Kyle Michel Sullivan's Blog: https://www.myirishnovel.com/, page 202
April 2, 2016
Proofing done on OT
I'm finally finished with the page by page proofing I was doing, backwards. Now comes polishing the layout so it looks good. Word has its limits when it comes to that. Sometimes it forgets where I've set margins for the headers, by maybe 1/4 of an inch. Sometimes it reworks the spacing between lines. I have yet to figure out how to get a consistent number of lines per page; I'll hit YouTube about that, tomorrow.
I'm working the layout for both the hardcover and paperback at the same time, so if any changes get made they're consistent between the two formats. And I need to write up a nice biography and get a photo of me to put in the back of the books. I've also got to finalize the number of pages so I can inform Bowker and get the Library of Congress card set up, not to mention the Table of Contents for each version. Lots of detail, still, that's fer dang sure.
The hardcover edition, which will be 6x9 inches, is about 300 pages of story; the paperback is about 365; it's 5.5x8.5. I have the front cover of the paperback all set; I just need to work out the spine and back cover. After that come the proofs of each version; that is all but a requirement if you want to make certain the books will look right. Then will come the e-book, which is a completely different format. No pagination, for example, and only a front cover.
I had hot cocoa to celebrate getting to the end of this. Yeah, really exciting...and a bit of a mistake. The mix I used was really sweet and my stomach is not happy with it. So in a way...I lived dangerously.
It's April 2nd and my car has 1/4 inch of snow on it, right now. It's the end of the world.
I'm working the layout for both the hardcover and paperback at the same time, so if any changes get made they're consistent between the two formats. And I need to write up a nice biography and get a photo of me to put in the back of the books. I've also got to finalize the number of pages so I can inform Bowker and get the Library of Congress card set up, not to mention the Table of Contents for each version. Lots of detail, still, that's fer dang sure.
The hardcover edition, which will be 6x9 inches, is about 300 pages of story; the paperback is about 365; it's 5.5x8.5. I have the front cover of the paperback all set; I just need to work out the spine and back cover. After that come the proofs of each version; that is all but a requirement if you want to make certain the books will look right. Then will come the e-book, which is a completely different format. No pagination, for example, and only a front cover.
I had hot cocoa to celebrate getting to the end of this. Yeah, really exciting...and a bit of a mistake. The mix I used was really sweet and my stomach is not happy with it. So in a way...I lived dangerously.
It's April 2nd and my car has 1/4 inch of snow on it, right now. It's the end of the world.
March 31, 2016
Proofing be hard-ish-er
Man...going backwards page by page to check for typos and such is not as easy as I thought it would be. I can do it for about 3 hours then my brain starts to melt. I've only got about 150 pages left to do, but my head and eyes hurt, so I had to stop. How people can do this for a living is beyond me.
Looks like I may have a week-long job beginning April 18th, which will cut in severely with my pace to publish OT before the end of the month, so I may shift back to doing the paperback, first. I did a quick reformat to see what it would be like in an 5.5 by 8.5 inch book, and that dropped the page count down to about 290. Plus a paperback cover is easier to work up. So...change of plans...
I can do the e-book on the road. That's pretty straightforward; I just need to link the table of contents to the heading of each chapter and drop the page breaks. Then save it into a PDF and send it off to Smashwords. They're easy to work with.
Looks like Next is missing out. I don't have the time to finish the storyboards, not to the level I'd like. I'm still not 100% on the script, yet, either. It'd have been a fun little project, especially in showing how to make a man walk on the side of a wall without needing harnesses and cushions and such. It's fun to work out cheap ways to make things look expensive.
I had Dair's Window (a drama about a gay man rebuilding his life after his lover dies) turned down by a producer because he thought it would necessitate a trip to Tokyo to shoot, at the end, and he didn't want to go through the expense and hassle. Even after I told him it wouldn't be required, that there were easy ways to keep the full shoot in Southern California, even though it's set mainly in a mountain town outside Seattle ... he couldn't see how.
I even explained -- use stock footage of Tokyo and, when Dair (the lead character) is riding through the streets in a cab, have that reflected in the taxi's windows, then dress a building in LA's Little Tokyo to be in Japan, flip the image in editing so the cars are right drive, and have Dair cross the street as a couple of Japanese extras pass him by, people will accept it. Nope, "Shooting in Tokyo's too damned expensive."
