we can always find enough common ground in character interpretation, it becomes a question of working on the presentation until an acceptable angle has been found.
Alright-- Just let me know when you want me to take a look at it again, and ... I can be really slow on the uptake on some aspects, so try not to take my opinions as especially meaningful. Certainly, don't compromise your vision just because of one dissenting voice.
Prologue II
This is a new, significantly revised version. While all the original scenes are still there, I have modified all the discussions between Kyon and Haruhi. For Kyon, I have essentially removed the surface layer (Kyon's obfuscation of his own thoughts and motives) so that he sounds much more direct, and now even gives subtle hints on Haruhi's true thoughts, which are the focus of this (half-)chapter just as the previous one was all about Kyon's own thoughts. For Haruhi, her true (second layer) thoughts are still the same but the surface layer is rewritten. As far as I can see, there shouldn't be any tsundere behavior left, Haruhi is seriously working for the goal she has in mind, and any negative feedback she gives is related to something that she sees as an obstacle on the way to the objective.
As I have mentioned, this piece has several layers of meaning and every scene is there for a reason. If some scene still feels significantly off I'd be happy to tell what it is supposed to convey on various levels.
Attachment version Nov 30, 2011 (4 revisions).
As a note: my C&C is delayed due to repeatedly having embarked on attempts to trace the four layers of meaning you say were inherent in the prologue. Unfortunately, subtext was never my strong point (shudders at memories of my Grade 12 English Teacher's obsession with James Joyce) so I'm afraid I've been suffering from a definite lack of Insight on the issue. (For the record, I also did not see the ending of Shadow coming, despite all the hints dropped in previous chapters, so that was an interesting reveal.)
I guess I'll have to give up on the subtext and just forward you my stylistic suggestions, while hoping that I'll at least be satisfied once the hidden themes are unraveled to some extent in the story that follows... hopefully I'll be able to wrap up my C&C (basing it on the revised version, ehe >_<) sometime... later today?
/me tempts fate ever so slightly by offering schedule estimates.
In any case, my suggestions are mostly of an "X is fine, but for future reference the same thing can be done in ways Y and Z" bent, so the chapter is already of high quality stylistically. Things that diverge from 'native English' aren't incorrect so much as idiosyncratic. I should note (you're probably tired of hearing variations on this) that your writing is of a high enough quality that I even have a bit of trouble imagining you struggling as much as you claim to put it together... (and having this impression in turn makes me think I'm maybe doing something wrong in my own attempts to learn other languages.... anyhow.)
As I mentioned before, one is not even expected to see all the layers immediately, as the whole story is spent digging through them. For reference, the main content of each layer is, from top to bottom:
- Events and dialogue as seen through narration
- The true thoughts of each character, events happening outside the narration but having an indirect effect
- The fundamental motivations of the characters and what they know and believe, the basic plot level (backbone of causes and consequences that drives the plot)
- Symbols, symmetries, archetypes, basic theorems of the Haruhi-verse
Edit: Since this (half-)chapter doesn't seem to invoke strong feelings in one direction or the other, I've uploaded it to FF.net. Still, I'd be grateful for any additional feedback, and will propagate the revisions accordingly.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PM
For reference, the main content of each layer is, from top to bottom:
[...]
Oh, okay, wow. I totally was overthinking this. I thought those layers were like strata, and all of them more abstract and complex hidden interactions between the characters. And ... well ... anyway....
That makes way more sense. >_<
Okay; here's my commentary, be sure to take with salt, as it's just my opinion, and some technical advice where relevant:
Quote from: sarsaparilla on November 22, 2011, 04:25:18 PM"Good morning, Kyon-kun!"
Aha-- I forgot to comment last time (probably because of my fever), that the opening scene is cute and well-done -- it feels very Tanigawa-esque.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMIt looked like Tsuruya had been right in assuming that Haruhi was planning something. Oh well, I could only hope that it wouldn't be anything too bothersome this time.
"Of course, as the leader of the brigade it's my responsibility to make sure that all the essential issues are properly taken care of, but it doesn't mean that I should be the one doing all the legwork! After vision and determination, the ability to delegate work is the most important aspect of leadership."
So, it was going to be bothersome.
Oh, I think I missed this last time; this line is following up on the one two lines above. I think you could simplify the snark a bit by calling on a different word instead, perhaps something like:
"So much for that hope."
or the like.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PM"However, like any reasonable leader, I wouldn't even dream of demanding more of my subordinates than what I demand of myself."
Saying something like that doesn't help at all! Nobody can keep up with your energy level, and you should know that by now.
But it's a good attitude for a leader to have; meant to mention this on the previous draft as a nice trait for Haruhi to show.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMWhat is fun for Haruhi is all too often an experience somewhere between consternation and outright panic for everybody else, but I couldn't make an argument to that effect because at that moment Okabe-sensei arrived to start the homeroom session. As we stood up I could hear Haruhi muttering something behind my back, but I didn't pay much attention to it.
The main issue I had with the previous take of this paragraph was that there wasn't much to offset the disparaging remark-- But here, not being specific keeps Haruhi from feeling antagonistic to Kyon, despite his complaints -- which feels like the right balance to me. >_>
That's the problem with these unreliable narrators. :x
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMI picked up my bento box and turned the chair so that I could talk with Haruhi while eating. Taniguchi and Kunikida who usually joined my company during the lunch break saw the situation and decided that it was in their best interest to stay out of it; I wasn't going to blame them for that.
I like that nod to Those Two Guys.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMI knew that she would succeed because I had seen it with my own eyes. Or rather, she was succeeding already.
This whole passage makes much more sense when I'm clear-headed-- It's actually very nicely done now that I understand what's not being said.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMHaruhi didn't return to the issues she had just mentioned, but kept talking idly about other things. I learned that she was still tutoring that bespectacled boy from her neighborhood and was really proud of his progress. Who knows, maybe she'd really have wanted to have a little brother?
I think the boy's father diasagreed, if he was the driver of the cab in book 11.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMI couldn't even bother coming up with anything plausible to write down and preferred to watch as the others worked on their own wishes. To my surprise I saw that Haruhi wasn't writing anything either, and instead just sat there chewing her pencil, looking ill at ease. She stole a glance in my direction and certainly noticed that I was slacking, but didn't say anything. I'd never have thought that Haruhi could have difficulties with deciding what she wanted!"
There appears to be an extra quotation mark here.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMAfter a moment of silence Haruhi slammed her hand on the table, startling Asahina-san who had been concentrating on her task admirably.
I believe there should be a comma following 'Asahina-san'.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMIn the end, Asahina-san decided to keep the wish about cooking and added another one asking for happy memories, Koizumi wished for acuity in recognizing new opportunities and Nagato's wishes were just as abstract as before. Insight and resolution? How could you even tell when such wishes were fulfilled?
Oh, aha-- I think I see some foreshadowing, here. :p
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMHaruhi looked at me incredulously as if I had been a foot-soldier who dared to tell his commander that they should desert their assigned positions.
I think you want either:
me incredulously as-- me as incredulously as
or:
me incredulously as -- me incredulously, as
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PM"Does it always have to be a penalty? I was just giving you an opportunity to earn some sorely needed points through supporting your brigade leader so that she isn't too hungry to fulfill her responsibilities, but if you insist then maybe I can think of something you've neglected."
Haruhi's second sentence runs pretty long; I'd suggest breaking it up a little:
leader so -- leader, so
responsibilities, but if -- responsibilities. But if
insist then -- insist, then
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMThe lesser the chances of unexpectedly finding myself face-to-face with a ravenous velociraptor the better! And anyway, where did all this sudden interest in volcanology come from?
Heh; you capture Kyon very well, especially here.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMAt various points in the past when the circumstances and Haruhi's antics had conspired to make me look like an accidental pervert she had been livid, but the mood that I could sense right now seemed to be something else altogether. Without that purposeful expression on her face I might have said that she found the whole situation amusing.
"Isn't it great that we're all having a good time, then?"
Okay, now this feels like Haruhi's just re-establishing that even if she's not sure where Kyon is in their little game, she can at least throw him for a loop. Perhaps, my previous reading was just influenced by my fever at the time, and I should have waited until I was clearer-headed. >_<
This take is pretty cute. :)
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMAs with any other brigade outing, we walked around the shopping district without any apparent goal. Because of my extra load I didn't mind falling a bit behind the others as that saved me from most of the meandering. After a while Koizumi decided to join my company, if for no other reason than to share his latest observations as if I had asked him to inform me about them.
extra load I -- extra load, I
others as -- others, as
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PM"I couldn't possibly do that. Whatever the contents of that bag are, it is unquestionable that there is something so important in there that Suzumiya-san doesn't trust anybody else than you to carry it for her."
Koizumi's excuse is great. This whole exchange is actually well done; it captures the amicability of the pair that I consistantly fail to capture. *takes more notes*
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PM"Do you really believe so? Anyway, we are digressing. The specific question that I wanted to pose is that how does the unexpected appearance of a bamboo plant at the clubroom fit into the picture I just described?"
pose is that how -- pose is: how
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PM"As you can see, I'll keep it just in case I should suddenly find a need for a half-eaten cake — and if I won't, it may eventually become a coveted piece of memorabilia bearing the bite marks of the famous leader of the SOS Brigade! What do you know, it looks like a win-win situation for me."
"Stupid."
I see, dodging the second-hand kiss without rejecting it; clever.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PM"Of course, we must must get omikuji as well!"
So, that's what the five-yen coins were for. It looked like she had this whole thing planned from the beginning. We all took a fortune from the stand and unrolled the paper slips to see the divination. I was only halfway through when Haruhi already announced hers.
Wanted to point this out as a good example of demonstrating what the japanese word means in narration. Very nicely done. :)
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PM"Dai-kichi! I got a great blessing for my wish becoming true."
Honestly, did somebody really expect anything else? I got mine opened and found out that I was going to have bad luck with romantic relationships. Oh well, whatever.
Heh.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMUnable to restrain her curiosity, Haruhi leaned closer to have a look at my fortune and grimaced like a duck when she saw the verdict. "You know that you're supposed to tie a curse to the wires and get a new fortune?"
I don't think Haruhi would ask this; I don't know why, but I get the impression she would just expect him to know. However, given (I think) her goal of helping him get rid of that fortune, I could see her saying it in a chiding way, something like, "every child knows..."
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMThis all only goes to show that omikuji shouldn't be taken too seriously.
This whole part with the fortunes was very well done.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMThus, I was on my own when I suddenly noticed a familiar figure walking away from me, toward the far end of the shrine area. She was at some distance and had her back turned at me, but I was pretty certain that I recognized her. I hadn't seen her since April, so what was she doing here now?
Hum, Sasaki?
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMThis part of the shrine area had many old trees and other elements of scenery that reduced visibility. I could see a glimpse of the person I was following a couple of times before she disappeared behind the bushes again. Finally, she seemed to take a path through a garden that had a lot of undergrowth on the ground so that the path was the only way through it. I picked up my pace as now I could easily catch up with her.
'other elements' of scenery is a bit vague.... I'd suggest being more specific, or just leaving it at 'many old trees'.
That second-to-last sentence is a bit awkward, too. I'd suggest:
Finally, she seemed to take a route into a garden that was so overgrown there were no branches from the single path through it.
Or something along those lines.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PM"I could have sworn that I just saw...."
Stepping on the bridge, she noticed the lights in the pond and stopped to watch the scene as well. I could tell from her expression that she was discontented with the latest turn of events, but I didn't want to give Haruhi any reason to continue this wild goose chase, so I just stood there without saying a word and waited for her to give up. I didn't even want to think of the possible consequences of Haruhi starting to believe that there was something extraordinary going on around shrine grounds, out of all places!
Oh, not Sasaki, Yasumi.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PM"I can't even begin to fathom why you would want to do something like that! Besides, we would be thrown out before getting even halfway through the task."
It occurs to me here we didn't really see the sun set, did we? It's dark now ... did I just miss it? Yes; right-- I did miss it. It's a good opportunity to show how the atmosphere of the festival changes with lighting, and might also be a good place to show the stars coming out to the reader. The reference is a bit brief.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PM"However, the thought of having to wait another twenty-five years for a reply made it feel rather pointless to write the wish on a tanzaku. I thought that if I came here and made a message out of lanterns, then the kami would see it and, if I was fortunate enough, forward it to the proper destination without any delay. After all, they are kami so they should be able to do it one way or another, right?
"But ... I needed your help for doing it."
Wow. That's an amazing scene.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMHaruhi couldn't know that her wish had just been heard and granted, without moving a single lantern! Even worse, regardless of what would happen next she would be deprived of the answer she was looking for. I wanted to let her know, but couldn't; not without risking everything. I would've even helped her with the lanterns now, but I knew already in advance that nothing good would come out of that — it was completely pointless! Also, I had a vague feeling that there was something more to the situation than just Haruhi wanting to express gratitude, but I couldn't figure out what that something was; it bothered me and made me too anxious to even try to resolve the deadlock.
already in advance -- already -or- in advance (redundant)
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMIn the end I couldn't say a word, and that made me feel pathetic.
Gaaaah. Oh, do I empathize with him on that one. :x
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMOh boy, talk about driving a point home!
Ouch. I feel for both of them in this situation.
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMEnd of Prologue (Remembrance Impromptu)
Author's Notes: I wanted to make the prologue a self-contained short story that still incorporates all the essential motifs of the main work in a nascent form. At this point the overall style and thrust of the story should be rather evident; the seeds have been sown, and all that remains is to observe how they eventually grow to fruition. If you have enjoyed the scenery so far then I sincerely believe that you shouldn't be disappointed when this journey eventually reaches its intended destination. Until then, if the story manages to evoke some particular thoughts or feelings along the way then I would be very grateful to hear about them.
I really liked it; I'm looking forward to seeing more. :)
Edit: Just caught this:
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMEdit: Since this (half-)chapter doesn't seem to invoke strong feelings in one direction or the other, I've uploaded it to FF.net. Still, I'd be grateful for any additional feedback, and will propagate the revisions accordingly.
Ah-- Sorry; I can't speak for everyone else, but for myself, I wanted to wait for my fever to go down before replying, and this is a holiday time period. My apologies for taking so long to get back to you.
Brian, thank you very much for this, I'll work the suggestions into the text.
I realize now that the original version was too opaque; your criticism was certainly warranted. I can see that with this second version you're picking up the same subtexts I had in mind while writing, which suggests that there has been an improvement in clarity.
Overall, the rest of the story will be more direct, as the basic structure drifts from a Batman gambit to an Indy ploy, and the whole brigade works toward the same goal.
Anyway, thanks again, and happy Thanksgiving!
I'm glad to try and help anytime. :)
One thing that came up while I was out, when I thought about it -- the part where Haruhi mutters 'Stupid', and Kyon notes that it's targeted at Haruhi, and not him.... I'm worried that this is too much trying to address my earlier complaints; I think it would be fine if it were clear that Haruhi were angry, and not at Kyon, and simply leave it at that. Plus, while Kyon might be able to detect that Haruhi were upset with herself, it feels more natural to Haruhi to be upset at the situation, rather than irritated at herself at that point.
But -- I could be overthinking things again.
I do want to reiterate that I enjoyed this story so far, in any case. :)
A couple of comments after going through the list:
Quote from: Brian on November 24, 2011, 04:14:00 PM
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PM"However, like any reasonable leader, I wouldn't even dream of demanding more of my subordinates than what I demand of myself."
Saying something like that doesn't help at all! Nobody can keep up with your energy level, and you should know that by now.
But it's a good attitude for a leader to have; meant to mention this on the previous draft as a nice trait for Haruhi to show.
True, but she's still The Ace. :3
Overall, I'm spending a lot of effort in trying to ensure that Kyon's and Haruhi's lines make perfect sense from their respective points of view, even when they take opposite stances on issues. It feels a bit funny when I go through a scene once per PoV and can't help agreeing with each one, but that's also why I like writing dialogue between Kyon and Haruhi so much -- it has tension, and on occasion goes to places I didn't see before writing it down.
Quote from: Brian on November 24, 2011, 04:14:00 PM
Quote from: sarsaparilla on November 22, 2011, 04:46:55 PMHaruhi didn't return to the issues she had just mentioned, but kept talking idly about other things. I learned that she was still tutoring that bespectacled boy from her neighborhood and was really proud of his progress. Who knows, maybe she'd really have wanted to have a little brother?
I think the boy's father diasagreed, if he was the driver of the cab in book 11.
I had completely forgotten that little scene....
Oh well, I'll just handwave it by suggesting that the boy's father and Haruhi have wildly different ideas on what counts as progress. ^_^
Here's a small bonus, some photos from the main scene (Nishinomiya shrine during Tanabata):
'Fortune':
(http://farm7.staticflickr.com/6135/5973999850_8d7207cbc0.jpg)
The lanterns Haruhi wanted to put to a better use:
(http://farm7.staticflickr.com/6141/5973443689_c7172e336a.jpg)
The bridge (at the upper left corner) and the Milky Way lights:
(http://farm7.staticflickr.com/6022/5973963572_cd9c43f854.jpg)
Quote from: sarsaparilla on November 25, 2011, 10:28:07 AMQuote from: Brian on November 24, 2011, 04:14:00 PMI think the boy's father diasagreed, if he was the driver of the cab in book 11.
I had completely forgotten that little scene....
Oh well, I'll just handwave it by suggesting that the boy's father and Haruhi have wildly different ideas on what counts as progress. ^_^
Well, I kind of got that impression anyway, really. ;)
Quote from: sarsaparilla on November 25, 2011, 10:28:07 AMHere's a small bonus, some photos from the main scene (Nishinomiya shrine during Tanabata):
Oh, those are quite nice; I hadn't seen the underwater lights before!
Again, I apologize for the lateness. The internet has been less than cooperative this holiday weekend.
QuoteIndeed, it's quite probable that I wouldn't have believed it even if I had received a written statement from my future self, personally delivered by a certain adorable time traveler, so in the end my ignorance didn't even matter that much. Events proceeded with the inexorable force of a mountain glacier; all things considering, I sincerely believe that I did my best.
You want "all things
considered".
QuoteIt was really hard to believe that my sister was as old as Miyoko. Miyoko had always been polite and mindful, behaving like somebody much older than her actual age, and especially during this last year it had become rather evident that her body was also catching up in maturity. My sister, then, was in all respects her polar opposite. Despite their differences the two got along very well, and I could only hope that eventually some of Miyoko's admirable qualities would rub off on my sister as well.
I generally feel cautious about having a person's name put so close to itself.
Quote"And even then, if we just do whatever we've always done, then doesn't it mean that we're not truly free, and are held prisoners by our own habits instead? Shouldn't we be willing to face each challenge as if we were seeing everything the very first time, without any prejudices? Isn't that the only way to avoid getting stuck in a rut?"
I think the phrase is usually "held prisoner" even when "we" are the ones being held? I think I prefer some ofthe original phrasing also. "Shouldn't we face" instead of "be willing to face" is more direct and less wordy.