Which is nonsense, since all it takes is imagination and a willingness to think outside the box.
Looks like I may have a week-long job beginning April 18th, which will cut in severely with my pace to publish OT before the end of the month, so I may shift back to doing the paperback, first. I did a quick reformat to see what it would be like in an 5.5 by 8.5 inch book, and that dropped the page count down to about 290. Plus a paperback cover is easier to work up. So...change of plans...
I can do the e-book on the road. That's pretty straightforward; I just need to link the table of contents to the heading of each chapter and drop the page breaks. Then save it into a PDF and send it off to Smashwords. They're easy to work with.
Looks like Next is missing out. I don't have the time to finish the storyboards, not to the level I'd like. I'm still not 100% on the script, yet, either. It'd have been a fun little project, especially in showing how to make a man walk on the side of a wall without needing harnesses and cushions and such. It's fun to work out cheap ways to make things look expensive.
I had Dair's Window (a drama about a gay man rebuilding his life after his lover dies) turned down by a producer because he thought it would necessitate a trip to Tokyo to shoot, at the end, and he didn't want to go through the expense and hassle. Even after I told him it wouldn't be required, that there were easy ways to keep the full shoot in Southern California, even though it's set mainly in a mountain town outside Seattle ... he couldn't see how.
I even explained -- use stock footage of Tokyo and, when Dair (the lead character) is riding through the streets in a cab, have that reflected in the taxi's windows, then dress a building in LA's Little Tokyo to be in Japan, flip the image in editing so the cars are right drive, and have Dair cross the street as a couple of Japanese extras pass him by, people will accept it. Nope, "Shooting in Tokyo's too damned expensive."
Which is nonsense, since all it takes is imagination and a willingness to think outside the box.
March 29, 2016
Final polish
I'm checking over OT by going backwards through the story, one page at a time...and it's helping, a lot. I don't get caught up in the story or characters anywhere near as much, and I'm finding little typos and ways of making the moments work better as I go along, not to mention making the formatting look better. Only thing is, it's slow going. But once it's done, I'll know how many pages the book is and can get started on setting it up to be published. I'm currently at 320 pages, thanks to using Palatino in a 10 point font.
As of now, I'm planning on a limited run of hardcovers, signed and numbered. Then I'll do the paperback and e-book versions. I'm thinking of doing the same thing for Bobby Carapisi, just to do it. But I want to see how this goes, first. Hardcover is a lot more involved and I want to make sure it's done right.
I don't know if I'll do a regular hardcover of OT. It's going to price out at nearly $30 a copy, and I can't see people spending that kind of money for an unknown author, even if it is a mystery. It's also a lot more than a mystery, when it comes to character study and Jake's journey. Maybe I'll do some advance copies in trade paperback, to see if there's a market for it in the mystery book shops.
I'm going to do a lot more in the way of pushing the book, however, so I need to work out a plan. Since I subscribe to Writer's Digest, I've got access to a lot of information on selling a self-published book and there are also seminars on Stage 32 and via a few other sites I belong to. It'll be a learning experience.
Like everything in my life has been.
As of now, I'm planning on a limited run of hardcovers, signed and numbered. Then I'll do the paperback and e-book versions. I'm thinking of doing the same thing for Bobby Carapisi, just to do it. But I want to see how this goes, first. Hardcover is a lot more involved and I want to make sure it's done right.
I don't know if I'll do a regular hardcover of OT. It's going to price out at nearly $30 a copy, and I can't see people spending that kind of money for an unknown author, even if it is a mystery. It's also a lot more than a mystery, when it comes to character study and Jake's journey. Maybe I'll do some advance copies in trade paperback, to see if there's a market for it in the mystery book shops.
I'm going to do a lot more in the way of pushing the book, however, so I need to work out a plan. Since I subscribe to Writer's Digest, I've got access to a lot of information on selling a self-published book and there are also seminars on Stage 32 and via a few other sites I belong to. It'll be a learning experience.
Like everything in my life has been.