QuoteI looked at the girl who seemed to be lost in her thoughts and realized that her words had managed to take me by surprise. There wasn't any question about it -- Haruhi was growing up. The difference to the singularly assertive girl from one year ago who didn't even get the whole concept of introspection was so great that anybody could see that; apparently now even Haruhi herself.
"The difference to" is a bit odd. Perhaps "the difference between her and the singularly assertive girl..."
QuoteThis just had to be my lucky day, as Haruhi's change of mind meant that I didn't have to do anything! I could see that there was something in the situation that was bothering Haruhi, but it didn't appear to be anything too serious, so I didn't pay much attention to it.
This seems a bit lacking in fluidity. The second sentence is what's added; I think there should be a little more time for Kyon to come off that momentary elation (or relief) and realize there's something amiss with Haruhi (and, perhaps, not to so quickly dismiss it as unimportant, either).
QuoteShe was most likely telling the truth about being hungry. Considering the amount of food she could usually devour in one go it was only to be expected by now if she hadn't eaten anything during the lunch break. Furthermore, to be quite honest I thought that I should probably feel at least marginally indebted for all the tutoring Haruhi had recently provided at school without asking anything particular in return. From that point of view I could just as well give in a bit here and leave any lessons in manners or proper nutritional balance for some later time, but still, there was something in it....
It might be more proper to use "since" instead of "if" in "if she hadn't eaten...".
QuoteHaruhi gave me an odd look but seemed to be satisfied with the outcome, and offered one of the cakes to Nagato who was standing silently behind us. She examined the cake as if never having seen one before and took it without saying anything. Haruhi then picked one for herself and headed to Asahina-san who was looking at some posters on the display of a nearby travel agency.
"Nagato, who..."
QuoteMy train of thought was interrupted as abruptly as it had started when I noticed that Haruhi had stopped eating her cake and was staring me from under her eyebrows like a particularly unimpressed crocodile that had just raised its head above the water level in the otherwise serene lagoon of my tropical paradise. Can that girl read my mind?
Long sentence. You could break it at "cake" and start the next with "She stared at me..."
QuoteIt was you who brought the whole issue up!
Because "you" and "who" involve the same vowel sound, I try to avoid putting them back-to-back. The easiest way to avoid that here could be "You're the one who brought the whole issue up!"
QuoteBy the sunset I felt exhausted under my burden; my feet were aching like those of an unpracticed wayfarer who had heedlessly made the pledge to walk through the eighty-eight temple pilgrimage of Koubou Daishi. I was hoping that the excursion would be over soon, but our relentless brigade chief had other plans in her mind.
"By sunset".
When you said you were going to make the subtext a lot more clear, I feared you'd spell things out more than was really needed. I think you've found a good balance here, clearing up some difficult parts but keeping the main gist intact.
Quote from: Muphrid on November 27, 2011, 04:04:00 PM
When you said you were going to make the subtext a lot more clear, I feared you'd spell things out more than was really needed. I think you've found a good balance here, clearing up some difficult parts but keeping the main gist intact.
I'm glad to hear this assessment; as always, thanks for the corrections / suggestions, I'll work them into the next version.
A side note on the schedule of this project: it may take a while before the next part comes out, as I'm working on a complete story arc (the first out of five) at a time, and it's still on a bare-bones level, lacking all the surface detail (the specific challenge is to find an adequately interesting and relevant B plot to pull the story through some of the less engaging but essential parts of the A plot).
I think working on the whole arc will be useful; it's a method I've used before. As far as trying to work out the B plot, while I might not be able to say what it should be, something I've done with outlining before is to take a basic, one-sentence summary to start and then expand it into a paragraph, then into several paragraphs (3-4?), then expand each of those paragraphs into several paragraphs, and so on until you see where it is this side plot must mesh with the main plot. This approach...may or may not give some obvious idea for what the side plot should be. And to be fair, I've been frankly terrible at following such outlines, so that may not help as much, either.
Okay, I've been sitting on some of these corrections for a while, so they might overlap with what other people mentioned. It should be obvious that they are suggestions of
style, not
correctness. I'm mostly taking things which are correct, but to me seem just slightly off, and randomly throwing out valid ways of rephrasing them, just on the off chance you might not have been considering them. They're probably more useful as things to consider the next time you write something, as opposed to corrections specifically for this chapter...
QuoteAll things considering, I should be able to say with sincerity that I did my best.
Perhaps "All things considered"?
Quotecaught Shamisen from the bed before it had an opportunity to slip away.
Various (in my flawed opinion equally valid) phrasings: "caught Shamisen from the bed" -- "caught up Shamisen from the bed" -- "caught Shamisen off the bed".
QuoteShami, Shami, a big, droopy cat-pillow!
Use of 'a' here seems just a bit odd. Alternatives might be "Shami, Shami, big, droopy cat-pillow!" or "Shami, Shami, you big, droopy cat-pillow!"
QuoteDespite their differences the two got along very well, and I could only hope that eventually some of Miyoko's admirable qualities would rub off on my sister as well.
Personally I dislike repetition of stuff... here 'very well' -- 'as well'. The second 'as well' could be deleted leaving just "... would rub off on my sister".
(Particularly since your 'as well' is sort of an odd usage, there's no answer to the question 'rub off on my sister as well as on who?' -- the 'as well' stands alone. Of course, this sort of thing is done all the time, but here it doesn't add much stylistically.)
The other alternative for avoiding the repetition is to write "eventually some of Miyoko's admirable qualities would also rub off on my sister."
QuoteThere wouldn't be PE today, so it had to be something else.
'Wouldn't be PE' alternatives: "There was no PE today" -- "There wouldn't be any PE today".
Just something I've noted to myself: You seem to like splitting words like "classroom", "schoolbag" into "class room" and "school bag". You also use Miyoko's actual name instead of 'Miyokichi'. No problems, just slightly different from what I'd expect from most authors. (I don't remember what the novels' policy on Miyoko vs. Miyokichi actually was.)
Quote"You're doing this on purpose and know fully well which day it is today!"
Possibly "You're doing this on purpose! You know full well which day it is today!"
Quote"Nothing awesome ever happens if we don't make it happen. Just keep your eyes on the goal and you'll find reserves that you weren't even aware of before."
These sentences sound a bit flat. My brain keeps wanting to put an exclamation mark on at least one of them.
Kyon (thinking): the last time you talked about hidden reserves of power, I nearly got a laser beam through the head.
QuoteThe difference to the singularly assertive girl from one year ago who didn't even get the whole concept of introspection was so great that anybody could see that; apparently now even Haruhi herself.
Hmm... there are a number of ways to reword this which may or may not be interesting.
"The difference from the singularly assertive girl of one year ago who lacked any concept of introspection..." / "who didn't even understand the concept of introspection..." / "who had no concept of introspection..." "... was so great that anybody could see it; even Haruhi herself now, apparently."
QuoteShe had been isolated from all social contacts for so long that she hadn't had any points of reference for comparison; her own opinion had been the absolute truth for her, and she had even been unable to grasp the fact that somebody else didn't see things the same way she did. Now that Haruhi had friends again her worldview was being challenged by all the new experiences.
Maybe "social contact" instead of "social contacts", "lacked" or "had lacked" instead of "hadn't had"; "other people" instead of "somebody". And a comma in the second sentence: "Now that Haruhi had friends again, her worldview was..."
Quotemaybe she'd really have wanted to have a little brother?
Hmm, that's okay. Though alternatives are "she really wanted to have a" and "she'd really wanted to have a little brother" (i.e. the first 'have' is a bit redundant)?
QuoteWe spent the next ten minutes by studying English prepositions
Maybe just "We spent the next ten minutes studying English prepositions...".
Quoteof pensive reflection that I had noticed.
This 'that' is actually sort of optional, but it could also be left in.
Okay, that's it for now. Let's see when I can find the time to comment on the rest of the prologue. (Sorry, have had a busy week full to the brim with things which certainly take priority over fanfiction.)
General comment on something you say you sort-of-attempted with the prologue (but which, as far as I can tell, isn't actually a priority): in order to work as a standalone atmospheric/character piece, the loose ends (which lead into the main story) would have to have been handled a bit differently. Kyon's constant "but little did I know what Haruhi had in store for us..." keeps reminding us of the fact that this is a prologue to the main story. In addition, the crucial mysteries and foreshadowing (e.g. sudden appearance and disappearance of [Yasumi], constant volcano metaphors) might need sort of 'red herring' (generally speaking: symbolic) resolutions which turn the prologue into a compositionally self-contained unit. The rest of the story could then have been devoted to throwing out these red herrings, fitting in terms of development with Kyon's sentiment that 'the issue was a lot more complicated than I'd thought at the time'.
Quote from: Arakawa Seijio on November 29, 2011, 03:45:20 PM
Just something I've noted to myself: You seem to like splitting words like "classroom", "schoolbag" into "class room" and "school bag".
My native language is a very strongly word-compounding one, and thus I tend to err on the side of not compounding words in English whenever I'm not completely sure whether a particular pair should be compounded. I know, I should check those cases from a dictionary.
Quote from: Arakawa Seijio on November 29, 2011, 03:45:20 PM
You also use Miyoko's actual name instead of 'Miyokichi'. No problems, just slightly different from what I'd expect from most authors. (I don't remember what the novels' policy on Miyoko vs. Miyokichi actually was.)
This was a conscious choice; it carries the subtext that since Miyoko is growing up as specifically pointed out, she wants to use her real name instead of the more 'childish' nickname. Though, I don't have a strong preference in either direction.
Quote from: Arakawa Seijio on November 29, 2011, 03:45:20 PM
Okay, that's it for now. Let's see when I can find the time to comment on the rest of the prologue. (Sorry, have had a busy week full to the brim with things which certainly take priority over fanfiction.)
There's absolutely no need for being sorry; I'm grateful for any feedback regardless of the schedule. This is, after all, a pastime for us all.
Quote from: Arakawa Seijio on November 29, 2011, 03:45:20 PM
General comment on something you say you sort-of-attempted with the prologue (but which, as far as I can tell, isn't actually a priority): in order to work as a standalone atmospheric/character piece, the loose ends (which lead into the main story) would have to have been handled a bit differently. Kyon's constant "but little did I know what Haruhi had in store for us..." keeps reminding us of the fact that this is a prologue to the main story. In addition, the crucial mysteries and foreshadowing (e.g. sudden appearance and disappearance of [Yasumi], constant volcano metaphors) might need sort of 'red herring' (generally speaking: symbolic) resolutions which turn the prologue into a compositionally self-contained unit. The rest of the story could then have been devoted to throwing out these red herrings, fitting in terms of development with Kyon's sentiment that 'the issue was a lot more complicated than I'd thought at the time'.
I was aiming for a thematically semi-independent piece, and I'm rather content with the outcome. Making it a true standalone story would have detached it too much from the main story, as it's still just a prologue. I specifically wanted to leave enough threads hanging open to make people interested in reading further, but at the same time provide a separate mini-arc to show that there is indeed a deliberately crafted story behind seemingly random events; a pilot, or a teaser of sorts.
I deployed an entire school of red herrings in 'The Shadow', as that technique works well for a mystery story; some will be used during the Venice arc here, but otherwise this story is much more straightforward. Chekhov's guns aplenty, less ichthyology. ^_^
The suggestions have been incorporated, thanks for your contribution!
(Apologies if there was an earlier false alarm; I mistakenly pasted C&C for someone else into the wrong browser tab. I immediately realized the mistake, but it might be that a notification email got sent out anyways. Anyhow, making extra sure I'm posting this here and not in the K:BDH thread or something ^_^;;)Okay, so here are some long-overdue observations on the remainder of the second half of the prologue. If not useful for a revision of the prologue specifically, they might suggest things to keep in mind in the future.
Hopefully nobody will be beating my record for delayed C&C for quite some time now ^_^;
I'm basing my C&C on the last update on this thread (not on the ff.net version -- not certain if that's more up-to-date or not, so just disregard anything that's no longer relevant).
Quote
I noticed the anticipative expression of our formidable but impulsive brigade chief who seemed to be permanently unable to ask nicely when she wanted something, and got the impression that she had something specific in mind, as if this was some kind of a test.
Umm. "anticipative"... not sure how that differs from "anticipatory" or (maybe) "anticipating", and it's odd enough to throw the flow of the sentence after it out of whack.
Quote
She was most likely telling the truth about being hungry. Considering the amount of food she could usually devour in one go it was only to be expected by now since she hadn't eaten anything during the lunch break.
An added comma would probably help in this specific case to keep the concepts straight: "it was only to be expected by now, since she hadn't eaten anything during the lunch break."
Quote
Now that I thought about it, there hadn't indeed been many penalties lately, but as far as I could see the reason for that couldn't be anything that I had done or failed to do since I hadn't certainly gotten more punctual during the last year.
Maybe "certainly hadn't gotten more punctual"?
Quote
Haruhi gave me an odd look but seemed to be satisfied with the outcome, and offered one of the cakes to Nagato, who was standing silently behind us. She examined the cake as if never having seen one before and took it without saying anything. Haruhi then picked one for herself and headed to Asahina-san who was looking at some posters on the display of a nearby travel agency.
Things to consider:
"She examined the cake as though she'd never seen one before."
"headed over to Asahina-san," / "headed towards Asahina-san," (note comma at the end)
Some of the above might make sense to adopt, some of it might not.
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Although Haruhi couldn't bother to mention the fact, it was me who bought those cakes!
Something to point out: "couldn't bother to" and "couldn't be bothered to" are basically equivalent expressions. You use 'couldn't bother to' on many occasions, but you might (assuming I'm not mistaken on this particular point) also try varying between that and 'couldn't be bothered to', according to how you like the sound in each case. This is one of the places I'd consider using "couldn't be bothered to".
{EDITED to clarify that I'm referring specifically to "bother to" in the context of "couldn't bother to", not in general. Sorry, my bad.}
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"Is there something interesting in here?"
Might make more sense to use "on here" (on the posters) rather than "in here" (in the travel agency office?)
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Haruhi seemed to give a serious consideration to Asahina-san's unvoiced wish.
Probably "seemed to give serious consideration" would work better.
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"As I have mentioned before, to the casual observer it might appear to be the case that Suzumiya-san's actions are inadvertent and haphazard, but in reality there is a clear purpose behind everything that she does. I know fully well that you and I are in a constant disagreement over this fact, and therefore I am not even trying to argue my point; that is not even what I am thinking about right now. Instead, in the light of recent events, I am wondering whether the same could be said about you."
Hmm... I thought it was "know full well"... I'm actually not sure now.
However, pretty sure that it's "in light of recent events", without any 'the'.
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"I couldn't possibly do that. Whatever the contents of that bag are, it is unquestionable that there is something so important in there that Suzumiya-san doesn't trust anybody else than you to carry it for her."
Also possible:
"doesn't trust anybody else but you"
"doesn't trust anyone besides you"
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Nothing out of ordinary happened during the next couple of hours.
"out of the ordinary"
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Thus, I was on my own when I suddenly noticed a familiar figure walking away from me, toward the far end of the shrine area. She was at some distance and had her back turned at me, but I was pretty certain that I recognized her.
Perhaps "had her back to me" would work just as well. "turned at me" or even the more common "turned to me" feels kind of odd when used to refer to someone's back.
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The whole situation made me feel a bit silly. Had I gotten so bored with the safe, ordinary life that I had finally found that now I had to deliberately go out of my way to seek trouble?
Repetition of "that". Suggest "Had I gotten so bored with the safe, ordinary life I had finally found that now I had to deliberately go out of my way to seek trouble?"
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I stopped on the bridge to appreciate the unexpected sight and stood there in momentary contemplation when I heard somebody approaching from the direction of the shrines, running. The person soon came in clear view, and I realized that I had subconsciously recognized her just by the sound of her steps. Come to think about it, who else would run around at a place like this?
/me ponders whether to go into the distinction between 'subconscious' and 'unconscious', but turns out to actually have no idea what the distinction actually is.
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Suddenly, I had a bad feeling about the whole situation, and as it turned out to be, I was not mistaken to think that way.
Alternatives: "as it turned out in this case", "as it turned out to be the case" (the original expression you seem to be modifying), or just "as it turned out".
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Haruhi stopped speaking but kept her gaze fixed at the artificial Milky Way beneath us, as if waiting for my reply; her frustration had abated, leaving only wistfulness.
More common to see something like "kept her gaze fixed on the artificial Milky Way beneath us"...
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How did we arrive at this point? I wanted to do something, anything, but my hands were tied by what I knew and she didn't; that disparity created an impassable chasm between us two as surely as if we had been standing at the opposite ends of the sky.
Options: "between us", "between us two", "between the two of us" (see below).
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I followed in her steps back to the main shrine where we found the other brigade members, still enjoying the scenery. If any of them found it peculiar to see us two arriving together they didn't let it show; in my current state of mind I wouldn't probably even have noticed.
Possible alternatives:
"found it peculiar to see the two of us" (I
think it's common to say "you two" but also "the two of us", at least in my neck of the woods. Note that some of the suggestions I'm making might be for usages that vary across the Anglosphere, and "us two" might possibly be one of those.)
"I probably wouldn't even have noticed"
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When we walked back to the railway station Haruhi didn't seem to want any company and marched at her own pace well ahead everybody else.
"When we walked back to the railway station, Haruhi didn't seem to want any company and marched at her own pace well ahead of everybody else."
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Haruhi looked at me, visibly surprised. She stood still for a moment, seemingly uncertain about whether to say something or not, until setting her jaw straight and nodding just once. Determination. That was the message I could read in her eyes, and although a determined Haruhi can be a rather intimidating sight, it still made me feel better; not by much, but even a little step in the right direction was better than nothing.
Either "until she set her jaw straight and nodded just once" or "finally setting her jaw straight and nodding just once" might work here.
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It looked like Haruhi's wish had been granted even before she had done what she believed to be a necessary step to the effect; on the other hand she had specifically wanted to see the Milky Way, and there wasn't any reason to believe otherwise, but that hadn't still happened.
Maybe "still hadn't happened"?
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After a while, as I stood in the bathroom drying my hair with a towel, a random tidbit that I had recently read somewhere came to my mind. It went along the lines that according to the chaos theory, when a particular butterfly in Fukuoka flaps its wings in a certain way, then two days later it rains on Hokkaido.
"It went something along the lines that, according to chaos theory, when a particular butterfly in Fukuoka flaps its wings in a certain way, it rains on Hokkaido two days later." might work better. (Two important fixes -- just "chaos theory" instead of "the chaos theory", and a rearrangement of the commas/connectives in the sentence. Actually, the comma rearrangement isn't crucial either, and "the chaos theory" sounds mildly archaic as opposed to incorrect.)
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In retrospect, I don't think that I'd have been so calm if I had known that somewhere along the way the proverbial butterfly had just flapped it wings and set in motion a long chain of events that would eventually lead me to a situation where the sudden explosive eruption of a nearby stratovolcano was among the least of my concerns.
typo -- "flapped
its wings"
The long sentence might
perhaps maybe use a very slight pause in the middle, perhaps "had just flapped its wings, setting in motion a long chain of events..."
Or, even more of a pause: "had just flapped its wings; and, in doing so, it was setting in motion a long chain..."
I actually
wouldn't recommend doing either of these things in
this particular case. (The reason: I'm not really satisfied for some reason with hanging the rest of the sentence off "sett
ing", and I can't think of a different way to put in the breather; effectively, the fairly disadvantages of the convolutions needed to obtain the pause outweigh the fairly minor advantages of having the pause.)
Just the general principle of putting a breather into an overly long sentence might be useful to keep in mind for other cases.
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I'd like to underline the fact that the last part was neither a hyperbole nor a figure of speech.
This is a bit of a weird moment. Compare the following:
"the last part was hyperbole" is fine
"the last part was a hyperbole" would not be fine ('hyperbole' is an uncountable noun, you can throw it all over your speech much like 'salt' or 'sugar' are thrown around in cooking), so
"the last part was neither a hyperbole nor a figure of speech" would also not be fine, but
"the last part was neither hyperbole nor a figure of speech" would also feel slightly awkward (probably why no one suggested doing this?) because an uncountable noun is being juxtaposed with a discrete concept? I dunno, it just feels mildly (but not irrevocably) off, like a native speaker who is just a bit sloppy with their prose.
I'd consider putting an adjective in front of 'hyperbole' to mask the juxtaposition, like so:
"I'd like to underline the fact that the last part was neither {meaningless/irrelevant/unjustified/overblown/ some other suitable adjective } hyperbole nor a figure of speech."
or maybe rewrite the sentence as something along the lines of:
"I'd like to underline the fact that the last part is neither a figure of speech nor some meaningless attempt to impress {the reader} with hyperbole. {It was just the literal truth of the situation.}{something more appropriate??}"
(Insert things you've heard before from me about how good your English is. You're 98% there, so you could conceivably even say "not going to bother with the remaining 2%, this is just my style now" and people would take you seriously. I say this as someone who's done large amounts of proofreading for non-native English authors in technical who were only 75% or even less than 50% there and who would probably consider trading something very expensive for the ability to write as well as you do.
Note that some of said authors are people who live in Canada, exist in an English-speaking community, and publish their work in academical journals as part of their job description.)
Anyhow, there are ideas mentioned in the fic outline which it would be massively interesting to see your take on. So, thank you for the writing so far, and if and when you're ready to share more, I'll certainly be looking forward to it.
Quote from: Arakawa Seijio on February 19, 2012, 12:58:25 AM
Quote
I'd like to underline the fact that the last part was neither a hyperbole nor a figure of speech.
This is a bit of a weird moment. Compare the following:
"the last part was hyperbole" is fine
"the last part was a hyperbole" would not be fine ('hyperbole' is an uncountable noun, you can throw it all over your speech much like 'salt' or 'sugar' are thrown around in cooking), so
"the last part was neither a hyperbole nor a figure of speech" would also not be fine, but
"the last part was neither hyperbole nor a figure of speech" would also feel slightly awkward (probably why no one suggested doing this?) because an uncountable noun is being juxtaposed with a discrete concept? I dunno, it just feels mildly (but not irrevocably) off, like a native speaker who is just a bit sloppy with their prose.
I'd consider putting an adjective in front of 'hyperbole' to mask the juxtaposition, like so:
"I'd like to underline the fact that the last part was neither {meaningless/irrelevant/unjustified/overblown/ some other suitable adjective } hyperbole nor a figure of speech."
or maybe rewrite the sentence as something along the lines of:
"I'd like to underline the fact that the last part is neither a figure of speech nor some meaningless attempt to impress {the reader} with hyperbole. {It was just the literal truth of the situation.}{something more appropriate??}"
(Insert things you've heard before from me about how good your English is. You're 98% there, so you could conceivably even say "not going to bother with the remaining 2%, this is just my style now" and people would take you seriously. I say this as someone who's done large amounts of proofreading for non-native English authors in technical who were only 75% or even less than 50% there and who would probably consider trading something very expensive for the ability to write as well as you do.
Note that some of said authors are people who live in Canada, exist in an English-speaking community, and publish their work in academical journals as part of their job description.)
Anyhow, there are ideas mentioned in the fic outline which it would be massively interesting to see your take on. So, thank you for the writing so far, and if and when you're ready to share more, I'll certainly be looking forward to it.
... and now I'm having second and third thoughts about this. Thing is, if we treat 'hyperbole' as a loanword from Greek (which it ultimately is...), then 'a hyperbole' would be the correct usage; the more common tendency in English to treat 'hyperbole' as unquantifiable can then be seen as a recent corruption.
I guess whether or not to change this depends on how strongly you want Kyon to come across as (the Japanese equivalent of) a classicist.
Thank you very much for these in-depth suggestions, I'll work them into the next version (and update when I have the third chapter done). The hyperbole issue ... uh, I just wanted to end the prologue on a strong, staccato note that underlines what Kyon had just said, and which possibly slipped through as one of his peculiar similes until the final sentence, thus hopefully making the reader curious enough to continue.
I have been working on the general outline as well, and the published version is so inaccurate / incomplete that it should be considered obsolete. For example, the titular event is not mentioned at all in the old outline:
Kyon uses a rather roundabout method for nudging Haruhi into finding the truth about herself, with the result that she gets it wrong and independently discovers Kyoniism. While that leads to a rather interesting discussion between the two -- where the eventual outcome is intentionally ambivalent for a while -- the main plot point is that for a while Haruhi sees the situation from the opposite side of the fence, and realizes that she doesn't like it nearly as much as she had claimed in book 1.
I'm sorry for having been very unproductive as of late. I've been stuck with the next three chapters which contain several scenes that are necessary but not inspiring enough so that I could get them written down.
Re: titular event.
Haruhi doesn't like the idea of Kyon having special powers, huh? That's interesting. I didn't know that was the direction this would be leaning toward. What realization does this drive? Does Haruhi reexamine her relationship with Kyon, or does she think she shouldn't treat him differently just because he's had powers all this time?
Naturally you don't have to answer that if you don't wish to. I'm merely curious and hopeful that said curiosity might help spark some creative drive if that's what you're looking for. Best of luck.
Re: re: titular event.
I read the description to mean that Haruhi just isn't as excited to be surrounded by aliens/espers/supernatural beings as she initially thought she'd be (when she declared an intention to find them), not that she's unhappy to find out that Kyon (specifically) has special powers.
I guess this is just something that I'll have to wait and see (not clear how either of the interpretations would work); it seems the story has gone through several rounds of evolution since the outline was posted.
I'm a bit curious as to why Haruhi's titular realization is referred to as an "Insight" if it actually turns out to be wrong. I guess Haruhi's reasoning is somewhat more complex than you're willing to give away at this stage. As a result, it might be possible that even though the end conclusion of her search is wrong, she hits on some grain of truth along the way that was being overlooked by the Brigade.
Regarding 'hyperbole', again, it could go both ways. "A hyperbole" fits the original etymology and is thereby correct, just "hyperbole" is also correct due to being the more common usage (but then the sentence feels a bit off and it's tempting to compensate for it as outlined above). (To lessen any misplaced sense that I have authority on this matter, I was mortified to discover after investigating the matter that I was pronouncing it "hyper-bowl" and that that is
not the correct pronunciation.)
Re:x3 titular event:
'other side of the fence' sounds like it pretty clearly applies to Haruhi thinking Kyon has power; unless I misread it, the outline revision explains that where Kyon has come to grips and can accept it of her, Haruhi cannot accept it of him. I think this is reflected in the eventual plans for the volcanic explosion, etc., and where Haruhi ultimately decides that she has to get rid of the power to have a chance with Kyon.
I might be wrong; it could instead be 'being found by instead of finding', but given the specific mention of Kyoniism, that's unlikely. But then, there's no reason to guess among ourselves and get things wrong!
Sarsaparilla: Could I ask you to clarify which thing it is that Haruhi comes to dislike in this story? The idea of Kyon having supernatural powers, or supernatural powers in general existing? I'm not entirely clear on it, though I very strongly suspect it's the former.
Oh well, once again it looks like I've failed to convey my thoughts properly. I'll try to explain it better because it's one of the key points of the work, but there's also this big tangle of interdependencies around the issue, and I wonder whether the most concise complete explanation will actually be as large as the whole story itself.
One of the main objectives of this work is to find the answer to the question: what does it take for Kyon to say "Screw the masquerade, I've had enough!" The issue is studied from several angles, but the ultimate answer will be that having his hand forced, repeatedly, because of the masquerade, and with results that make both him and Haruhi unhappy, will become the turning point. The first such incident was already described in the introduction, and there will be more. This also means that Kyon and Haruhi will both become increasingly frustrated as the story continues, though there will certainly be more happy moments than unhappy ones, just to give the setbacks enough contrast.
The different take on Haruhi's powers -- that she won't be able to control them consciously even when aware of them, just as we can't simply make a rational decision to believe something -- was already mentioned in the original outline. Then, there's another different take on an issue: let's say that Haruhi is not nearly as oblivious as one might think based on Kyon's narration. Let's say that she actually realizes that something unusual is going on around her. Why wouldn't she pound on the opportunity to find out what it is? If you read it with this question in mind it's possible to notice that the answer was already laid out in her Tanabata speech. She has learned that sometimes seeking a thing is more interesting than actually finding it; she's afraid that if she finds the extraordinary it turns mundane; finally, despite her claims to the opposite, she's happy doing rather ordinary things as can be seen from Yasumi's answers to the brigade entrance exam. In this story, Haruhi has been aware of something extraordinary ever since the Snow Mountain incident, but she doesn't know what exactly is going on, and is content with not knowing as long as it keeps things interesting.
Now, in the fifth chapter Haruhi assigns each brigade member a task for the upcoming summer trip, and these tasks turn out to have the exactly same topics as the literature club assignments, despite both being assigned through random draw. Kyon naturally doesn't like the outcome as he's stuck with romance again. Haruhi quietly agrees that it's a bit odd to have the same results twice and does a little experiment, writing something that she associates with each brigade member on five pieces of paper and makes everybody take one. However, Kyon gets to choose first and takes Asahina's ticket instead, and this initial error accumulates until Haruhi is left with the ticket that she wanted Kyon to have. Deeming the experiment a failure she doesn't even explain to others what she was doing and destroys Kyon's ticket in frustration -- nobody else even sees what's in it.
The reason for why Kyon managed to defy Haruhi's scheme will also be one topic of the story.
In any case, the next important milestone is the serious discussion between Kyon and Haruhi in the evening of day five of the trip (Rome I). By the way, the Tanabata scene is a precursor to this one that also happens on a bridge (Ponte Vittorio Emanuele II). This is major turning point, marking the change from a mostly lighthearted adventure story to suspension/drama. The outcome is that Kyon realizes that he cannot proceed with a relationship as long as he must keep up the masquerade, but on the other hand breaking it won't probably make it any easier to proceed and could possibly make it even impossible. Of course, Kyon cannot still tell Haruhi exactly what it is that's between the two of them, and Haruhi only gets to know that there's something that Kyon considers 'an impossible situation' (a somewhat poor wording on Kyon's part) and the discussion ends in a stalemate when Kyon asks for some more time to consider his options.
On day six (Rome II), after Yasumi saves Kyon from IDSE she gives him the ticket that Haruhi had meant him to have in chapter 5. Kyon gives the ticket to Haruhi in the morning of day seven (Capri I) and tells her to figure it out herself. He does not tell Haruhi anything about the other brigade members at any point. Given all the information until that point, and taking into account the nature of Haruhi's power, she eventually comes to the conclusion that Kyon is a reality warper. This leads to the already mentioned discussion in the evening of day seven. Kyon is not content with the idea that it might become true if Haruhi believes so.
Why then is Haruhi unhappy with the idea, and what is the insight in it? First of all, if Kyon has been the reality warper all along -- and, as it appears to Haruhi, Kyon's completely aware of it -- then all the events ever since them meeting each other fall in a very different light that has unfortunate implications written all over. Furthermore, Haruhi has learned to like Kyon the way he is, and is actually slightly afraid of the possibility that he's something completely different, especially because she believes that Kyon being the reality warper is the 'impossible' obstacle that Kyon has been talking about. Through her mistake, she sees the situation from Kyon's perspective and realizes that supernatural phenomena aren't just harmless fun; once the mistake is corrected she can see the dilemma that Kyon has been facing all along, but doesn't know how to solve it.
As mentioned before, after the discussion one mistake still remains: Haruhi still believes that Kyon sees her power as the 'impossible' thing, when Kyon actually meant that her not knowing about it made things impossible, and this leads to the climax of the story where Haruhi hopes to solve the situation by exorcising her power, but the uncontained power wreaks havoc to the particular timeline they are in (as was described, they have been in an alternate, 'safe' pocket universe after the events of day six) and Kyon must correct the mistake and convince Haruhi to retain what power she still has to avoid the termination of the pocket universe.
That was a very bare-bones description of the event, and it didn't even touch the issue of how the other brigade members are related to it. If this outline raises any concerns or other opinions then I would be delighted to hear about them at this point, as it's much easier to work on the outline than the final text.
That's illuminating.
The only observation I think I can offer here is that your outline seems quite solid and it appears you've developed it very thoroughly. I don't think you need to worry about changing it too much; this looks like more than enough for you to proceed on.
I seem to recall you mentioning you were feeling a bit stuck on progressing into the next chapter. Did you overcome your writer's block on that one? If not, is there anything I can do to help?
Edit: I spent some time mulling over the outline you've presented -- most especially the significance that these new(?) developments apply to your story. While I've got tremendously pointed opinions, I'm very, very hesitant to offer them because I'm not sure I can share them in a constructive manner. I leave it to you if you want me to expand on this, or I should remain silent; I am easily capable of disabling my emotions and only offering technical commentary, which may be the better option.
Re: clarification.
I'm a big fan of the notion that Haruhi enjoys the seeking of unusual things much more than the idea of finding them. I felt this was one of the concepts I didn't explore adequately enough in The Coin but was in the back of my mind, at least--that when something is discovered and becomes known, it ceases to be extraordinary. It's part of the rest of the universe and will eventually become accepted and typical.
The fundamental inequality that arises in Kyon and Haruhi's relationship is something I've thought at length about as well. It's entirely reasonable that Kyon would hesitate to enter a relationship with Haruhi while she's ignorant, but what in particular do you feel makes it more difficult if he were to tell her? I think Kyon has some level of implicit trust in her. Does letting the cat out of the bag just make their lives more complicated, or is it something between the two of them that would become too messy and tangled for him to consider?
In general, it's clear you have very definite ideas about what will happen (possibly, I think, much more detailed than I've been prone to have with outlines). As with Brian, if there is anything I can offer to help you break through the wall you're facing with the chapters you're working on, I'd be happy to assist. This story has a lot of potential, I think.
Brian, I would very much like to hear your concerns on the outline. I have always found your feedback useful, even in those cases when you may have thought the opposite. Not every detail in the outline is set in stone, and if you have a negative opinion on some of them, it may be the case that I haven't been able to express myself clearly enough, or that I'm making some fundamental mistakes. In either case, I can only make progress if I know what the issue is.
Concerning my writer's block, I've tried to reflect on what exactly is causing it and I think that it's a combination of factors. First of all, there is a lack of emotional content in the next three chapters, but the events are still required for advancing the plot. I endured through the prologue just by setting my eyes on the bridge scene, but the next story arc is lacking such an obvious reward; there is a reward in waiting but it's much more subdued. Second, the style that I'm using for the work is heavily interwoven -- every major plot point has echoes throughout the story. Because there are still large gaps in the outline for arcs three to six I am afraid of committing myself to writing a final version of arc two; it'll be a major problem if I finish one part and only then discover a plot point down the road that affects what should have happened in the finished part. Finally, I'm lacking confidence. For my previous works I have had a strong urge to say something, and that has helped me with overcoming my doubts, but this time I'm repeatedly finding myself just staring at the existing outline and thinking that it's not good enough, that I'm failing to write something interesting. I'd graciously accept any advice that could help me with these issues.
Concerning Muphrid's question:
Quote from: Muphrid on February 21, 2012, 06:05:57 PMThe fundamental inequality that arises in Kyon and Haruhi's relationship is something I've thought at length about as well. It's entirely reasonable that Kyon would hesitate to enter a relationship with Haruhi while she's ignorant, but what in particular do you feel makes it more difficult if he were to tell her? I think Kyon has some level of implicit trust in her. Does letting the cat out of the bag just make their lives more complicated, or is it something between the two of them that would become too messy and tangled for him to consider?
I think that there are several issues contributing to Kyon's belief, and that he's not necessarily right on any particular aspect of it. There is the issue that all through the canon it has been suggested that something really bad might happen if Haruhi became aware of her powers -- this is something that Kyon ponders and eventually dismisses during the story. Still, Kyon is basically a conservative person and hesitant to make a leap of faith into an unknown situation; uncertainty itself appears as an obstacle to him. Also, Kyon doesn't lack trust in Haruhi as much as he lacks trust in himself in the sense that he can't see what use a self-aware Haruhi, who might turn into something approaching a demi-goddess, would have for an ordinary guy like him, believing that he might only be a burden and an obstacle on Haruhi's road to whatever greatness she decides to achieve.
Of course, he's completely wrong on the last issue, and there's a very definite scene in the epilogue where that is spelled out to him.
I'll have a more detailed response to the writer's block issue in a bit, giving that the attention it deserves.
Okay. Before this goes on, let me re-iterate, while I'm going to strive to keep this constructive, I'm not sure I will succeed. You shouldn't even read any of this reply if you're not prepared to ignore some (perhaps
all) of what follows-- But if you do read, I would hope that no matter how negative it seems, you at least skip down to the segment about what I like about what you're writing before ignoring it all forever.
To start with, before writing this, I re-read your outline, the expansion you left on your outline, and the first two chapters of your prologue. I just wanted to make sure I had the best grasp of your intent that I'm capable of. I'm sure I'm wrong about several things -- but this is my understanding of your story, and the reason my mental safeguards have already gone up to protect me from getting emotional invested in something as harsh as I percieve it.
General: My opinions; there's probably nothing constructive here. I wouldn't be offended if you skipped it entirely. [spoiler]The dynamic between Haruhi and Kyon does not feel like they are aiming to become equals. Before Haruhi gives up her powers, the story seems to be about her constant superiority to Kyon:
This is not the dynamic of a healthy couple -- it's the dynamic of a pet (Kyon) and its owner (Haruhi). It's also (unnervingly) exactly the same dynamic that Perkele uses in his The Dream of... in act three -- a story I already marked was uncomfortably similar to the way this story seems to be shaping up.