March 27, 2016
OT is taking over
I spent most of the day working on the formatting for OT, so I can start the process of publishing it. A normal hardcover book is 6x9 inches, so I've adjusted everything into that size. I'm also working up the headers with the page numbers, and prepping the opening pages. To make them look like the formatting in other books is a chore and a half. I assigned ISBN numbers and now need to finalize the page count so I can set up the Library of Congress card.
As I go through, I'm still finding little typos -- like a quotation mark missing or the wrong word in a spot or even repeating a word. I'm also finding I'll need to go through the book with care so I don't have anything that looks awkward -- like ." being the only item on a line because it comes after a dash.
I'm still trying to figure out how to make the line count uniform for each page. Word doesn't like to split up 2 or 3 line paragraphs to go from one page to the next; it just shifts the full paragraph on. I thought the "widows and orphans" box controlled that, but it did nothing when I un-ticked it. Maybe I'll troll You Tube to see if anyone has any ideas. That helped me work out my headers issues.
So now I've got a nice headache and my eyes hate me. Nothing was done on Next, today. I've got the feeling if I want to publish OT before the end of next month, I'll have to focus completely on that. We'll see how this goes, for now. I just want to finish it and have it out there.
It's time...and about damned time...
As I go through, I'm still finding little typos -- like a quotation mark missing or the wrong word in a spot or even repeating a word. I'm also finding I'll need to go through the book with care so I don't have anything that looks awkward -- like ." being the only item on a line because it comes after a dash.
I'm still trying to figure out how to make the line count uniform for each page. Word doesn't like to split up 2 or 3 line paragraphs to go from one page to the next; it just shifts the full paragraph on. I thought the "widows and orphans" box controlled that, but it did nothing when I un-ticked it. Maybe I'll troll You Tube to see if anyone has any ideas. That helped me work out my headers issues.
So now I've got a nice headache and my eyes hate me. Nothing was done on Next, today. I've got the feeling if I want to publish OT before the end of next month, I'll have to focus completely on that. We'll see how this goes, for now. I just want to finish it and have it out there.
It's time...and about damned time...
March 26, 2016
Redoing and redoing...
I spent most of today reworking Next back to being a jokey thing between Clint and Federic using tricks to get laid. But it was still kind of flat...until I made them frat boys and Eva a sorority girl at Pi Eta Kappa. The absurdity of that little joke reignited the story for me, and it's become a parody of the college campus sexual games played by kids who barely understand anything.
So...Federic became Freddie with hints of being closeted. Eva doesn't want to give in till she and Clint are almost killed by Freddie. And about 25% of the storyboard workups are still usable. Just quick roughs to give me an idea of what the story needs, visually, which I will fill in once I've finalized the script. Since it's now about sex, I added in a few sensuous moments between Clint and Eva, even as she's refusing to let him get to second base. The last lines need to be better, but it's working, again.
Then I had dinner and shifted to the reformatting of The Vanishing of Owen Taylor...and had a lovely time with Word for Mac. It lost half the work I'd done en route to Ireland, and for a few moments even refused to open up my initial document because it was in doc instead of docx. But I got around it by going through a couple of extra steps, then did the formatting and spell-check. Found some more typos, too.
I also widened the margins a bit and increased the size of the font by 2 points to make it easier to read. So now the book is 330 pages long. The first version I'll look into doing is a hardcover, once I have everything set. I need to go through and polish up the format; increasing the font threw my table of contents off. And I need to check with Lightning Spark to make sure I'm doing this right.
So much still to do on it...but I'm close, now...so very close...
So...Federic became Freddie with hints of being closeted. Eva doesn't want to give in till she and Clint are almost killed by Freddie. And about 25% of the storyboard workups are still usable. Just quick roughs to give me an idea of what the story needs, visually, which I will fill in once I've finalized the script. Since it's now about sex, I added in a few sensuous moments between Clint and Eva, even as she's refusing to let him get to second base. The last lines need to be better, but it's working, again.
Then I had dinner and shifted to the reformatting of The Vanishing of Owen Taylor...and had a lovely time with Word for Mac. It lost half the work I'd done en route to Ireland, and for a few moments even refused to open up my initial document because it was in doc instead of docx. But I got around it by going through a couple of extra steps, then did the formatting and spell-check. Found some more typos, too.
I also widened the margins a bit and increased the size of the font by 2 points to make it easier to read. So now the book is 330 pages long. The first version I'll look into doing is a hardcover, once I have everything set. I need to go through and polish up the format; increasing the font threw my table of contents off. And I need to check with Lightning Spark to make sure I'm doing this right.
So much still to do on it...but I'm close, now...so very close...
March 25, 2016
So...here we go...
I've got a good portion of the storyboards worked up for Next, and a quirky style is developing from that...except something's missing from the story. Granted it's only 6 pages long, but it doesn't really go anywhere. It just sort of sits there.
Initially, Federika was Federic, and he was Clint's wing man. But that seemed obvious and derivative, so I figured making him a her but with the same basic story would be off-beat enough for this competition. Didn't work, really. Now I'm trying to figure out what went wrong.
I thought about making Eva the werewolf and Clint her victim...but I don't like that, so much, either. I guess I'll take it back to being two guys out on the prowl, and drop the idea that Eva's a cat woman. Maybe that's what's making it too derivative and obvious. Means redoing some of my storyboards, but it has to be a good submission...no a fan-fucking-tastic one, if I want to have even a chance of winning.
Good thing is, I don't have to submit a script, yet; just a 350 word+ treatment and the storyboards...which would be dependent on the script, so that's on the moot point side. I also have to select some music to use with it. All by April 4th.
This contest is put up by Musicbed Film Initiative. You get cash and credits for equipment rentals and post facilities...up to $40,000. That's not a lot to shoot a film, these days, even a short one. I'd be open to trying it and making some of the difference up, myself. Blow my tax money, maybe. But it has to kick ass or it's a total waste of time and effort.
So I really need to find the spark that makes it work, again...or just not do it.
Initially, Federika was Federic, and he was Clint's wing man. But that seemed obvious and derivative, so I figured making him a her but with the same basic story would be off-beat enough for this competition. Didn't work, really. Now I'm trying to figure out what went wrong.
I thought about making Eva the werewolf and Clint her victim...but I don't like that, so much, either. I guess I'll take it back to being two guys out on the prowl, and drop the idea that Eva's a cat woman. Maybe that's what's making it too derivative and obvious. Means redoing some of my storyboards, but it has to be a good submission...no a fan-fucking-tastic one, if I want to have even a chance of winning.
Good thing is, I don't have to submit a script, yet; just a 350 word+ treatment and the storyboards...which would be dependent on the script, so that's on the moot point side. I also have to select some music to use with it. All by April 4th.
This contest is put up by Musicbed Film Initiative. You get cash and credits for equipment rentals and post facilities...up to $40,000. That's not a lot to shoot a film, these days, even a short one. I'd be open to trying it and making some of the difference up, myself. Blow my tax money, maybe. But it has to kick ass or it's a total waste of time and effort.
So I really need to find the spark that makes it work, again...or just not do it.
March 24, 2016
Pushing it...
I'm working up storyboards for a competition to make a short film. Here's my script -- NEXT.
EXT. HOUSE - NIGHT
Quiet. Deserted. A good-looking young couple -- CLINT and EVA -- head for a dark two-story house, arms entwined.
A DARK FIGURE rises. Unnoticed. Watches them.
CLINT
... So the client finally comes out the door, and the dude behind the desk asks, How was it? And the guy says, Best sex I ever had. But it was so dark in there; wish I could'a seen who she was. Then that same door opens and this ninety-year-old fart with a beard an' no teeth pops his head out, spits and says, Next.
EVA
Oh, Clint -- you're awful.
CLINT
Aw, no, I'm good. Real good.
He nips at her neck. She dances away.
THE FIGURE watches Clint chase Eva to the door.
EVA
Stop it. I'm ticklish.
CLINT
That's fun to know.
EVA
And that's all you're gonna know, freak. It's late.
CLINT
Aw, Eva. Can't I come in for a second? Just for a ... a nightcap?
EVA
Yeah, I've known you, what -- two hours? So say, g'night, Clintie.
CLINT
Good night, Clintie.
She giggles. Leans against the wall. Seductive.
He moves in close. His lips almost brush hers. She barely tries to hold him back.