The 'confrontation' between Haruhi and Kyon where Kyon 'clearly' has the 'upper hand' honestly doesn't feel like that -- it feels like Kyon is only barely holding equal to Haruhi. This underlines a constant theme of Haruhi having superiority in all ways to Kyon, which (to me) undermines the theme of equality between the pair. Kyon is presented as a clear inferior -- a cosmic chewtoy in the grandest sense of the word -- and is accorded the respect and adoration of a beloved pet, not a potential partner. And just like a dog, Kyon accepts all blame, recrimination, and responsibility, and then gives Haruhi a pep-talk at the end? After all she does, and yet doesn't have to accept responsibility for?
Structure: Some of this may hopefully be constructive.
First off -- I know this is something we have to actually blame Tanigawa-sensei for, but.... Dramatic tension is killed with Kyon's note that he knows everything is going to work out anyway in Prologue chapter II. That's the only positive foreshadowing, and the rest seems to be Kyon's not quite constant, but frequent remarks that 'things go bad' and (more irritatingly) 'it's his own fault'.
Beyond that, the general structure of the story feels to me to be very, very close to The Shadow.... Namely: Kyon suffers, Haruhi deals with much less (all of which is her own fault (being stupid) or pinned on Kyon (because Kyon's incompetent)); after being treated like a chew-toy by Haruhi (as demonstrated in the prologue already, I'm sure throughout the rest of the story, and then Yasumi later), Kyon has to give Haruhi a pep talk instead of recieving a reward/consolation).
Not only that, what doesn't feel like it maps uncomfortably close to The Shadow... instead mirrors (eerily) The Dream.... Neither of those were really uplifting; I loathe Perkele's writing, and I don't think I (personally) have the strength to shift my PoV enough to enjoy what you're planning with this story directly. Learning to adopt the personality shards that let me get through that was quite a challenge; I'm not sure I can do the same to a much longer, and (in my view) even harsher work (there's no 'it's not the real Kyon/Yuki/Mikuru' escape button this time).
Weirdly, I think I completely understand your take on At a Glance, now, though; you liked Haruhi too much to enjoy the story because it felt like she was being beat up on. Well ... it should be trivial for you to imagine I feel the same way toward Kyon, and apply it to this story-- So, I am very sorry for that.
Tone: If you ignore everything else except for the parts that I like (below), I think this is probably one of the two most constructive segments of commentary I can offer in this post.
The Prologue ended with both Haruhi and Kyon miserable (because of Haruhi's choices and her powers).
You've explained that you're going to make it even worse for them, and to be honest, as someone who cares for both of their characters very much, I don't believe I'll be capable of handling that if I let myself have any emotional investment (which, incidentally, this is the very end of; I can feel my defensive mechanisms locking away my ability to feel anything for this story -- good or bad -- rather than risk a repeat of what happened with The Shadow...).
Now, a lot of people have a much higher tolerance for handling things like this than I do, so I'm not entirely certain I'm being as objective as I'd like to be. Even so, despite your comments that you're planning uplifting moments, I think you're going to be running a real risk of encountering Darkness Induced Apathy. Certainly, I've hit that point, even from the outline and the Prologue alone. This is one of two factors about what you're writing that (beyond just my whining about not liking the content) I think you may wish to take note on.
Unfortunately, I'm no longer really capable of identifying what might be uplifting factors to counter what you're planning; you'll need to look to others for advice on that. Moving forward, technical commentary is really all I'm actually going to be capable of providing.
Theme: Probably non-constructive; just a personal gripe.
The story at large kind of seems to be headed towards an underlying message of 'even though Haruhi causes horrible things to happen through her own misunderstandings, at the end of the day the point is that she is not responsible for any of that, and even though Kyon endures substantially worse than she does, his role is to put her ahead of himself and give her a pep-talk.' (To expand on that slightly: Haruhi's misunderstandings (poor communication kills, general stupidity), and then through her subconcious use of power (Yasumi mind-rapes everyone but Kyon, and it's hinted that she almost has Koizumi actually rape him), and then her conscious use of power (threatening the lives of everyone in range of that volcano, even if on accident).... To me, this is probably even worse than Haruhi almost rewriting reality in the original Melancholy -- because she's put honest thought into Kyon having powers and not liked the implications ... and then done something substantially worse.
While it's probably supposed to come across as endearing and romantic -- he'll stand up for and support Haruhi, after everything he's been through -- to me, even from the outline, it comes across as 'yet-another spineless Kyon who will do anything to accomodate Haruhi, who is immune to the greater bulk of character growth.' Moreover, even if this Haruhi can learn, it once again comes at so much expense to everyone else that I have no real ability to see her as anything other than an incredibly selfish monster -- even if she does throw away her powers. Really, that comes across not as Haruhi accepting anything, but from the outline, as her rejecting responsibility (at Kyon's encouragement, no less).
Technical: Not in the grammatical sense; just an issue with storytelling I may not properly understand. As with all sections, feel free to ignore it wholesale.
Either Haruhi is stupid for letting your planned bit of Poor Communication Kills enter the picture, or Kyon is beyond incompetent to give her the wrong idea; maybe a bit of both, but I feel more sympathy for Kyon. I know your intent is that Haruhi be sympathetic, but I can already see from here that my reaction would be, "Why does Kyon want to try and reach someone so agressively ignorant?"
It feels like an attack at the core values of the novels -- that they have a bond of trust. That's just something I always have trouble accepting in fanfics -- I equate it with 'Haruhi pretends to date Koizumi to try and incite some jealousy from Kyon,' in all honesty. This may not be your fault; I may just have a poor reaction due to seeing a similar device used so badly in other people's fanfics.
Anyway, this kind of echoes back to how badly you took my own use of Poor Communication Kills in Later, except here, it's not Kyon remaining silent -- it's worse because he's trying to help, and make things better. And it blows up in his face, which makes me cringe; it's like watching Tom and Jerry to me. That stupid, hateful mouse is just making the cat suffer, when, really, the cat is just trying to do his job!
Bluntly -- there's no way to introduce that element without it feeling incredibly forced and against the nature of the group dynamic to me.
The genuinely technical question in all of this: How on Earth are you going to show us from Kyon's PoV that Haruhi has the wrong idea, and also have Kyon not recognize it -- and how will you do that without making Kyon look like a massively incompetent idiot, too? Or Haruhi being incredibly unsympathic by refusing to discuss it/try to correctly understand? Because if Kyon has any inkling that Haruhi has the wrong idea and does nothing about it....
Complexity: This is the second part I hope to focus on being genuinely constructive, and not just me whining that Kyon's being made to suffer too much for me to enjoy.
So much of what I'm supposed to get is too complicated for me to make sense of. The extended conversation where Haruhi speaks in riddles is still impenetrable to me; I had to go back over your explanation of what it was supposed to mean, because it still is too obfuscated for me to handle.
Even then, re-reading it ... I only understood that Haruhi's speech to Kyon is about wanting him to accept her because you told me so. Re-reading it freshly this morning before writing this reply ... the same thing. I know on a logical level it's the case -- because you told me so. I don't honestly get that sense from looking at the text. This may be a bit harsh, but I do honestly believe that if the story cannot support itself from within itself, it may be flawed.
Maybe the reader is not meant to understand at that point, and it's only supposed to become clearer in hindsight?
Even so -- what you portrayed as a mind-game between Kyon and Haruhi came across as very confusing to me. While you say that Kyon had the upper hand, I (again!) only know this because you told me so; I just can't get that sense from reading it (or re-reading it). I did get the part with the cake at the end -- but only the part from where Kyon refuses to eat it and on (incidentally, it being ruined in his pocket came across as a metaphor for his relationship with Haruhi in this story, to me).
As complicated as you are planning on this story being, I have a very profound fear that no one but you will genuinely understand it. My suspicion is that the vast majority of your readers will only be able to penetrate one or maybe two layers of the four you've planned.
Then again-- Then again, maybe it's just me. Perhaps other readers will be able to make more sense of this; I'd like to entreat other readers to provide input here for a general perception-check, on that note. My suspicion iss that more likely than not, the average reader is going to find the nuances utterly impenetrable, and only be able to gloss the surface, not taste the delights hidden deep, deep within.
Supportive note: What I liked, and why I want to keep encouraging you, even despite what I've said above. If you ignore the rest of this entirely, I hope you read this segment.
While I cannot enjoy this story directly -- or (at this point) even feel for it at all, there is one part of it that makes me happy.
To be honest, I don't think there's anything you can do to turn this into a story I can actually enjoy on its own -- so I don't even want to suggest that you should bother trying. However ... it is a story that has meaning and significance to you, and understanding that, I want to keep encouraging you to write this.
The part of this story that I can enjoy is the knowledge that it satisfies you, and it makes you happy. I'm quite content to emotionally detatch myself from the story proper and offer technical commentary to help you pursue your own vision -- especially because you have established that it is very, very solid, and incredibly refined. In my case, because I consider you a friend -- it is no chore or errand to read it in my detached state -- that you helped me devlop in favor of rage attacks! I can't understate how much I appreciate that!
That's pretty amazing to me, even if this might come across as a very self-centered aside -- but I also want to demonstrate that you have had a positive influence on me in general, even if your story didn't reach me in the way I think you wanted. That's fine -- you have, and so this isn't really that big a deal (in my mind). After all, most of my stories don't reach you the way I wanted, so this is just another incident where we mirror one-another.
But back to what I like about your story: You have very complete, fully realized images of the characters and their interactions. You've plotted and demonstrated that you have a vivid and rich understanding of almost all the elements of your story. You've proven that you can really capture Kyon's 'voice.' You've shown a level of effort and care into crafting your story that goes worlds and worlds beyond what the average writer cares to even try-- I am genuinely impressed at the immersive level of detail you've wrapped your premise in! The delivery is brilliant, your grammar and technical skills are probably on par with mine, as I predicted they would be (and in a few months I expect you will surpass me, too).
So don't let this get you down. I'll just apologize for being unable to give you the proper encouragement that this story honestly deserves.
[/spoiler]
And that's the end of what I think I can offer in terms of help outside of the technical aspects, which I am (again) still glad to supply you with. :)
Good luck Sarsaparilla, even though I expect you don't honestly need it. ^_^;
Quote from: sarsaparilla on February 22, 2012, 03:11:33 PMConcerning my writer's block, I've tried to reflect on what exactly is causing it and I think that it's a combination of factors. First of all, there is a lack of emotional content in the next three chapters, but the events are still required for advancing the plot. I endured through the prologue just by setting my eyes on the bridge scene, but the next story arc is lacking such an obvious reward; there is a reward in waiting but it's much more subdued.
Believe me, I've run into this issue enough times myself to understand how you feel. :\
Quote from: sarsaparilla on February 22, 2012, 03:11:33 PMSecond, the style that I'm using for the work is heavily interwoven -- every major plot point has echoes throughout the story. Because there are still large gaps in the outline for arcs three to six I am afraid of committing myself to writing a final version of arc two; it'll be a major problem if I finish one part and only then discover a plot point down the road that affects what should have happened in the finished part.
Okay -- there's a relatively simple compromise. Let's treat the Soulrider's forum as your testbed and gather feedback on your rough drafts. Just hold off on posting to ff.net (or elsewhere) until you've got everything finalized. A note that chapters posted here aren't final seems more than fair -- that's my approach, for what that's worth.
It's probably not possible to have your fic spring from your head fully grown, like Athena. You have to build it piece-by-piece, and revision may be required. That's fine! No one is perfect, and no one writes perfectly (and if they did, they wouldn't look for feedback, I think).
I'll touch on this in more detail momentarily, but it's easy to get into a vicious cycle where you're uncertain about writing, and so you don't write, and that makes you less certain about writing, and.... (You can see where this goes.)
Quote from: sarsaparilla on February 22, 2012, 03:11:33 PMFinally, I'm lacking confidence. For my previous works I have had a strong urge to say something, and that has helped me with overcoming my doubts, but this time I'm repeatedly finding myself just staring at the existing outline and thinking that it's not good enough, that I'm failing to write something interesting. I'd graciously accept any advice that could help me with these issues.
Okay. I've taken classes on creative writing (yeah, yeah, I know), and while most of them were huge wastes of time, I did pick up a few useful tricks. One of the most critical ones is something I gathered from a teacher refering to what she called ... no, I'll instead call them 'crummy first drafts.' There's a strong temptation to judge yourself and revise as you write.
You should avoid doing that. Divide your efforts into two clear phases -- writing, and revision. Sometimes this means you have to accept writing something that you don't think is very good to start, in order to get the creative juices flowing. It's like a pen that's gone a bit dry at the nib; you have to scribble for a bit to get the ink to start coming out.
Similarly, sometimes you have to accept that your initial drafts aren't great and will need revision. That's fine -- you need to ignore that little voice that tells you it's not good enough; you're not writing permanent foundations -- you're establishing a framework that you can come back to and flesh out in more detail later.
In other words, even if it seems difficult, plow through -- ignore the difficulties. Kick depression to the curb, and believe in the community that believes in you!
When life throws you lemons, don't take them! Get mad! Burn life's house down with the lemons.... No, no, wait. Wrong motivational speech. >.>
Okay, joking aside -- sometimes the answer is to press on through, to get to the parts you want to write. Then you can freely go back and revise those parts that you're less confident in, bringing them back in line. Typically this advice is meant in terms of scenes -- but given the structure of your story, I think you should feel free to apply it to your writing in general. You're stuck because you don't have a base to work from?
Give yourself a base! Even if it's one you're initially dissatisfied with, if it's enough for you to get to the parts you know you want to write, then you can always go back and revise -- and it's much easier if you use my approach of treating this site as a home for rough drafts and revisions, and then submit your finals to the less-critical readership instead of a community of those who are willing to be more critical.
A disclaimer that you plan heavy revisions on some chapters should be entirely fine-- Bottom line, even if it's difficult to believe, you
can push through and write! You can also write something that lives up to the standard you want! You may not be able to do both at the same time -- but if you can accomplish both of your goals, one at a time, isn't that fine? :)
Quote
Concerning my writer's block, I've tried to reflect on what exactly is causing it and I think that it's a combination of factors. First of all, there is a lack of emotional content in the next three chapters, but the events are still required for advancing the plot. I endured through the prologue just by setting my eyes on the bridge scene, but the next story arc is lacking such an obvious reward; there is a reward in waiting but it's much more subdued. Second, the style that I'm using for the work is heavily interwoven -- every major plot point has echoes throughout the story. Because there are still large gaps in the outline for arcs three to six I am afraid of committing myself to writing a final version of arc two; it'll be a major problem if I finish one part and only then discover a plot point down the road that affects what should have happened in the finished part. Finally, I'm lacking confidence. For my previous works I have had a strong urge to say something, and that has helped me with overcoming my doubts, but this time I'm repeatedly finding myself just staring at the existing outline and thinking that it's not good enough, that I'm failing to write something interesting. I'd graciously accept any advice that could help me with these issues.
I think I had a similar problem late last week, though on a much smaller scale. I was working on a scene in
Identity where Shampoo had to wait at the Cat Cafe for Cologne to contact the Amazons and have representatives of the leadership fly out from China. The thing that kept bothering me about it was that, while I felt it was a necessary scene, that the reader needed to know at least on a factual level what was happening, it was dry and without emotional content, and I didn't know what to do about it. So I worked on some other things for a few days. I drew up a first real outline for a story I've had in my head for the better part of a year. I struggled with trying to figure out how one person could chase or follow another who rampages across multiple universes (and I still don't know the answer to that one). Ultimately, though, after putting that one scene aside for a bit, I was able to find the emotional thread: Shampoo was eager for Cologne to contact the tribe, for it would give Shampoo a chance to prove her worth once again. Focusing on that, rather than the dry, factual aspects of the situation, helped me immensely. If you have ideas for other stories, even if they're not very developed, just fleshing them out might give the change in thought process needed to break through.
Beyond that, you say this arc's reward is more subdued, but it is there. Is it possible to connect every scene in some way to that reward? If so, then I think keeping the focus on that connection (and having the stuff that factually needs to happen be put into the background) might help. To me, the fundamental unit of story (whether one calls it a chapter or arc or whatever else) has to change at least one character in some palpable, distinct way. They should think differently about the world or about the people around them because the events of the story compel them to. If there's a way to keep that in the foreground and push the stuff that simply must occur for the plot to make logical sense, maybe that will help. That said, I've still consider my own approach to writing as too mechanical, too driven by the logical, problem-solving-oriented approach that my background as a scientist encourages. If none of what I've said above is helpful, it certainly wouldn't surprise me too much.
Regarding the danger of painting oneself into a corner, I think we all struggle with the danger of writing something and then discovering that something later on demands that what came earlier be changed. This is one reason why I write whole "arcs" in
Identity rather than publishing them in pieces, but in the end, I think at some point the risk must necessarily be accepted or avoided entirely. All that can be done to totally avoid the issue is write the whole story before exposing any of it to the outside world or outline more of the later parts until you no longer fear the unknown portions.
Re: the answer to my question.
QuoteI think that there are several issues contributing to Kyon's belief, and that he's not necessarily right on any particular aspect of it. There is the issue that all through the canon it has been suggested that something really bad might happen if Haruhi became aware of her powers -- this is something that Kyon ponders and eventually dismisses during the story. Still, Kyon is basically a conservative person and hesitant to make a leap of faith into an unknown situation; uncertainty itself appears as an obstacle to him. Also, Kyon doesn't lack trust in Haruhi as much as he lacks trust in himself in the sense that he can't see what use a self-aware Haruhi, who might turn into something approaching a demi-goddess, would have for an ordinary guy like him, believing that he might only be a burden and an obstacle on Haruhi's road to whatever greatness she decides to achieve.
Of course, he's completely wrong on the last issue, and there's a very definite scene in the epilogue where that is spelled out to him.
I'm glad you feel Kyon would eventually reject the possibility of Haruhi doing something wrong with awareness of her powers. Even without the idea that Haruhi would lack control anyway, I feel this is an important reaffirmation of Kyon's trust in her. As far as Kyon thinking Haruhi would have no use for him, while I think this is interesting on an intellectual level, I wonder if it's a reasonable fear for Kyon to have. I don't know if the idea of Kyon having some sort of implicit inferiority complex rings true with me, yet I can't really put my finger on why, so it strikes me as something that could be done if done carefully. Otherwise, I agree that Kyon is not one to make changes in the face of uncertainty. I think that that's a big part of his personality---and, in my mind, part of why Haruhi would be attractive to him, for being around her encourages him to overcome this aspect of himself. But maybe that's just me.
Brian and Muphrid, thank you for your advice on overcoming the block, I'll try to put that to good use.