The dark figure quietly CRAWLS DOWN THE WALL, upside down above them, like a spider. Tall, dark, beautiful FEDERIKA.
CLINT (CONT'D)
Then how ‘bout a kiss?
EVA
Why?
CLINT
You might like it.
EVA
I’ve been kissed before.
CLINT
Not by me.
She smiles. His lips connect with hers. She all but purrs. They glide into a deep passionate embrace. He trails his lips down her neck. She stretches back. Looks up.
FEDERIKA LOOKS BACK AT HER, INCHES AWAY. She SCREAMS.
BAM -- Federika pounces on Clint. They crash to the ground. Eva is slung to the side. Clint wriggles away.
Federika jumps up. She has FANGS. SHE'S A VAMPIRE.
Clint yelps. Sees a branch on the ground. Jumps for it.
Federika motions to him with one hand.
Clint tumbles. Scrambles up. Grabs for the branch, again.
Federika lunges at Clint. Slings him around. Sends him flying over a garbage can.
Eva scrambles to her feet. Digs in her purse.
Federika advances. Fangs bared.
Eva stumbles back, crouching.
Clint finds a used chopstick in the trash, snaps it and jumps Federika. She deflects him with a Russian style of martial arts. They seem evenly matched.
Eva digs her keys from her purse and unlocks the front door.
Federika slams Clint into a tree. Turns him around. Gets a tight hold on him. Is about to bite his neck.
Eva yanks Mace from her purse. Jumps Federika. Sprays her with it. Federika knocks her aside, but the Mace affects her. She SNARLS in fury.
Clint breaks free. Rams the chopstick into Federika's shoulder. She SCREAMS in pain. Rips the chopstick out.
FEDERIKA
(total Dracula)
For this, you will pay.
Clint stumbles back. Eva yanks him into the house.
Federika tries to follow -- cannot enter.
EVA
Sorry, bitch. Vampire free zone.
She slams the door in Federika’s face.
INT. HOUSE - NIGHT
Through a window, Clint and Eva watch Federika.
FEDERIKA
I wait for you, boy. I wait for you.
She backs into the darkness.
Clint pants like a dog. Eva purrs as she turns to him.
CLINT
Aw, man. Aw, man. You ... you sure she can’t get in?
EVA
Clintie, vampires have to be invited into a house. Everybody knows that.
CLINT
Now I gotta stay here till dawn. And what could we do till then?
Eva showers him with nips and kisses. Shoves him onto the couch. Tears open his shirt, grinning like a crazed sex-aholic. Clint whoops.
CLINT (CONT’D)
Ah ... well ... if you insist ...
She pulls at his pants. He giggles. They kiss some more.
HIS HAIR GROWS A LITTLE. HIS EARS BECOME POINTED.
Eva keeps kissing him.
HER NAILS GET LONGER ... SHARPER.
They keep fooling around.
EXT. HOUSE - NIGHT
The lights go out. GIGGLES, LAUGHTER, GROANS AND GROWLS.
Federika sees a full moon begins to rise. She backs away.
EXT. ALLEYWAY - NIGHT
Cluttered. Clint strides down it. His face is scratched. Federika POUNCES ON HIM, in full vampire mode. They crash to the ground. Clint YELPS like a scared puppy. Federika almost bites him -- flicks his forehead with a finger.
FEDERIKA
That is for ramming the chopstick in my shoulder, you little shit.
CLINT
I had to do something to make her think I could beat you. You used your magic crap on me!
She stands and yanks Clint to his feet.
FEDERIKA
I just hope the little bitch was worth it.
CLINT
Well ... sort’a. Kind’a. Sort’a.
He licks a scratch on one hand.
FEDERIKA
Wait ... what happened? You’re all scratched up.
CLINT
Aw, Federika, she was a CAT woman.
FEDERIKA
No!
CLINT
Yep. She thought she was gonna eat me -- and not in a fun way.
FEDERIKA
Clint. How is it you always find these crazy girls?
CLINT
I dunno. I just see something fun and frisky, and I go for it. Like I did with you.
FEDERIKA
And we almost killed each other. But that’s a typical werewolf attitude -- hump now, think later. You’d do better to learn something about the next girl before you try that, again.
Clint scratches behind one ear.
CLINT
Aw, please. Then they want to build a bed together.
FEDERIKA
I know what you mean.
CLINT
Life was so much easier when all I wanted to do was kill girls and play with their entrails.
FEDERIKA
... Is that how it ended?
CLINT
Naw, I think she’s still hiding under the house. But I gotta say -- till she turned, it was some damn good humpin’. Anyway ... you picked yours, yet?
FEDERIKA
A cute barrista with a man-bun, who’s off work in half an hour.
CLINT
Aw, man. We better get goin'. Full moon’s almost at her peak. You want me in full wolf mode?
He bounces away. Federika smiles and follows.
FEDERIKA
It does make them feel masculine when they fight you off. Oh ... the things one must do to get laid.
CLINT
Yep. So ... can I watch, again?
FEDERIKA
Only if you promise not to whine and claw at the window, this time. I ... need to concentrate.
CLINT
You?
FEDERIKA
I’ve ... had a problem, lately. With premature Dracu-lation.
CLINT
Aw, Federika, that hits girls, too?
FEDERIKA
It’s not the same thing!
CLINT
All right, all right, all right, I’ll be quiet, I promise. Promise.
Federika pats Clint’s butt. He bounces around like a happy puppy.
CLINT (CONT'D)
Aw, man, this is gonna be so great. Next.
They disappear into the night with a YIP, YIP, YIP, HOWL.
FADE TO BLACK
EXT. HOUSE - NIGHT
Quiet. Deserted. A good-looking young couple -- CLINT and EVA -- head for a dark two-story house, arms entwined.
A DARK FIGURE rises. Unnoticed. Watches them.
CLINT
... So the client finally comes out the door, and the dude behind the desk asks, How was it? And the guy says, Best sex I ever had. But it was so dark in there; wish I could'a seen who she was. Then that same door opens and this ninety-year-old fart with a beard an' no teeth pops his head out, spits and says, Next.
EVA
Oh, Clint -- you're awful.
CLINT
Aw, no, I'm good. Real good.
He nips at her neck. She dances away.
THE FIGURE watches Clint chase Eva to the door.
EVA
Stop it. I'm ticklish.
CLINT
That's fun to know.
EVA
And that's all you're gonna know, freak. It's late.
CLINT
Aw, Eva. Can't I come in for a second? Just for a ... a nightcap?
EVA
Yeah, I've known you, what -- two hours? So say, g'night, Clintie.
CLINT
Good night, Clintie.
She giggles. Leans against the wall. Seductive.
He moves in close. His lips almost brush hers. She barely tries to hold him back.
The dark figure quietly CRAWLS DOWN THE WALL, upside down above them, like a spider. Tall, dark, beautiful FEDERIKA.
CLINT (CONT'D)
Then how ‘bout a kiss?
EVA
Why?
CLINT
You might like it.
EVA
I’ve been kissed before.
CLINT
Not by me.
She smiles. His lips connect with hers. She all but purrs. They glide into a deep passionate embrace. He trails his lips down her neck. She stretches back. Looks up.
FEDERIKA LOOKS BACK AT HER, INCHES AWAY. She SCREAMS.
BAM -- Federika pounces on Clint. They crash to the ground. Eva is slung to the side. Clint wriggles away.
Federika jumps up. She has FANGS. SHE'S A VAMPIRE.
Clint yelps. Sees a branch on the ground. Jumps for it.
Federika motions to him with one hand.
Clint tumbles. Scrambles up. Grabs for the branch, again.
Federika lunges at Clint. Slings him around. Sends him flying over a garbage can.
Eva scrambles to her feet. Digs in her purse.
Federika advances. Fangs bared.
Eva stumbles back, crouching.
Clint finds a used chopstick in the trash, snaps it and jumps Federika. She deflects him with a Russian style of martial arts. They seem evenly matched.
Eva digs her keys from her purse and unlocks the front door.
Federika slams Clint into a tree. Turns him around. Gets a tight hold on him. Is about to bite his neck.
Eva yanks Mace from her purse. Jumps Federika. Sprays her with it. Federika knocks her aside, but the Mace affects her. She SNARLS in fury.