Brian, after reading through all your comments on the outline, my first impression is that some of the issues are aligned with what I myself see as flaws in the story as well, and hope to work on before getting to that point, some other issues are related to details that are not mentioned in the outline but which radically alter the circumstances, and finally, some comments left me feeling confused and uncertain because they don't seem to correspond to anything in the story, at least when it comes to the version I have in my mind. The last part must be related to a difference in interpretation, as some of those issues were pertinent to the prologue which should be in its final, intended form. I simply can't see how Kyon was treated like a chew toy in the prologue, or how Haruhi was responsible for the unfortunate end result -- she had been planning a wonderful surprise for Kyon, the lantern rearrangement task being only a convenient excuse to achieve her real objective, and was totally devastated by the outcome, much more so than Kyon himself, who wasn't even aware of what he missed.
This is supposed to be the thing that ties the prologue and the epilogue together, as in the epilogue Kyon notices the familiar bag in Haruhi's room, still unopened, and once again asks what's in there. Haruhi refuses to give a direct answer but tells him that he'll find out if they go on a date the following day.
I will do my best to understand your concerns, point by point, and to take them into account when writing. I believe that the story won't be nearly as dark as you think it will turn out to be, though I am aware of my poor judgement on this very issue. In any case, thank you very much for being completely frank with your feedback.
Ahm, I've found that on fic ideas I can either throw out ideas that the author may or may not want to use, or go into completely vague psychology details. It's meant to be thought-provoking, and to do so I may go into my tendency to contemplate things in a detached manner, which other people might not share. Be warned.
(It is most likely to be simply irrelevant. However, maybe digesting some of it might result in an unrelated idea that will help to reinforce some key theme that everyone's feeling anxious about, ensuring that it works for the fic and not against it.)
I find (it's puzzling) that the optimal dynamic for people to form an emotional connection with each other isn't a uniform parade of high points and good times, it's a sort of sinusoidal pattern of ups and downs. If two people can have a horrendous altercation and eventually come back from that, that gives them a solid reason to trust one another compared to when they've just been so lucky as to have nothing to disagree over.
(I've even read works of dubious advice which instruct people to produce... "manufactured" downs, so to speak, which strikes me as simultaneously horrendously manipulative and effective. Very unpleasant to consider, and it's part of the reason I tend to make many acquaintances and few friends, because I tend to avoid the downs -- knowing what I do, it feels dishonest to exploit it. My friends wind up being the people who I've been so careless as to hurt unintentionally at some point and had to compensate for it... I remain aware of this dynamic after the fact even when they don't, which makes it very difficult to feel completely honest accepting their trust afterwards. I can think of several examples off the top of my head, people I've been friends with for a long time who nevertheless I always feel just slightly uneasy interacting with for that exact reason.)
So how exactly do people make lasting friendships and, in the case of Kyon and Haruhi, fall in love, if simply being guardedly considerate (as I outlined above) is enough to avert the possibility of human connection?
My conjecture is that, as people try to open up their inner worlds to one another, it's almost inevitable at some point for a misunderstanding to occur. Too much openness can in and of itself be off-putting to the other person, not to mention that their inner worlds might just be irreconcilable in some ways. So if people don't overthink the consequences, by retaining focus on the need to open up to each other they can wind up pulling through the inevitable unpleasantness to the mutual trust waiting at the other end.
This is an important dynamic to consider for the fic, because the "downs" in Kyon and Haruhi's relationship (both in the original series and in the fic as you seem to be proposing it), are really down. However, what I know now suggests that this aspect can, if applied correctly, be used to reinforce their connection rather than destroy it.
(The 'if applied correctly' part refers to something I don't understand myself yet, which is that the ups and downs don't always result in a connection, but rather the way the sinusoid is aligned to... something or other also makes a difference. My mental image is that of a swing, where kicking your feet a certain way at one end of the arc will increase your momentum, whereas kicking your feet exactly the same way at the other end will cause you to slow down.)
Now for conjecture about where the fic might end up but hopefully won't, and other places it might end up that might be interesting (or might not be interesting at all).
Given the outline, to add to what Brian was expressing anxiety about, what I'm worried about is the possibility of mishandling the dynamics along the lines of "Kyon tries to get closer to Haruhi, they don't quite succeed, Haruhi is frustrated, her unconscious (Yasumi) goes and punishes Kyon for the failure". To be a bit too honest, perhaps, that strikes me as the same idea of the unconscious mind undermining a person's conscious intent that squicked me about the "Kyon can see up Haruhi's skirt inside a dream when neither of them intended it to happen" thing in In Your Dreams.
(Now, to explain myself re the IYD remark: [spoiler]in In Your Dreams, the thing was that there really wasn't room for the whole "Kyon and Haruhi's unconscious minds sabotage their communication" leviathan to be brought up and the unpleasant issues that raises to be addressed, and I wasn't about to suggest that you and Hal completely derail the fic to turn it into a sensitive treatment of the notion of someone's unconscious mind sabotaging them. Certainly not when this issue was only introduced due to a throwaway thing that seemed in no way relevant to the story you were trying to tell.
)
However, the reason I'm not squicked in
this instance is this is something that I'm hopeful that, if you wanted to devote the space to it, you could actually give an interesting and sensitive treatment of this (actually quite real) problem.
Because it
does seem to me that, however you mince it, Yasumi is a major liability for Haruhi within the fic as outlined.
The idea I'm reading out of the conversation (which may be wholly inaccurate, in which case I'm apologize) so far is that while Kyon and Haruhi are
slowly trying to work things out, Haruhi's powers instead start to act on her desires in ways she doesn't want them to do (in one way or another, Yasumi's machinations boil down to the fact that she wants things to come to a head quickly whereas Kyon and Haruhi are resigned to trying to work around to a mutual understanding gradually rather than forcing each other out of their comfort zones). Haruhi struggles to try to find a way around the frustration/dissatisfaction that caused this to happen. She eventually gives up and tries to amputate the source of the problem -- which is tantamount to banishing her unconscious mind in some sense, which isn't really a very good idea -- but comes around and eventually finds a way to make a truce with her unconscious so that it works for her and not against her.
It might be somewhat related to the sinusoid idea earlier: people who feel the need to connect might feel compelled to open up without regard for the consequences, wind up forcing each other out of their comfort zone, at which point the connection is strained. Either it breaks, or it becomes more resilient than before, at which point the cycle might begin anew.
Here, instead of a need to be honest without regard for the consequences, Yasumi is the factor that is forcing them out of their comfort zones (via some extreme-sounding means in the current outline) where without her involvement they might dither around for years trying to take things slowly, and never end up anywhere. So, there's room for Yasumi to be not just a disruptive force. Ultimately, she wants the same things Haruhi wants, and it would be most logical for her to interfere so actively if she was growing worried that Haruhi and Kyon need to be pushed to take things faster.
Maybe it's just that for Yasumi to stop undermining Haruhi at every turn, Haruhi and Kyon need to stop seeing her as the enemy on some level. Since you claim that Kyon is going remain convinced throughout that
Haruhi's powers are overall a benefit, it seems reasonable that both of them need to take this step. And it's to be expected that the most egregious miscommunications will be between Kyon/Yasumi and Haruhi/Yasumi, not Kyon/Haruhi. Kyon and Haruhi don't reveal everything to one another because there's a serious case to be made that they could hurt one another by revealing too much too quickly -- both in terms of their feelings and in terms of Haruhi's powers. Yasumi is pushing them out of the comfort zone and into the zone where strong connections happen, which is easy to misinterpret as her just trying to sabotage their relationship -- indeed, there's a risk that their mutual trust won't be strong enough, and it could go either way. The logical reason why she would be pushing them to take that risk
now and not earlier in the canon would be not "because Tanigawa wrote such and such number of novels at the time sarsa started her fic", but rather because it's their last summer and their last opportunity to spend significant time together. After that, there'll be a hectic last year of school, and then they'll go to college, perhaps different colleges, perhaps growing apart forever, so if Haruhi/Yasumi wants to see Haruhi and Kyon together, she might indeed be incredibly desperate at this point and there's a fair chance that Kyon and Haruhi, being dubious about the notion of excessive revelation...
(Think back to
Riddle of Kyon, if you're willing to contemplate it again. If you excise the *ahm* more extreme author tract unpleasantness, what we have left is a concise demonstration of how just the basic idea
alone of Kyon taking Haruhi aside and just suddenly revealing
everything to her could be hideously creepy and alienating.)
... will simply misinterpret her actions. The difficulty is in getting across to the reader that Yasumi, in fact, has a point acting the way she does besides just "she's childish and acts out Haruhi's repressed desires even when they're inadvisable".
In that case, Haruhi trying to banish her powers and awakening the volcano would be a complete rejection of her unconscious mind, and a refusal to let it have a voice in things, and thus an extreme emotional low point, but it would be the kind of low point you've proven that you can come back from and end the fic on an uplifting note with. Especially since, unlike your last major fic, the outline really does seem to come back to an uplifting conclusion, and not a more ambiguous/bittersweet one like in
Shadow, which makes it much more worthwhile for me as a reader to agree to go on whatever sort of emotional rollercoaster you will eventually construct.
Anyhow, the reasoning I've given above is just one possible way you can try to adopt Yasumi's viewpoint and try to make it work for the benefit of the fic.
I don't know. I'm throwing out ideas randomly at this point. In my opinion (which is biased by my taste in writing and my peculiar set of experiences -- my ideas on how to take Yasumi's viewpoint would have been impossible for me to have if I hadn't just now performed some very hard work in lucid dreaming, trying to unearth a personification of
my own unconscious in order to determine what it thinks of
me as a person. The result ended up basically what I outlined above, in the more general sense: my unconscious wants the same things I do, but when I'm paralyzed by indecision/habit/anxiety its only recourse is to try to create a crisis to take me out of my comfort zone and force me to face the challenge head-on. It wouldn't have to do this, and it would be a lot less unpleasant for everyone if I was a bit more brave and proactive in terms of working to get what I want.)
Anyhow, the outline seemed to be failing to get across
some element in the vague ballpark of what I just described, since it mostly described Yasumi's role in driving the plot. I'd be interested if this somehow connects with your idea, and
even more interested to see you definitively reject that notion (again, informed by my personal experience to a degree that I feel kind of ludicrous making the suggestion that the same thing might apply to Haruhi, although it
logically fits) in favour of your own understanding of Yasumi's role in things...
Conversations between Kyon and Yasumi seem to be a potentially very effective way to explore Haruhi's mindset without having to resort to multiple POVs. At least, the conversations (regardless of whether my reasoning above is relevant or completely off base) seem to be an interesting approach to work through Haruhi's worries as Kyon tries to resolve the masquerade, and they're the part of the outline that I'm most curious to see your take on.
(If I think about it logically, though, there is another pitfall where Yasumi might be a bit too free and direct in divulging to Kyon the contents of Haruhi's most secret hopes and fears. It's really difficult to predict how likely this is to be a problem: canon!Yasumi doesn't set any precedent since she's
more, not
less inscrutable in her motives than Haruhi herself.
Again, risking the audacity to throw out an idea, maybe the reason canon!Yasumi is so inscrutable is she's just painfully shy. She spent most of the series hidden in the background, and mostly wound up facilitating those instances when Haruhi had set her mind against logic and the universe and wanted to do her own thing. (e.g. To make the awful movie, to summon strange people, to make celestials to smash her frustrations to bits.) Anyhow, Haruhi was in the driver's seat most of the time. It takes a serious crisis to bring Yasumi out, and she is afraid to reveal her nature to Kyon by anything other than such a roundabout way (her name) that they only realize after she disappears. And in this fic, she represents Haruhi's most inmost desires, which Haruhi is afraid/anxious to act on, judging by the prologue, lest she be disappointed. How anxious Haruhi is, I also amply infer from the very notion that she won't reveal things to Kyon herself, but will instead send a surrogate entity to try to solve the problem
for her, out of sight and out of mind.
Anyhow, the idea that Yasumi is going to go into this very shy, is
one possible way to limit the degree to which (the outline comes across to me this way) she has both Kyon and Haruhi at a very severe disadvantage. Again, there are probably others that I'm not seeing.
Basically
any way you can come up with that makes sense to you (/ that you have come up with but neglected to put into the outline) to nuance Yasumi's character, really, strikes me as better than the dynamic of Yasumi just straight-up bossing Kyon around, and not appearing properly (as in the prologue) / not telling him things just to be a tease.
I mean, why would Yasumi show up in the prologue, only to hide in the bushes when Kyon tries to follow her? Either she's being a cruel tease, or she's shy and doing something she still isn't used to doing, so she just gradually tries to work up her courage, or there's some other reason that you need to have in mind besides just "it's foreshadowing for her later appearance". (Actually, I...
think she does accomplish something or other by appearing, in the mechanical sense of advancing the plot? I'll need to refresh the portion of blink-and-you-miss-it call-forwards in the prologue that I haven't yet deciphered in my head, I'm afraid.)
---
Now, in terms of issues of squick or waff that much of the feedback lingers on, I can't really predict anything. It seems to take tremendous experience to
intentionally control the level of these things in your writing. Without that experience it's really only possible to tell
after when you can perceive the ultimate gestalt of the story, not to mention that people really do differ in their gestalt perceptions. What one person finds horrifying, another person will be indifferent to; what the other person will find disturbing, yet a third might find to be at least perversely apt through some unexpected irony; what the third might find discouraging, a fourth might consider to be uplifting.
One last thing to suggest (with much trepidation since it might not apply to you): your outline, as other people have praised, is extremely well-thought out and rigorous. (Many objections seem to be people assuming the worst regarding the waff/squick gestalt that will result when you've already written it, as I've mentioned above. That might be very unfair, but there's a point to it: reasoning that it's better to do that than brashly assume the best and then everyone having to deal with disappointment when you're
finished writing the fic via the high-investment plan-outline-write approach.) You've plotted out your fic, now you just need to go and write every last one of the scenes that get the characters from point A to point B via point C. No uncertainty here, right? Perhaps that's the problem -- that if you have everything nailed down at this point to the extent that there's no room for the story to go to surprise you (in positive ways, not just negative ones), contemplating going through all of the scenes and writing them out may inspire, well, just boredom. When expressing yourself, you could argue that there has to be
something at stake for it to be genuine.
(Personally, I have more of a problem in that I tend to plan fics by nailing down a bunch of irrelevant factors while leaving important and obvious questions unanswered, then diving in and turning out to be disappointed by my results.)I've read, for instance, that when Hayao Miyazaki begins working on a movie, he will often storyboard and even have animators film the most important scenes in the movie,
before he even knows how the movie is going to end at the time he's doing it. Miyazaki of course is the caliber of storyteller who
knows that he can deal with any surprises the story throws his way (and indeed can rely on the fact that grappling with them serves to make the story interesting), to the extent that he can bet not only his own time and emotional investment, but also other people's money, on the outcome. (Keep in mind that he is being entrusted with a multi-million dollar budget, and you will realize how insane that is. Certainly no one in the newer generation of directors Studio Ghibli is currently trying to raise has anything remotely like that privilege.)
The technique is referred to as "Edo house building", in reference to house builders who construct a minimal space containing only the most important living needs, and then over the years build an increasingly complex mass of add-ons, as it occurs to them that this or that may be necessary.
This is sort of the opposite extreme from the
plan-everything approach, and mere mortals will probably find themselves overwhelmed and discouraged by running into something they can't handle, but the basic idea seems reasonable enough that you might consider introducing it to a limited extent. Particularly since the portion of the story you're currently staring at and blocked on seems to be the least important, not the most important.
As Brian points out, it might ultimately be quicker to just write the most important things to you, find flaws, throw them away, start over, than to try to plan the entire fic in such a way as to eliminate the possibility of it not living up to your expectations.
What I can certainly, in no way, shape or form advise or guess at, is the degree of unfinished-ness that you are going to be willing to let people see. But certainly if there's an important scene you have in your outline and in your head, but that you haven't written out yet, maybe it would be more reasonable to work that out first, rather than starting with the mundane logistics of how the Brigade gets to Italy so they can have that important scene?[/spoiler]
Anyhow, I sincerely hope that was food for thought, and moreover that it won't result in any mental indigestion. I'm curious to what extend this resonates, or fails to resonate, with your thinking so far.
I know that Brian didn't find this kind of feedback at all useful on the early stages of
Sympathy (a) because it came across as initially brash and condescending (
that I've hopefully managed to avoid in this case) and (b) even when I came back on IRC and restated it as a series of polite suggestions, it turned out to be impossible to incorporate without completely altering the fic idea to suit my expectations rather than Brian's, which is of course a ludicrous idea. If either of those is the case, I'm very sorry I couldn't be more helpful this time either -_-
Again, food for thought, not much more than that. If anything seems like it's diverging from where you want to take the fic, keep in mind: I was aiming more to try to hit on some aspect of things that you might not have considered (especially regarding Yasumi's motivation), not to replace your answers to the issues posed with my answers. If you already have your own answer for all of the questions discussed, then I'm certain you'll be able to pull through on this one sooner or later without needing to listen to me at all :-)
And now I need to go and take my own Edo-housebuilding advice more seriously in terms of writing my own fic, before I turn into a hypocrite.
So, hoping against hope that posting this turns out to be a net benefit for everyone,
Arakawa
Actually, a factual correction to the above:
recalling now the implications of the fact that the Japanese school year starts and ends in spring. That... means the suggestions relating to the notion that this is something like Kyon and Haruhi's last summer in the same high school are factually unfounded, since they would go through three summer vacations while at North High.
Sorry about that. That would, in fact, result in a harder time justifying within the scope of my conjectures why Yasumi would be desperate to try and get the two of them together at this particular moment. (Maybe... if they realized during the last summer that they want to be together it would be too short a notice for them to plan to coordinate their applications, justify their decision to their families, and so stay together through college? So Haruhi decided it has to be the second to last to give them enough time?)
Anyhow, best of luck -- I'm confident you'll be able to puzzle out your own solution, and I'll be the more interested the more your understanding of the matter diverges from what I've conjectured so far. I went into this trying to qualify/corroborate Brian's feedback, but instead wound up writing this whole unrelated thing, so I hope the additional opinion helps you triangulate what makes the fic important to you specifically, rather than proving to be overwhelming.
Given that discussion on this story is still ongoing and there's some uncertainty as to how some things are coming across, I took it upon myself to go over the extant material once more--reading the newest revisions of the chapters, reviewing the outline and the c&c posts in this thread to compare against. To avoid the temptation to focus on technical issues, I've tried to summarize as much as possible, as I think that can be indicative of a reader's interpretation in and of itself. To encourage thoroughness on my part, I read the story aloud (which, incidentally, is much better for catching issues of usage and word choice and such than it is for analyzing other aspects, but I stuck with it anyway).
We start with Kyon establishing a peaceful summer devoid of threats to existence or the brigade. Haruhi, in his mind, is becoming more normal. In his view, her appetite for the strange has waned. She window shops instead of seeking out mysteries. She enjoys her time talking with Sakanaka. One line, however, is critical:
QuoteActually, when Haruhi was not using her position as the leader of the brigade to push issues in the direction she wanted, she could present an entirely engaging and sociable aspect of herself to others.