Clint breaks free. Rams the chopstick into Federika's shoulder. She SCREAMS in pain. Rips the chopstick out.
FEDERIKA
(total Dracula)
For this, you will pay.
Clint stumbles back. Eva yanks him into the house.
Federika tries to follow -- cannot enter.
EVA
Sorry, bitch. Vampire free zone.
She slams the door in Federika’s face.
INT. HOUSE - NIGHT
Through a window, Clint and Eva watch Federika.
FEDERIKA
I wait for you, boy. I wait for you.
She backs into the darkness.
Clint pants like a dog. Eva purrs as she turns to him.
CLINT
Aw, man. Aw, man. You ... you sure she can’t get in?
EVA
Clintie, vampires have to be invited into a house. Everybody knows that.
CLINT
Now I gotta stay here till dawn. And what could we do till then?
Eva showers him with nips and kisses. Shoves him onto the couch. Tears open his shirt, grinning like a crazed sex-aholic. Clint whoops.
CLINT (CONT’D)
Ah ... well ... if you insist ...
She pulls at his pants. He giggles. They kiss some more.
HIS HAIR GROWS A LITTLE. HIS EARS BECOME POINTED.
Eva keeps kissing him.
HER NAILS GET LONGER ... SHARPER.
They keep fooling around.
EXT. HOUSE - NIGHT
The lights go out. GIGGLES, LAUGHTER, GROANS AND GROWLS.
Federika sees a full moon begins to rise. She backs away.
EXT. ALLEYWAY - NIGHT
Cluttered. Clint strides down it. His face is scratched. Federika POUNCES ON HIM, in full vampire mode. They crash to the ground. Clint YELPS like a scared puppy. Federika almost bites him -- flicks his forehead with a finger.
FEDERIKA
That is for ramming the chopstick in my shoulder, you little shit.
CLINT
I had to do something to make her think I could beat you. You used your magic crap on me!
She stands and yanks Clint to his feet.
FEDERIKA
I just hope the little bitch was worth it.
CLINT
Well ... sort’a. Kind’a. Sort’a.
He licks a scratch on one hand.
FEDERIKA
Wait ... what happened? You’re all scratched up.
CLINT
Aw, Federika, she was a CAT woman.
FEDERIKA
No!
CLINT
Yep. She thought she was gonna eat me -- and not in a fun way.
FEDERIKA
Clint. How is it you always find these crazy girls?
CLINT
I dunno. I just see something fun and frisky, and I go for it. Like I did with you.
FEDERIKA
And we almost killed each other. But that’s a typical werewolf attitude -- hump now, think later. You’d do better to learn something about the next girl before you try that, again.
Clint scratches behind one ear.
CLINT
Aw, please. Then they want to build a bed together.
FEDERIKA
I know what you mean.
CLINT
Life was so much easier when all I wanted to do was kill girls and play with their entrails.
FEDERIKA
... Is that how it ended?
CLINT
Naw, I think she’s still hiding under the house. But I gotta say -- till she turned, it was some damn good humpin’. Anyway ... you picked yours, yet?
FEDERIKA
A cute barrista with a man-bun, who’s off work in half an hour.
CLINT
Aw, man. We better get goin'. Full moon’s almost at her peak. You want me in full wolf mode?
He bounces away. Federika smiles and follows.
FEDERIKA
It does make them feel masculine when they fight you off. Oh ... the things one must do to get laid.
CLINT
Yep. So ... can I watch, again?
FEDERIKA
Only if you promise not to whine and claw at the window, this time. I ... need to concentrate.
CLINT
You?
FEDERIKA
I’ve ... had a problem, lately. With premature Dracu-lation.
CLINT
Aw, Federika, that hits girls, too?
FEDERIKA
It’s not the same thing!
CLINT
All right, all right, all right, I’ll be quiet, I promise. Promise.
Federika pats Clint’s butt. He bounces around like a happy puppy.
CLINT (CONT'D)
Aw, man, this is gonna be so great. Next.
They disappear into the night with a YIP, YIP, YIP, HOWL.
FADE TO BLACK
March 22, 2016
More from the trip
I have to share this insane moment I saw while atop The Cliffs. Don't forget, they're 700 feet straight up from the ocean.