I think this is balanced. It's not unreasonable for Kyon to find Haruhi at her most commandeering anti-social in some way. Given that this comes on the heels of other positive thoughts about her, this is clearly intended and comes across as reinforcement.
The resulting notion, that Kyon thinks Haruhi is reverting to a nicer person that she used to be, isn't elaborated on in too much detail, but I take that to mean the person she was before her baseball epiphany.
And on that note, we go to Kyon and Koizumi watching the baseball game. Koizumi expresses his relief at Haruhi's lack of activity. He sums up the current situation, saying no one is moving to throw things out of balance. Kyon has an interesting line:
QuoteTo be completely fair, credit must be given for not mentioning Sasaki in that context.
What he means by this I can only guess--it's obvious that Sasaki had no interest in destabilizing things?
Kyon decides to leave, and I know it was mentioned that Kyon should've been mildly interested in staying around at least to see if Haruhi were outside. I don't find strong indication of this. It's not clear if the game has been lopsided for some time, for example. He justifies leaving as not wanting to watch a game that is almost certainly decided. If he were looking for Haruhi, I would expect him to scan the area, looking at other spectators. If he wanted to cloak his intentions, he might say it's for no particular reason.
Then again, Kyon's thoughts immediately go back to Haruhi:
QuoteFor a lack of better word to describe it, Haruhi had apparently become absent-minded.
This phrase is "for lack of a better word" or since you use two (or a compound?) words, "for lack of better words," perhaps.
Kyon goes on to describe Haruhi's unusual behaviors, concluding with a meaningful line:
QuoteI had previously seen what Haruhi looked like when she was bored, annoyed or just dispirited, and this spell was none of those. It wasn't even the muted aura of a Haruhi who was secretly hatching a new plan for making the world a more interesting place. No, there was something else, but for the life of me I couldn't figure out what it was, and there wouldn't be any point in asking, anyway.
Why not, one wonders? It's not unreasonable for Kyon to expect no forthright response from her, but it also means that his concern for her is more distanced. If he had pressed her and been rebuffed, Haruhi's reaction would be telling in some way.
Kyon goes into a metaphor about Haruhi being a volcano (apt considering the volcano that seems to play a big role later on). He thinks the brigade fears Haruhi "waking up." Saying they can only "wait and hope for the best," Kyon doesn't seem to me too concerned, for he knows being so would be pointless.
Haruhi teaches Kyon random things. Kyon says it's because she wants to "make the world a more learned place" and doesn't acknowledge the possibility (however obvious to us) that she just wants to help him.
Kyon goes on about how the education system is flawed and how Haruhi could probably revolutionize it without even trying. Not knowing what you intend, this would seem like a paragraph merely inserted for pacing, rhythm, etc. Knowing that Kyon possibly having doubts about keeping up with Haruhi, this paragraph gains a lot of possible future meaning. I think this is a good thing, but I'm cautious about having such hinting take place in spots too sheltered from the plot. A careless reader would be tempted to skip the whole paragraph or skim it and not get the meaning.
This paragraph drew some attention before:
QuoteFor all I knew my mother would probably insist to have Haruhi visiting us, maybe even regularly. Then my mother would get a chance to show her gratitude, but since Haruhi isn't really used to receiving praise for the things she does of her own volition, she might decide to drop the whole project permanently, leaving me to my own devices again.
While I agree that Haruhi isn't necessarily as an absolute rule going to avoid praise, it does strike me as plausible that she would not want too much attention on what she's doing with Kyon.
Kyon waxes momentarily on the convenience of Haruhi being his teacher, in a manner that reminds me (slightly) of how he fawns over Asahina.
Now we have Tsuruya, who seems worried for some reason that Asahina might be troubled, perhaps portending what may occur later on? It's too vague to know for certain. Really, the main gist of this part is Kyon asking Tsuruya a favor, one he refuses to elaborate on at the moment, which I think is well and good. Tsuruya leaves, giving him a victory sign, clearly thinking that this marks progress, which Kyon tries to deny. That in itself is nothing new, so I don't find it too problematic. Kyon goes to class, finding Haruhi.
QuoteI cleared the last stretch to my intended destination and entered class 2-5. After just a few months of the new term the place already felt almost like a second home to me with all its familiar details, especially the one currently sitting on her seat, looking out of the window in apparent contemplation.
Sitting "in" her seat, looking "out" the window. Also, next paragraph, you call Haruhi "arbitrator"? I think "arbiter" would be a more fluid word to use. But I digress; I don't want to be bogged down in technical details.
Kyon revisits his conclusion that "Haruhi is Haruhi" and makes good points about how others are tempted to see her as an object to carry out what they want or desire instead of a person. Kyon states that he trusts the brigade but not the factions that back the people in it. Kyon wonders if Haruhi would enjoy being the center of all this attention, despite her stating previously that she wanted the world to revolve around her. This is good: Kyon suspects--nay, knows--that Haruhi is deeper than that.
So now Kyon says he didn't see Haruhi outside. This erases my earlier objection, though it's a bit more direct than I remembered.
Here is Haruhi and Kyon's first interaction in the story. Haruhi dismisses the idea of another baseball tournament because there are "more important things" to think about. Kyon responds:
Quote"I was afraid that you might say something like that."
Kyon's irritation with Haruhi's whims doesn't seem entirely unjustified based on her history, but in context of the story here, I'm not so certain this is what he should be saying. He knows she's been distracted; he should know what's on Haruhi's mind isn't "typical" even when loosening the term to fit her behaviors. When Haruhi says there are more pertinent things to think about, to me Kyon's response should be, in not too many words, "Such as?" or "Care to elaborate?" Haruhi's response to that can be the same, but it changes the color of the interaction.
That said, based on the idea of Kyon feeling out of place or not sure about his role, his remarks about mysteries wanting to be left alone and that "someone must do the jeering" make a lot of sense.
And Kyon avoids thinking about
Melancholy, lest he get carried away. For this point in time, entirely appropriate. And when he says that he likes the way things are, Haruhi must be thinking, "Rats, because I want to change things with us," but she won't come out and say it. She reels, exactly as Kyon had described earlier. I think his depiction of that before sets this up nicely. Why Haruhi can't be more direct (I think I've touched on this before) isn't too important at this early stage of the story.
I've only made it about halfway through prologue I by this point, but I intend to go over both and try to provide what fresh thoughts I can on the story and help give direction. If I recall, I suspect the crux of the concerns will stem from prologue II, but nevertheless, it seems wise to be thorough.
...and if nothing else, I've forced myself to say "Tsuruya last" five times over to get my mouth and tongue used to the combination of sounds.
...nope, still don't have that yet.
Arakawa, thank you for those thoughts, there are many parallels to what I have been thinking about.
You are spot on when you suggest that Haruhi feels that time is running out -- this is the most fundamental drive behind the whole story. The entirety of chapter 4 will be used to establish this, but the tangible issue here is that although Haruhi and Kyon will have another summer vacation while still in the high school, this is the last summer for Asahina; the SOS Brigade in its familiar composition is coming to an end, and this has made Haruhi contemplate the eventual break-up of the entire brigade.
Concerning Yasumi, she's not punishing Kyon or trying to sabotage Kyon and Haruhi in any way, quite the opposite. She appeared in the prologue just to lure Kyon and Haruhi together because Haruhi wanted to have a private conversation. In future chapters she mostly tries to help Kyon sort out his thoughts on issues and encourages him. I will remove any traces of Yasumi being the effective antagonist during the final arc.
Quote from: Muphrid on February 23, 2012, 02:15:41 AM
The resulting notion, that Kyon thinks Haruhi is reverting to a nicer person that she used to be, isn't elaborated on in too much detail, but I take that to mean the person she was before her baseball epiphany.
That would be the intended meaning.
Quote from: Muphrid on February 23, 2012, 02:15:41 AM
What he means by this I can only guess--it's obvious that Sasaki had no interest in destabilizing things?
Basically, Kyon is happy that Koizumi doesn't group Sasaki with the rest of the anti-SOS brigade that has actively worked against them.
Quote from: Muphrid on February 23, 2012, 02:15:41 AM
Kyon decides to leave, and I know it was mentioned that Kyon should've been mildly interested in staying around at least to see if Haruhi were outside. I don't find strong indication of this. It's not clear if the game has been lopsided for some time, for example. He justifies leaving as not wanting to watch a game that is almost certainly decided. If he were looking for Haruhi, I would expect him to scan the area, looking at other spectators.
Actually, looking at other spectators is exactly what he does before deciding to leave.
Quote from: Muphrid on February 23, 2012, 02:15:41 AM
QuoteI had previously seen what Haruhi looked like when she was bored, annoyed or just dispirited, and this spell was none of those. It wasn't even the muted aura of a Haruhi who was secretly hatching a new plan for making the world a more interesting place. No, there was something else, but for the life of me I couldn't figure out what it was, and there wouldn't be any point in asking, anyway.
Why not, one wonders? It's not unreasonable for Kyon to expect no forthright response from her, but it also means that his concern for her is more distanced. If he had pressed her and been rebuffed, Haruhi's reaction would be telling in some way.
Yes, at this point Kyon is more uncertain about what's going on than actually concerned, this is reinforced several times.
Quote from: Muphrid on February 23, 2012, 02:15:41 AM
Haruhi teaches Kyon random things. Kyon says it's because she wants to "make the world a more learned place" and doesn't acknowledge the possibility (however obvious to us) that she just wants to help him.
Indeed. ^_^
Quote from: Muphrid on February 23, 2012, 02:15:41 AM
QuoteFor all I knew my mother would probably insist to have Haruhi visiting us, maybe even regularly. Then my mother would get a chance to show her gratitude, but since Haruhi isn't really used to receiving praise for the things she does of her own volition, she might decide to drop the whole project permanently, leaving me to my own devices again.
While I agree that Haruhi isn't necessarily as an absolute rule going to avoid praise, it does strike me as plausible that she would not want too much attention on what she's doing with Kyon.
Actually, my intention was that this was another misinterpretation made by Kyon, and that Haruhi certainly wouldn't mind tutoring Kyon at his home.
Quote from: Muphrid on February 23, 2012, 02:15:41 AM
And when he says that he likes the way things are, Haruhi must be thinking, "Rats, because I want to change things with us," but she won't come out and say it.
Exactly.
Quote from: Muphrid on February 23, 2012, 02:15:41 AM
I've only made it about halfway through prologue I by this point, but I intend to go over both and try to provide what fresh thoughts I can on the story and help give direction. If I recall, I suspect the crux of the concerns will stem from prologue II, but nevertheless, it seems wise to be thorough.
Thank you very much of this! Actually, going through the finished chapters helps me with handling the issues with the forthcoming ones as well, so your effort is doubly useful.
QuoteActually, looking at other spectators is exactly what he does before deciding to leave.
So he does. I see now. You snuck it in there for one sentence. It might be useful to spend more time on that point, so it isn't easily missed, but then, since Kyon comments on Haruhi not being there, that may be enough anyway.
QuoteActually, my intention was that this was another misinterpretation made by Kyon, and that Haruhi certainly wouldn't mind tutoring Kyon at his home.
Indeed, I was remiss here. Kyon's estimation of what Haruhi would do versus what Haruhi would actually do is the layer I neglected. Nevertheless, I feel I must echo something Brian (I think) said--that Haruhi has received praise before and handled it, at least to some extent. It might be best for Kyon to acknowledge the possibility.
Now, the second half of Prologue I:
Kyon goes through afternoon classes without paying attention, distracted like Haruhi, though not to the same extent. Just what is keeping him from being studious he doesn't say, but since Haruhi is the only subject he talks about to any level of detail, it's not a difficult guess.
The way you've go about this scene with Haruhi helping Kyon in physics is interesting to me. As with Haruhi's absent-mindedness, this is something you've already discussed, in a way that gets the audience acclimated to the idea before you actually show it happening in real time. This technique is not something I've noticed or thought about before--that is, thank you very much while I go steal it for something else. Ahem.
I really enjoy Haruhi's bizarre thought process and the way she does dimensional analysis. On the other hand, I think some caution is in order: because we don't see Haruhi's explanations in detail, it gives some impression that Haruhi expects Kyon to understand her unusual way of thinking straight away. In particular, Kyon says,
QuoteI never figured out what Haruhi's haphazard drawings had to do with the whole issue, either.
For Kyon to have had success studying under Haruhi's tutelage, I would expect by this point they could communicate effectively, that by the end of ten minutes Kyon could express at least a cursory understanding of Haruhi's peculiar way of looking at it and even say it makes a bizarre sort of sense. He does say he thinks he has the basic idea down, but without elaborating on it, we can't be sure.
On the other hand, a general audience may appreciate only so much physics. At any rate, I'm concerned it can reflect badly on Haruhi for taking too obfuscated an approach because by this point, it's seems like she should know better. That said, this may be thinking a lot about a small issue.
At this point, Haruhi tells Kyon the brigade meeting is canceled for her "personal matter," which suits Kyon because he has his own thing to take care of. Haruhi warns him that he absolutely should be there tomorrow, that failing to be present would incur "a heavy penalty without exceptions".
In the club room, Koizumi was apparently running to meet the brigade, for reasons unclear, yet he expresses confidence that whatever Haruhi is up to is no cause for alarm. Clearly Koizumi has some inkling of what's up, but that he wishes not to alarm Kyon or the others is curious.
The brigade stays for tea, and as Kyon plays with Koizumi, he wonders why Tsuruya thought Asahina was troubled, but he can't discern anything wrong.
Right, the
hanafuda card joke is here. I think if one is paying close attention (like I am as I do this), one can pick up there's supposed to be a gag here, even not knowing what it is. While a gag not being picked up isn't a terrible crime, it does cast Koizumi in a different light to know what he meant. Koizumi knows Haruhi's up to something, and to bring up the subject would be a significant sign, if only to the audience rather than to Kyon, who refuses to acknowledge it.
QuoteNow that I thought about it, it had to be rather uncomfortable to wear the maid uniform in this weather, but I couldn't possibly suggest that she switched to something lighter.
This technical aspect I felt compelled to point out. The underlined is in imperfect tense, subjunctive mood--it should be
switch.
At this point, Kyon acknowledges that if he were to (heh, that's imperfect subjunctive) ask that Asahina be relieved of her maid uniform during this time of year, his concern might be misinterpreted (he doesn't say by whom), and Haruhi might suggest a more indecent outfit as a replacement. This, to me, demands a question be asked--what does Kyon think about Haruhi dressing up Asahina in risque costumes, and if he's really attracted to Haruhi, how is it he can put that aside? Does he dismiss it as trivial or something he can influence and keep under control?
Kyon relates how he deleted the "Mikuru" folder, and whom does he mention fearing would find it but Haruhi? He says, in particular, "that wasn't a risk I was willing to take
at this point". So, Kyon, you're at some point with her now, are you? (I feel a little bit like I should be ten years younger to say that, but there we are.)
Kyon relates how, without Haruhi, the club is lacking something, that it's boring without Haruhi around. I actually think this spot might benefit from some slight clarification. Kyon could easily justify "wanting" to stay infected with the "Suzumiya virus" by pointing to
Disappearance and, in doing so, try to ward off any possible romantic overtones. Then again, perhaps it's telling that he doesn't.
The brigade adjourns; Nagato goes to the computer club and makes a bunch of bespectacled (or not) computer geeks drool over her code. Kyon goes to the Tsuruya estate, and when he tells the
yakuza heiress er, very nice young lady that Haruhi had her own errands, she says,
Quote"Is that so? Looks like you might not be the only one who gots ideas, then. It pleases me greatly to see that things are going well!"
In hindsight, Kyon is doing an excellent job of making himself oblivious when practically everyone else can see what's up.
I'll keep chipping away at this unless it feels unwarranted. I think more stuff happens in part II, so I expect that revisiting it will confront more of the concerns that have been expressed thus far.
Quote from: Muphrid on February 24, 2012, 02:34:16 AM
Kyon's estimation of what Haruhi would do versus what Haruhi would actually do is the layer I neglected. Nevertheless, I feel I must echo something Brian (I think) said--that Haruhi has received praise before and handled it, at least to some extent. It might be best for Kyon to acknowledge the possibility.
Yes, it could be phrased in a less definite way, with Kyon still preferring to stay on the 'safe' side.
Quote from: Muphrid on February 24, 2012, 02:34:16 AM
For Kyon to have had success studying under Haruhi's tutelage, I would expect by this point they could communicate effectively, that by the end of ten minutes Kyon could express at least a cursory understanding of Haruhi's peculiar way of looking at it and even say it makes a bizarre sort of sense. He does say he thinks he has the basic idea down, but without elaborating on it, we can't be sure.
That can certainly be written in a way that shows Kyon getting a better understanding of what Haruhi was trying to explain, but still feeling uncomfortable with how radically different it is from the standard curriculum.
Quote from: Muphrid on February 24, 2012, 02:34:16 AM
In the club room, Koizumi was apparently running to meet the brigade, for reasons unclear, yet he expresses confidence that whatever Haruhi is up to is no cause for alarm. Clearly Koizumi has some inkling of what's up, but that he wishes not to alarm Kyon or the others is curious.
Koizumi has his empathic link through which he can always sense Haruhi's general mood and her whereabouts, and that gives him a certain edge on some things. Had he and Kyon been alone in the room he might have mused about possible explanations for Haruhi's behavior -- ones that he doesn't know for sure but can guess based on available information -- but since Asahina and Nagato are also present, he doesn't do that. He
will have a talk with Kyon at the beginning of chapter 3, though, as he's very eager to know what didn't happen and why.
Quote from: Muphrid on February 24, 2012, 02:34:16 AM
Right, the hanafuda card joke is here. I think if one is paying close attention (like I am as I do this), one can pick up there's supposed to be a gag here, even not knowing what it is. While a gag not being picked up isn't a terrible crime, it does cast Koizumi in a different light to know what he meant. Koizumi knows Haruhi's up to something, and to bring up the subject would be a significant sign, if only to the audience rather than to Kyon, who refuses to acknowledge it.
Yes, Koizumi is definitely poking Kyon a bit here, though in a less blatant way than some other times in the canon. His take on things will be studied in more detail during the third story arc (Venice), and I'll try to develop him into a better direction, as in wanting to help Kyon and Haruhi just because they are his friends, and not because it would be 'good for the humankind' or something along those lines.
Quote from: Muphrid on February 24, 2012, 02:34:16 AM
At this point, Kyon acknowledges that if he were to (heh, that's imperfect subjunctive) ask that Asahina be relieved of her maid uniform during this time of year, his concern might be misinterpreted (he doesn't say by whom), and Haruhi might suggest a more indecent outfit as a replacement. This, to me, demands a question be asked--what does Kyon think about Haruhi dressing up Asahina in risque costumes, and if he's really attracted to Haruhi, how is it he can put that aside? Does he dismiss it as trivial or something he can influence and keep under control?
Kyon relates how he deleted the "Mikuru" folder, and whom does he mention fearing would find it but Haruhi? He says, in particular, "that wasn't a risk I was willing to take at this point". So, Kyon, you're at some point with her now, are you? (I feel a little bit like I should be ten years younger to say that, but there we are.)
Misinterpreted by Haruhi, obviously, but I could as well write that out. What I'm trying to convey here is that while Kyon acknowledges that Asahina is physically attractive, he is also 'over' it and doesn't want it to be a defining factor in their respective relationships (between him, Asahina and Haruhi). Also yes, this is a covert acknowledgement from Kyon that his thoughts on Haruhi are more serious than before, even if he doesn't let it show through most of the time.
Quote from: Muphrid on February 24, 2012, 02:34:16 AM
Kyon relates how, without Haruhi, the club is lacking something, that it's boring without Haruhi around. I actually think this spot might benefit from some slight clarification. Kyon could easily justify "wanting" to stay infected with the "Suzumiya virus" by pointing to Disappearance and, in doing so, try to ward off any possible romantic overtones. Then again, perhaps it's telling that he doesn't.
I didn't necessarily mean the virus metaphor to be taken as anything romantic, it is more about Kyon embracing the exciting and unpredictable instead of the safe and boring he had done before, but you're right, this ties directly to his decision in Disappearance, and it could be mentioned to give the proper context to the statement.
Quote from: Muphrid on February 24, 2012, 02:34:16 AM
In hindsight, Kyon is doing an excellent job of making himself oblivious when practically everyone else can see what's up.
Some of it he doesn't genuinely see, some of it he doesn't just admit to others, or even to himself at this point. This will slowly change during the story.
Quote from: Muphrid on February 24, 2012, 02:34:16 AM
I'll keep chipping away at this unless it feels unwarranted. I think more stuff happens in part II, so I expect that revisiting it will confront more of the concerns that have been expressed thus far.
This has been very valuable, thank you very much for putting so much effort on it!
I'm in general agreement with all of the above responses, so I'll move directly to Prologue II:
Kyon ruminates on how this is the day things started going awry but that, even if he'd been told what would happen, he probably wouldn't have believed it. "Awry" is somewhat neutral, so it's hard to tell whether he thinks this was a bad or good thing or merely different.
Quote"Anyway, get up, Kyon-kun! It's almost breakfast time! It's going to be a really fine day, and mom has promised to take me and Miyoko to the shopping center after school."
Mom, capitalized.
There's some discussion here about Kyon's sister and comparing her to Miyoko. It's not apparent to me if this serves a greater purpose or is merely pacing, but it seems like a natural digression.
Kyon arrives at school, noticing the bag Haruhi's carrying around with her, but he doesn't remark on it, only greeting her instead. Somehow (and it's not clear to me how), he becomes aware that Haruhi is observing him. So there are several things to consider in this interaction: why does Haruhi look at him so intently, and why does Kyon persist in ignoring it until Haruhi speaks? For the former, Haruhi says that it's not about the bag but what day it is. Taking her at face value or not seems to make little difference to the net effect; what's important is that she wants Kyon to remark on something. Why Kyon ignores her, anticipating that she'll start the conversation instead, is somewhat more mysterious to me. It's almost like he's testing her, trying to see if he has her pegged correctly. On one level, this could be harmless, as it's not like Kyon has sinister intent here. On another, it could feel manipulative for Kyon to ignore her and prompt her question when he knows very well that she expected something further from him.
And then on another hand (have we run out of those yet?), Haruhi acting like, "You should've noticed this," could be construed as a bit demanding. That said, she asks him about it rather neutrally, and it's clear from her expression that though she may be anticipating something, she's not angry with him. So I don't think there's anything wrong there.
Haruhi and Kyon have an exchange while Kyon seems to deliberately ignore what day it is, and Haruhi picks up that he's playing dumb. Kyon notes that though Haruhi might try to look annoyed, it's clear she has a lot more on her mind. This interaction gets to the very nature of whether
tsundere is attractive or not. Haruhi chides Kyon for "lack of effort," but since there's no real bite to this remark, Kyon seems to take it well, and I think it makes the interaction more cute than negative. To me, it's like Haruhi is going through the motions of being annoyed with him, when by this point it's like they're playing a game, on both sides--after all, this doesn't happen if Kyon acknowledges what day it is, so I see it like they're both acting the roles they're used to playing, when really the dynamic has changed.
Haruhi goes on espousing the benefits of leadership and enthusiasm and so forth. Kyon becomes increasingly worried that what she has planned will be demanding on him. I think Haruhi must be trying to pump Kyon up for what she has planned and is just...failing, miserably. To me, this says that she doesn't have a good read on what does motivate him. Nevertheless, it also seems odd that Kyon would be so quick to dread what Haruhi has in store when just the day before he noted that without Haruhi, thinks are boring. There doesn't seem to be enough dissonance on his part, in my mind, to have both exist without at least some attempt from him to quiet his own doubts.
Class starts here, giving Kyon no time to reconsider anything.
Haruhi doesn't go to lunch; Kyon eats at his desk and talks with her, and Taniguchi and Kunikida are left to their own devices. Haruhi takes a prune without asking, instead questioning him on if he ever wonders why he does the things he does. After Kyon's puzzled reaction, he realizes that Haruhi is being eminently serious with this question and, positively, puts aside a quick response for something more thought out.
Haruhi wonders how one's priorities and what one looks forward to can change with time--in my mind, if realizing something has become less important to you means that you were wrong to consider it so important in the first place or if that just means what you've learned to pay attention to in the present might be objectively more important. There's a feeling that Haruhi thought there should be an objective pecking order to things, that some things are absolutely more important than others and that it's the person who's wrong in assessing them if they think differently. Or, there's a more personal question in play: if Haruhi thinks new things are more important now, does that make her wrong before?
Kyon thinks to himself that this is "exquisite." I'd like to think this means he thinks it healthy for Haruhi to examine herself this way, rather than taking pleasure in her doubts. The former seems much more likely.
Now, I think I remember that some of this scene had a more specific subtext: that of seeking John Smith versus being happy with Kyon. I think someone might guess that to be the case, but without it being made more explicit later on (e.g. in later chapters) no one would reasonably know this, I think.
The next paragraph, about being prisoner to habits and not seeing things without prejudices, I think I remember was Haruhi's veiled way of imploring Kyon to give her a fresh look. As it is, the paragraph is still fairly abstract. It does, on closer inspection, seem very different from what came before, but I don't know if I could reasonably guess that this is what Haruhi was trying to say. Again, if this is made clear later in the story, then I don't think there's an issue. As it is, Kyon takes this as true proof that Haruhi has grown and changed and goes on to justify that reasoning.
On this whole passage, there's the greater issue of Haruhi using a veiled philosophical conversation to try to examine her feelings and convince Kyon to enter a relationship with her. On the one hand, it seems like the sort of thing any hesitant teenager might try to do, refusing to be direct due to anxiety and fear. On the other hand, knowing that Kyon will be judged for his response on a question that he doesn't even know he's being asked is...awkward. That he takes the question as seriously as he does and fails to come up with an answer actuallly seems like the best course all around. It seems to put Haruhi at ease, and Kyon is no worse for wear for it.
They wrap up lunch with idle conversation.
At the end of school (I notice you gloss over classes rather smoothly), Haruhi and Kyon study English while Kyon worries over how to accompany Haruhi to the classroom. Kyon doesn't elaborate on
why Haruhi going to club first would spoil anything. It seems he must want to see Haruhi's reaction, or at least to be present when she sees what he's done in some way.
Luckily, Haruhi needs him to carry the sports bag, so they go together, and at club, they discover the object, revealed to be a bamboo plant. Haruhi goes through all the other brigade members first and doesn't even bother asking Kyon, who has a nonsense remark to offer. He mentions that his "long and arduous training" wouldn't be in vain if it devolved into a staring contest. Knowing that there's a lot of "I know you know I know" supposedly going on here, I think I see that this line was meant to indicate that, but it's a bit buried and seems easily missed.
In turn, Haruhi looks Kyon directly in the eyes while saying it must mean they're receiving recognition. Again, I see the hint, but I can also see how it could be easily missed.
They go through the wishes. Haruhi accosts Kyon for his wishes from before. Implicitly, I don't take any possible negative overtones from that exchange too seriously. Haruhi decides to have the brigade write new wishes this year. Haruhi doesn't write anything and decides to change the task so she doesn't, a noticeable--if harmless--abuse of her power to avoid the issue, and she resolves to go downtown for festivities.
So we head to the festival, and I think this is the real crux of the matter. Fairly quickly, Haruhi asks Kyon to buy
kaiten-yaki for her. When Kyon says he doesn't remember having any penalties leveled against him, she says,
Quote"Does it always have to be a penalty? I was just giving you an opportunity to earn some sorely needed points through supporting your brigade leader, so that she isn't too hungry to fulfill her responsibilities. But if you insist, then maybe I can think of something you've neglected."
I think the underlined is the key part, revealing Haruhi's intentions. The rest of it depends on how one reads Haruhi's feelings, I think. If one reads her facetiously, as I think I originally did, then it feels like she's playing the role of overbearing brigade leader instead of actually being it. If one reads her seriously, then I think the rest of the paragraph costs some of the audience's favor for her. With Kyon as the narrator, no one wants to see him get pushed around by someone he ostensibly is interested in and cares for. Kyon, for his part, takes it rather well:
Quote"You might consider that a carrot but all I can see is a stick. Anyway, it's not my fault that you skipped lunch today."
From the underlined, I infer that Kyon sees Haruhi's line above as trying to be incentivizing, even if it isn't objectively. Nevertheless, Kyon sees it as a stick for the text of it.
Kyon concludes that Haruhi is hungry, and he convinces himself that he can give in on this point and balance the ledger in his own mind. Some people might see this as giving in to Haruhi without standing up for himself. To me, the best possible interpretation here is that Kyon picks up that Haruhi is up to something a lot bigger than just wanting a snack. Buying the
kaiten-yaki is just the price of finding out and keeping the situation more stable than refusing. Even that has the fear of unexpected consequences to make this somewhat...unsettling. Kyon does pick up that "there was something in it"--or something more in this act than face value.
Kyon buys them, reflecting that he hasn't been penalized a lot lately, which someone mitigates the possible problems of the above. Then Kyon takes a shot at Koizumi, no doubt to relieve some of his bafflement.
Haruhi offers cakes to Nagato and Asahina, the latter provoking a fawning reaction from Kyon--if only Haruhi could be so polite, he thinks. Stuff about volcanoes, which probably portends much more than anyone reading for the first time would realize.
Haruhi mentions that they should go to Hawaii and dress up Asahina, stimulating some thoughts of a particular nature in Kyon. Haruhi picks up on his grin, but notably, she doesn't accost him for it. Perhaps Haruhi is encouraged that Kyon can have such thoughts, but regardless of the reason, I think it's positive that she doesn't get on his case about it.
The group moves on, and Koizumi approaches Kyon, arguing that Kyon's actions aren't haphazard, just like Haruhi's. Kyon says that Haruhi making him carry the bag is because he's the lowly peon, something Koizumi expresses surprise at. Kyon goes on to say,
QuoteI couldn't care to answer anything to such a loaded question, and Koizumi didn't push the issue any further because the girls had stopped in front of some shop and were now within earshot distance of us.
The phrase is only "within earshot," no "distance" necessary.
And Kyon says there's absolutely nothing to buying a bamboo for Haruhi.
Haruhi offers a half-eaten cake back to Kyon, which he wraps up and puts in his jacket. Kyon makes a particularly ludicrous comment:
Quote"As you can see, I'll keep it just in case I should suddenly find a need for a half-eaten cake -- and if I won't, it may eventually become a coveted piece of memorabilia bearing the bite marks of the famous leader of the SOS Brigade! What do you know, it looks like a win-win situation for me."
To me, it's not surprising that Haruhi calls him
stupid after that. Just what is Kyon trying to accomplish with such a remark? Is he overcompensating, trying to downplay the significance of the act too much? It's hard for me to imagine saying that line in a way that's not mocking, even if only in the gentlest way.
Noting that the cake has bite marks, the significance if Kyon had eaten it is clear enough.
Haruhi takes them to a convenience store, ensuring everyone has five-yen coins in preparation for the visit to Ebessan. This reinforces that almost everything Haruhi has done that day was planned.
Haruhi forces Kyon to get a new fortune when his says he'll have bad luck in relationships. Not being too subtle, are we, Haruhi?
Eventually, Kyon is led away by the unknown person. Knowing this to be Yasumi, we can see that this is Haruhi's intention as well, but it's puzzling for Kyon to say that he has questions for this person. Knowing she's an aspect of Haruhi's mind, what questions can he really ask her? That said, I'm sure it would make sense once those questions are revealed.
When Kyon loses her, he wonders,
QuoteThe whole situation made me feel a bit silly. Had I gotten so bored with the safe, ordinary life that I had finally found that now I had to deliberately go out of my way to seek trouble?
Does he want an unusual life or doesn't he? Or can he at least recognize the apparent contradiction and claim that his wants are complicated?
Haruhi arrives, having seen someone too, but she doesn't say whom. Kyon thinks that he doesn't want to fuel any unusual thoughts or suspicions. I'll get back to that in a moment.
Haruhi asks him to rearrange lanterns. Right away, after Haruhi says that she's serious about it, Kyon has a strong reaction:
Quote"I can't even begin to fathom why you would want to do something like that! Besides, we would be thrown out before getting even halfway through the task."
Quickly, Haruhi backs off and starts telling him about John Smith.
Quote"In the middle school I was totally unsatisfied with my life [...]
In middle school. Also, people more often sit in rather than on chairs.
Haruhi gives her speech, and I'd forgotten just how beautiful it was. It's really heartwrenching to listen to Haruhi talk about wanting to give thanks to that person, not knowing it's Kyon she should be thanking. Kyon has a strong response of his own; he reels over this story, and he insists over and over that he can't tell her without risking everything. That much is justified, but he also says,
QuoteI would've even helped her with the lanterns now, but I knew already that nothing good would come out of that -- it was completely pointless!
What does he mean by that? It may be pointless to help her with the lanterns, but what else is he going to do? She's asking his help, and he's going to say no? That's actually not a bad response given how overwhelmed he is, and he does say that he thinks something else is going on. I guess it's just surprising to me that Kyon would be so literal here, even willfully so, when to anyone else, there would be clear meaning in helping her even if the message she intends to send has already been sent.
Truly, Kyon is once again too stunned to say anything, and Haruhi tries to brush it off with meaningless remarks about when Tanabata should be held and such. Kyon says he has to look away, lest he be driven to do something rash. They rejoin the group, and Kyon asks Nagato if they're in a time loop.
Kyon gives the bag back to Haruhi, saying, "Some other time, then?" and this gets Haruhi in better spirits. Kyon tries to make sense of what's happened, coming up with various theories.
Kyon gets wet, and the symbolism of the cake being ruined isn't lost on anyone.
Overall, I think the big thing that's missing for me is that Kyon is ostensibly happy about having a life slightly more interesting than typical, but when push comes to shove, he chooses ordinary and status quo every time. Granted, I don't think that's out of character, but I find it strange that at this time, thinking more positively of Haruhi, he doesn't recognize any conflict there.
The "I know you know I know" thing still doesn't jump out at me, to be honest. If it does, it's mostly in the scene in the club room right after the bamboo is seen. For the rest of the chapter, I can't really see how such a subtext changes anything. As a result, the rest of the chapter doesn't really feel like a battle at all, and I think that for the best anyway. When the time comes, Haruhi is sincere about wanting Kyon's help, but she doesn't say why---really why him and not anyone else---and so she's still protecting herself from disappointment. In addition, despite the problems it gives him here, Kyon doesn't reconsider whether to tell Haruhi about John Smith. It's probably too early to do so, but that means I expect the matter to weigh on his mind. That's something for the next chapter, I suppose.
Haruhi's confession of what her real intentions were for Tanabata was truly reminiscent of the baseball game passage in
Melancholy for me, and though I thought for some time whether she says enough to justify Kyon's presence there or not, ultimately I think she does. She needs his help to do it. She doesn't say why; she doesn't have to. That admission, in my mind, is enough.
When I undertook this rereading, I hoped help find some collective understanding---to at once assuage some misgivings that have been expressed about the piece as it is extant and the future of it and also to better understand them and improve myself as a critic and a writer. As it is, I think I've still failed to bridge the gap I was hoping to traverse. It may be I'm fundamentally incapable of doing so.
At any rate, I do wish you luck in continuing this story. Ultimately, I think Haruhi's renewed determination and Kyon's continued thoughts on what it means to keep Haruhi in the dark must form the starting point for the next chapter--if that much is any inspiration to help drive the creative engine.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
Kyon ruminates on how this is the day things started going awry but that, even if he'd been told what would happen, he probably wouldn't have believed it. "Awry" is somewhat neutral, so it's hard to tell whether he thinks this was a bad or good thing or merely different.
Brian mentioned that Kyon's ominously foreboding remarks might have an unfavorable effect, especially since I have a tendency to wander off to darker recesses in some of my works. I'll do a 'tone check' on all such remarks, trying to convey the impression that the obstacles ahead are closer to the 'yare yare' variety than horrendous nightmares.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
There's some discussion here about Kyon's sister and comparing her to Miyoko. It's not apparent to me if this serves a greater purpose or is merely pacing, but it seems like a natural digression.
It's mostly fluff without any particular strings attached, to provide contrast to Kyon's earlier remarks. Also, I just tried to get as many canon characters as possible mentioned in the prologue.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
Kyon arrives at school, noticing the bag Haruhi's carrying around with her, but he doesn't remark on it, only greeting her instead. Somehow (and it's not clear to me how), he becomes aware that Haruhi is observing him.
It's a discreet suggestion that Kyon is rather observant, especially when it comes to Haruhi. There is another similar mention during the Ebessan scene, where Kyon tells that he could recognize Haruhi's footsteps before seeing her.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
So there are several things to consider in this interaction: why does Haruhi look at him so intently, and why does Kyon persist in ignoring it until Haruhi speaks? For the former, Haruhi says that it's not about the bag but what day it is. Taking her at face value or not seems to make little difference to the net effect; what's important is that she wants Kyon to remark on something. Why Kyon ignores her, anticipating that she'll start the conversation instead, is somewhat more mysterious to me. It's almost like he's testing her, trying to see if he has her pegged correctly.
This is the proper interpretation, Kyon is secretly happy to find out that Haruhi isn't quite as unpredictable as he himself always claims, because it means that Kyon has learned to understand Haruhi better.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
On one level, this could be harmless, as it's not like Kyon has sinister intent here. On another, it could feel manipulative for Kyon to ignore her and prompt her question when he knows very well that she expected something further from him.
And then on another hand (have we run out of those yet?), Haruhi acting like, "You should've noticed this," could be construed as a bit demanding. That said, she asks him about it rather neutrally, and it's clear from her expression that though she may be anticipating something, she's not angry with him. So I don't think there's anything wrong there.