The following photos were taken at about the middle point of the Cliffs. This is looking to the south. The tiny dots along the top ledge are people walking along the pathway.
These two boys were chucking stones over the side to find out if they could hear them hit the water. The boy in the black jacket and plum plants has his foot planted right at the edge of the cliffs.
...as in...right here. I got on my stomach to take this photo...
This was taken from that same spot.
This last photo is en route back to the visitor center, which is already closed. It cleared up just enough to be able to make out Inish Oirr with not much manipulation of the picture.
The following photos were taken at about the middle point of the Cliffs. This is looking to the south. The tiny dots along the top ledge are people walking along the pathway.These two boys were chucking stones over the side to find out if they could hear them hit the water. The boy in the black jacket and plum plants has his foot planted right at the edge of the cliffs.
...as in...right here. I got on my stomach to take this photo...
This was taken from that same spot.
This last photo is en route back to the visitor center, which is already closed. It cleared up just enough to be able to make out Inish Oirr with not much manipulation of the picture.
March 21, 2016
Back to the USA...
Good trip, overall. The job went a lot better than I expected and I got time enough to drive out to Galway and The Cliffs of Moher, as was made evident by the previous post.
Galway's old town area has changed very little since I was last there. This photo pretty much matches one I took in 2002, over by the Cathedral. In Return to Darian's Point, this is where Perri comes to understand what's really been going on in his life.
This was the basic weather around the Cliffs when I arrived, and down between the outcropping and the shore is a tour boat that leaves from Doolin, just up the coast. I almost chose to do that, instead of going to the top...and probably will the next time I'm there.
You can't tell from this photo, but in the distance you can almost make out the Aran Island of Inish Oirr, about a quarter of the way from the top. When I get home I may see if Photoshop will help me bring that out, better.
The area's been built up a bit, since my last visit. That ledge in the middle left of the photo used to be open to anyone, and you walked up to the tower over slate steps built into the hill's edge. It's been tamed, a bit...and is almost sad.
This is how everything looks once the crowds are gone. Stragglers jump the retaining walls and wander about, at will. no guards to yell at you. No one to keep you from being a fool.
I got there half an hour before closing and stayed for an hour past, without realizing it...and it led me into a calming of sorts. The mystical beauty of the place finally took hold and I drifted back to my car, in no hurry, anymore.
I feel so right about this magical place...
Galway's old town area has changed very little since I was last there. This photo pretty much matches one I took in 2002, over by the Cathedral. In Return to Darian's Point, this is where Perri comes to understand what's really been going on in his life.
This was the basic weather around the Cliffs when I arrived, and down between the outcropping and the shore is a tour boat that leaves from Doolin, just up the coast. I almost chose to do that, instead of going to the top...and probably will the next time I'm there.You can't tell from this photo, but in the distance you can almost make out the Aran Island of Inish Oirr, about a quarter of the way from the top. When I get home I may see if Photoshop will help me bring that out, better.
The area's been built up a bit, since my last visit. That ledge in the middle left of the photo used to be open to anyone, and you walked up to the tower over slate steps built into the hill's edge. It's been tamed, a bit...and is almost sad.This is how everything looks once the crowds are gone. Stragglers jump the retaining walls and wander about, at will. no guards to yell at you. No one to keep you from being a fool.
I got there half an hour before closing and stayed for an hour past, without realizing it...and it led me into a calming of sorts. The mystical beauty of the place finally took hold and I drifted back to my car, in no hurry, anymore.
I feel so right about this magical place...
March 20, 2016
Quick post on Ireland
Job is done...so I took off for Galway and the Cliffs of Moher.
To put it in perspective, it's about as far from where I'm staying to Galway as from San Antonio to Houston. The Cliffs are about the same distance but it's up winding roads where people don't like to drive more than 45, so takes forever...and now you can see why I do not like to take selfies...I come across as rather crazed, especially after driving those damned roads.
More later.
To put it in perspective, it's about as far from where I'm staying to Galway as from San Antonio to Houston. The Cliffs are about the same distance but it's up winding roads where people don't like to drive more than 45, so takes forever...and now you can see why I do not like to take selfies...I come across as rather crazed, especially after driving those damned roads.
More later.