Haruhi and Kyon have an exchange while Kyon seems to deliberately ignore what day it is, and Haruhi picks up that he's playing dumb. Kyon notes that though Haruhi might try to look annoyed, it's clear she has a lot more on her mind. This interaction gets to the very nature of whether tsundere is attractive or not. Haruhi chides Kyon for "lack of effort," but since there's no real bite to this remark, Kyon seems to take it well, and I think it makes the interaction more cute than negative. To me, it's like Haruhi is going through the motions of being annoyed with him, when by this point it's like they're playing a game, on both sides--after all, this doesn't happen if Kyon acknowledges what day it is, so I see it like they're both acting the roles they're used to playing, when really the dynamic has changed.
Yes, I tried to show Kyon being a bit more playful than usual, as a logical progression to his earlier decision to act on the Tanabata issue. I also tried to show that Haruhi doesn't really mind being teased this way, that they both realize what you said -- while on the surface they are acting their old roles there is something more going on behind the scenes.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
Haruhi goes on espousing the benefits of leadership and enthusiasm and so forth. Kyon becomes increasingly worried that what she has planned will be demanding on him. I think Haruhi must be trying to pump Kyon up for what she has planned and is just...failing, miserably. To me, this says that she doesn't have a good read on what does motivate him. Nevertheless, it also seems odd that Kyon would be so quick to dread what Haruhi has in store when just the day before he noted that without Haruhi, thinks are boring. There doesn't seem to be enough dissonance on his part, in my mind, to have both exist without at least some attempt from him to quiet his own doubts.
I tried to make a distinction between exciting and laborius, with Kyon liking the former but not the latter; however, when it comes to Haruhi's plans, the two often come hand in hand.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
Haruhi wonders how one's priorities and what one looks forward to can change with time--in my mind, if realizing something has become less important to you means that you were wrong to consider it so important in the first place or if that just means what you've learned to pay attention to in the present might be objectively more important. There's a feeling that Haruhi thought there should be an objective pecking order to things, that some things are absolutely more important than others and that it's the person who's wrong in assessing them if they think differently. Or, there's a more personal question in play: if Haruhi thinks new things are more important now, does that make her wrong before?
That is a very good take on it. I tried to show how Haruhi's thoughts are becoming more nuanced through interaction with other people.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
Kyon thinks to himself that this is "exquisite." I'd like to think this means he thinks it healthy for Haruhi to examine herself this way, rather than taking pleasure in her doubts. The former seems much more likely.
Yes, Kyon sees it as a very positive development. I might have to rephrase the sentence to make it unambiguous.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
Now, I think I remember that some of this scene had a more specific subtext: that of seeking John Smith versus being happy with Kyon. I think someone might guess that to be the case, but without it being made more explicit later on (e.g. in later chapters) no one would reasonably know this, I think.
Actually, Haruhi is not seeing those two things as mutually exclusive. She'd be happy to seek John Smith with Kyon's aid -- as she tries during the shrine scene -- but she's not even considering the option of dropping Kyon in favor of John Smith. This is not one of those fics. ^_^
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
The next paragraph, about being prisoner to habits and not seeing things without prejudices, I think I remember was Haruhi's veiled way of imploring Kyon to give her a fresh look. As it is, the paragraph is still fairly abstract. It does, on closer inspection, seem very different from what came before, but I don't know if I could reasonably guess that this is what Haruhi was trying to say. Again, if this is made clear later in the story, then I don't think there's an issue. As it is, Kyon takes this as true proof that Haruhi has grown and changed and goes on to justify that reasoning.
Again, I think that I can make it less abstract and more indicative of Haruhi's true intention without making it
too obvious.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
On this whole passage, there's the greater issue of Haruhi using a veiled philosophical conversation to try to examine her feelings and convince Kyon to enter a relationship with her. On the one hand, it seems like the sort of thing any hesitant teenager might try to do, refusing to be direct due to anxiety and fear. On the other hand, knowing that Kyon will be judged for his response on a question that he doesn't even know he's being asked is...awkward. That he takes the question as seriously as he does and fails to come up with an answer actually seems like the best course all around. It seems to put Haruhi at ease, and Kyon is no worse for wear for it.
The idea was that Haruhi was satisfied to see that Kyon gave her thoughts serious consideration instead of dismissing them with some cheap quip -- she didn't even expect any particular answer at that point, and Kyon did just fine as it was. Haruhi hoped that this conversation would have an effect on what she had planned for the evening.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
At the end of school (I notice you gloss over classes rather smoothly), Haruhi and Kyon study English while Kyon worries over how to accompany Haruhi to the classroom. Kyon doesn't elaborate on why Haruhi going to club first would spoil anything. It seems he must want to see Haruhi's reaction, or at least to be present when she sees what he's done in some way.
Kyon's fear was that if Haruhi went on her way before he could stop her, Haruhi would go and steal another bamboo for the meeting, as she had done the previous year, and that would spoil the intended surprise.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
Luckily, Haruhi needs him to carry the sports bag, so they go together, and at club, they discover the object, revealed to be a bamboo plant. Haruhi goes through all the other brigade members first and doesn't even bother asking Kyon, who has a nonsense remark to offer. He mentions that his "long and arduous training" wouldn't be in vain if it devolved into a staring contest. Knowing that there's a lot of "I know you know I know" supposedly going on here, I think I see that this line was meant to indicate that, but it's a bit buried and seems easily missed.
In turn, Haruhi looks Kyon directly in the eyes while saying it must mean they're receiving recognition. Again, I see the hint, but I can also see how it could be easily missed.
This is something that I'm actually rather content with. The scene will be reinforced in chapter 3 where Haruhi mentions having met Tsuruya and asks why Kyon didn't tell her about him meeting her as well. For a while Kyon thinks that Haruhi is talking about the bamboo, and the discussion is kept intentionally vague until it becomes obvious that Haruhi's talking about the summer trip instead. However, the discussion will still hint at Haruhi knowing about the bamboo as well, and wanting Kyon to know that she knows, without actually saying it.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
They go through the wishes. Haruhi accosts Kyon for his wishes from before. Implicitly, I don't take any possible negative overtones from that exchange too seriously.
Actually, I tried to convey that Haruhi indirectly admits that she has fared just as poorly as Kyon when it comes to last year's wishes; while it annoys her to realize it and she cannot say it explicitly, she doesn't try to shift the blame on Kyon either.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
So we head to the festival, and I think this is the real crux of the matter. Fairly quickly, Haruhi asks Kyon to buy kaiten-yaki for her. When Kyon says he doesn't remember having any penalties leveled against him, she says,
Quote"Does it always have to be a penalty? I was just giving you an opportunity to earn some sorely needed points through supporting your brigade leader, so that she isn't too hungry to fulfill her responsibilities. But if you insist, then maybe I can think of something you've neglected."
I think the underlined is the key part, revealing Haruhi's intentions. The rest of it depends on how one reads Haruhi's feelings, I think. If one reads her facetiously, as I think I originally did, then it feels like she's playing the role of overbearing brigade leader instead of actually being it. If one reads her seriously, then I think the rest of the paragraph costs some of the audience's favor for her. With Kyon as the narrator, no one wants to see him get pushed around by someone he ostensibly is interested in and cares for.
As was discussed before, this is one of Haruhi's tests where she tries to find out exactly where the balance between her and Kyon is at the moment. Essentially, she's saying: "Wouldn't you buy me a treat if you like me?" Kyon recognizes this, and considers his options for a while before choosing the one that allows him to evade a direct answer.
Kyon: "Sure, I like you...."
Haruhi: "Yay!"
Kyon: "...all. Never mind Koizumi, though."
Haruhi: "Rats!"
I don't want Haruhi to sound too pushy, and if it comes through as such I can certainly rephrase it.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
Haruhi mentions that they should go to Hawaii and dress up Asahina, stimulating some thoughts of a particular nature in Kyon. Haruhi picks up on his grin, but notably, she doesn't accost him for it. Perhaps Haruhi is encouraged that Kyon can have such thoughts, but regardless of the reason, I think it's positive that she doesn't get on his case about it.
In the last chapter I tried to establish that Kyon has grown past his adolescent crush with Asahina; here I try to establish that Haruhi also understands the situation and has grown past her jealousy. She knows that Kyon finds Asahina attractive but doesn't consider it a threat to their relationship any more.
Kyon will have one last temptation with the Mikuru folder in chapter 4 when he has to time travel to the club room in last March, but he doesn't fall for it, and has an unrelated discussion with Asahina instead.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
Quote"As you can see, I'll keep it just in case I should suddenly find a need for a half-eaten cake -- and if I won't, it may eventually become a coveted piece of memorabilia bearing the bite marks of the famous leader of the SOS Brigade! What do you know, it looks like a win-win situation for me."
To me, it's not surprising that Haruhi calls him stupid after that. Just what is Kyon trying to accomplish with such a remark? Is he overcompensating, trying to downplay the significance of the act too much? It's hard for me to imagine saying that line in a way that's not mocking, even if only in the gentlest way.
Noting that the cake has bite marks, the significance if Kyon had eaten it is clear enough.
During the lunch Haruhi pinched a prune from Kyon's bento, and here she's wondering whether Kyon's willing to reciprocate. This is Haruhi's last attempt at testing Kyon, and he acts in a way that makes it clear that he sees through Haruhi's intention and refuses to take either option that she's offering. Haruhi realizes that she's been bested when it comes to this particular game, and won't try again.
Is Kyon's answer too condescending? It is meant to have a mild reproach in it, as Kyon is not too happy to be Haruhi's test subject in this particular issue.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
Eventually, Kyon is led away by the unknown person. Knowing this to be Yasumi, we can see that this is Haruhi's intention as well, but it's puzzling for Kyon to say that he has questions for this person. Knowing she's an aspect of Haruhi's mind, what questions can he really ask her? That said, I'm sure it would make sense once those questions are revealed.
Kyon will have many opportunities to talk with Yasumi during the story.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
Does he want an unusual life or doesn't he? Or can he at least recognize the apparent contradiction and claim that his wants are complicated?
That is a good point, and yes, it's a bit complicated. He wants excitement and stability at the same time, and those aren't always compatible with each other.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
QuoteI would've even helped her with the lanterns now, but I knew already that nothing good would come out of that -- it was completely pointless!
What does he mean by that? It may be pointless to help her with the lanterns, but what else is he going to do? She's asking his help, and he's going to say no? That's actually not a bad response given how overwhelmed he is, and he does say that he thinks something else is going on. I guess it's just surprising to me that Kyon would be so literal here, even willfully so, when to anyone else, there would be clear meaning in helping her even if the message she intends to send has already been sent.
Kyon fears that by helping Haruhi with the lanterns he will only get her hopes up and make the inevitable disappointment worse, as he knows that Haruhi can't get the answer she's looking for. He is worried about Haruhi (and him) getting into trouble over the rearrangement -- over nothing as he sees it, since he also knows that the lanterns won't help with the issue. He is also emotionally shaken by the situation.
He is in an impossible situation, and -- as he thinks -- cannot do anything without making the situation worse, so he doesn't do anything.
What he doesn't know is that Haruhi's plan extends past the rearrangement. What she doesn't know is why Kyon is this stubborn when she had expected only a modicum of resistance from him.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
Overall, I think the big thing that's missing for me is that Kyon is ostensibly happy about having a life slightly more interesting than typical, but when push comes to shove, he chooses ordinary and status quo every time. Granted, I don't think that's out of character, but I find it strange that at this time, thinking more positively of Haruhi, he doesn't recognize any conflict there.
Do you think that the reasons I gave above are insufficient for Kyon's inactivity? The problem is, had Kyon chosen otherwise there woudn't have been a story to tell.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
When the time comes, Haruhi is sincere about wanting Kyon's help, but she doesn't say why---really why him and not anyone else---and so she's still protecting herself from disappointment.
Yes, that's Haruhi's mistake in the situation.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
In addition, despite the problems it gives him here, Kyon doesn't reconsider whether to tell Haruhi about John Smith. It's probably too early to do so, but that means I expect the matter to weigh on his mind. That's something for the next chapter, I suppose.
Indeed.
Quote from: Muphrid on February 25, 2012, 02:30:27 AM
When I undertook this rereading, I hoped help find some collective understanding---to at once assuage some misgivings that have been expressed about the piece as it is extant and the future of it and also to better understand them and improve myself as a critic and a writer. As it is, I think I've still failed to bridge the gap I was hoping to traverse. It may be I'm fundamentally incapable of doing so.
At any rate, I do wish you luck in continuing this story. Ultimately, I think Haruhi's renewed determination and Kyon's continued thoughts on what it means to keep Haruhi in the dark must form the starting point for the next chapter--if that much is any inspiration to help drive the creative engine.
You've done a much more thorough job than I could hope to see, and it has indeed helped me a lot. Several pieces that were hanging or poorly defined have found their place and I have a much better vision on how to proceed with certain aspects of the story. Thank you very much for the effort!
QuoteActually, Haruhi is not seeing those two things as mutually exclusive. She'd be happy to seek John Smith with Kyon's aid -- as she tries during the shrine scene -- but she's not even considering the option of dropping Kyon in favor of John Smith. This is not one of those fics. ^_^
It was silly of me to suggest they were mutually exclusive.
QuoteKyon's fear was that if Haruhi went on her way before he could stop her, Haruhi would go and steal another bamboo for the meeting, as she had done the previous year, and that would spoil the intended surprise.
Ah, I see now. And to keep the surprise under wraps, Kyon's fear here can't really be described. Since we can guess Kyon is fearful his surprise will be ruined, the exact reason (which can't be divined unless the reader knows it's a bamboo, which they could guess) isn't too material. The conclusion is the same regardless, so I think this is all right.
QuoteAs was discussed before, this is one of Haruhi's tests where she tries to find out exactly where the balance between her and Kyon is at the moment. Essentially, she's saying: "Wouldn't you buy me a treat if you like me?" Kyon recognizes this, and considers his options for a while before choosing the one that allows him to evade a direct answer.
Kyon: "Sure, I like you...."
Haruhi: "Yay!"
Kyon: "...all. Never mind Koizumi, though."
Haruhi: "Rats!"
I don't want Haruhi to sound too pushy, and if it comes through as such I can certainly rephrase it.
I think what happened is I misunderstood all along what game was being played. That Haruhi is deliberately testing Kyon is something I did pick up on, and that Kyon knows she's testing him isn't too surprising, either. Now that I know that this is what we're talking about, I see what you must mean. Because Kyon catches and defuses each of these ploys, he maintains control of the situation, at least to an extent, and for my part, I think that's a good thing. It is good that Kyon won't show real affection in response to an action meant to test him. A couple already in a relationship can play the game Haruhi is playing, and that's one thing, but they're not in a relationship (yet), so here, I like that Kyon doesn't bite at the fishing hook, so to speak. And Haruhi wising up and confessing something genuine, even if she doesn't fully expose herself, in my mind shows that she's learned something, that such ploys won't work on him.
It's not the same as learning not to make such ploys in the first place, but I'm not going to say the games an infatuated teenager plays amount to any heinous, immoral action either.
QuoteDuring the lunch Haruhi pinched a prune from Kyon's bento, and here she's wondering whether Kyon's willing to reciprocate. This is Haruhi's last attempt at testing Kyon, and he acts in a way that makes it clear that he sees through Haruhi's intention and refuses to take either option that she's offering. Haruhi realizes that she's been bested when it comes to this particular game, and won't try again.
Is Kyon's answer too condescending? It is meant to have a mild reproach in it, as Kyon is not too happy to be Haruhi's test subject in this particular issue.
Interesting. I didn't realize how Haruhi intended the incidents to mirror each other.
I think how Kyon comes across in that scene can be tweaked with something subtle. Without some clarification on his feelings or body language while he's saying this, it could be open to whatever tone and inclination the reader wants to put into Kyon's mouth. When I read it this last time, I read it like he was mocking her, yet on closer inspection, I see that this isn't necessarily the case, and in my eagerness to puzzle out what was in Kyon's mind, I put something in that wasn't explicitly there.
I think body language or some internal statement of his feelings at this point (masked as it may be to keep the back and forth game from being made explicit) would be the best way to keep the words intact but fine tune the meaning delivered.
QuoteKyon fears that by helping Haruhi with the lanterns he will only get her hopes up and make the inevitable disappointment worse, as he knows that Haruhi can't get the answer she's looking for. He is worried about Haruhi (and him) getting into trouble over the rearrangement -- over nothing as he sees it, since he also knows that the lanterns won't help with the issue. He is also emotionally shaken by the situation.
He is in an impossible situation, and -- as he thinks -- cannot do anything without making the situation worse, so he doesn't do anything.
What he doesn't know is that Haruhi's plan extends past the rearrangement. What she doesn't know is why Kyon is this stubborn when she had expected only a modicum of resistance from him.
I see now. I think I made a big point of this because, while I immediately agreed understood how Kyon could see it pointless, this is also all the explanation he gives for not helping her anyway. I think if how you explained it here could be integrated into the text (without breaking too much Kyon's need to filter his own feelings from the reader), it would make his motives for dismissing the idea of helping her anyway a lot clearer and more sympathetic. As it is written, to me I get the idea he's saying it's pointless from a literal and logical point of view (i.e., it's pointless only because he knows John Smith has already heard her) rather than for the harm that would be done to Haruhi by getting her hopes up for nothing.
QuoteI tried to make a distinction between exciting and laborius, with Kyon liking the former but not the latter; however, when it comes to Haruhi's plans, the two often come hand in hand.
[...]
Do you think that the reasons I gave above are insufficient for Kyon's inactivity? The problem is, had Kyon chosen otherwise there woudn't have been a story to tell.
No, I think they're sufficient, but are the ways he avoids that cognitive dissonance adequately explored in the text? Do they need to be for the reader not to wonder how he can enjoy Haruhi's attitude on level and fear what it can entail on another? I think those are the questions I meant to ask.
And I think there's a good bit of leeway for needing stuff to happen for the story to even occur when the story's in the early stages, but maybe that's just me.
QuoteYou've done a much more thorough job than I could hope to see, and it has indeed helped me a lot. Several pieces that were hanging or poorly defined have found their place and I have a much better vision on how to proceed with certain aspects of the story. Thank you very much for the effort!
I'm glad to hear it. All the best.
Quote from: sarsaparilla on February 25, 2012, 04:36:35 PMBrian mentioned that Kyon's ominously foreboding remarks might have an unfavorable effect, especially since I have a tendency to wander off to darker recesses in some of my works. I'll do a 'tone check' on all such remarks, trying to convey the impression that the obstacles ahead are closer to the 'yare yare' variety than horrendous nightmares.
Actually ... I think I'm not being a constructive influence. After thinking about it a bit-- You should just ignore everything I said, probably. You have a solid image of what you want to write, and I think I'm only distracting you from that.
Sorry about all the trouble. -_-