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I know it has been a while due to personal issues, but really, when the prompt comes up as dance... I kind of had to.
In any case, this story is actually a scene from a longer story I'm working on. The basic idea for the story as a whole was to start with a human version of my super-genius skunk Sara Watterson, have her encounter tech that shouldn't really work, slowly turning her into basically a version of 'Kamen Rider' as she acquires more bits and pieces of things, and then eventually talk to the skunk version of her who's been supplying the super-tech for her to help fight off an inter-dimensional invasion from her side. This scene happens pretty early on in the main story, where she has already started doing Rider-esque stuff, but before she meets up with her counterpart and the whole invasion starts becoming a public thing.
(The scene already being in my head inspired this NSFW commission nine months ago, so that tells you how long this story has been simmering in my head.)
In any case, this story is actually a scene from a longer story I'm working on. The basic idea for the story as a whole was to start with a human version of my super-genius skunk Sara Watterson, have her encounter tech that shouldn't really work, slowly turning her into basically a version of 'Kamen Rider' as she acquires more bits and pieces of things, and then eventually talk to the skunk version of her who's been supplying the super-tech for her to help fight off an inter-dimensional invasion from her side. This scene happens pretty early on in the main story, where she has already started doing Rider-esque stuff, but before she meets up with her counterpart and the whole invasion starts becoming a public thing.
(The scene already being in my head inspired this NSFW commission nine months ago, so that tells you how long this story has been simmering in my head.)
Category Story / Human
Species Human
Size 50 x 50px
File Size 6 kB
Listed in Folders
Thanks. And I've always felt dialogue was one of my strengths as a writer.
Vivian is basically the office's... well, part Administrative Assistant, but also does occasional QA work and handles the ISO 9000 audits. What this means is that she is the person who knows everybody in the building and what projects they're working on, even if her eyes glaze over if somebody attempts to describe things in detail.
She's also going to be a significant character later in the story for reasons that would be serious spoilers to mention now.
Vivian is basically the office's... well, part Administrative Assistant, but also does occasional QA work and handles the ISO 9000 audits. What this means is that she is the person who knows everybody in the building and what projects they're working on, even if her eyes glaze over if somebody attempts to describe things in detail.
She's also going to be a significant character later in the story for reasons that would be serious spoilers to mention now.
Thanks!
Yes, as noted above this is part of a story in my head that's basically an entire TV season. And honestly would probably work better that way in terms of pacing than as a novel, as the 'beats' of things like combat sequences that work in a TV series would get more repetitive in what is presented as a single work. Especially as I'm going with a Kamen Rider-esque concept, and there's basically one fight per episode in those, each of them having to be a little different and where you want to raise the stakes slightly in each one to avoid too much 'monster of the week' syndrome.
Hunh, now I'm thinking that actually writing this would be good practice for another story that I worked on and eventually set aside because I couldn't get the pacing right; that story was more survival horror, and in that you do need a fairly regular ratcheting up of tension, and I just wasn't able to manage that when writing that serially for the APA I was a member of.
Yes, as noted above this is part of a story in my head that's basically an entire TV season. And honestly would probably work better that way in terms of pacing than as a novel, as the 'beats' of things like combat sequences that work in a TV series would get more repetitive in what is presented as a single work. Especially as I'm going with a Kamen Rider-esque concept, and there's basically one fight per episode in those, each of them having to be a little different and where you want to raise the stakes slightly in each one to avoid too much 'monster of the week' syndrome.
Hunh, now I'm thinking that actually writing this would be good practice for another story that I worked on and eventually set aside because I couldn't get the pacing right; that story was more survival horror, and in that you do need a fairly regular ratcheting up of tension, and I just wasn't able to manage that when writing that serially for the APA I was a member of.
Yeah... that other story, the 'survival horror' one, was inspired by the 1980s TTRPG Justifiers, which was sort of a 'cyberpunk furries in space' game where you played the part of vat-grown animal/human 'beta-humanoids' sent off to do interstellar exploration... because it was a dangerous job and the big corporations preferred to send people who were literally owned by the corporation and so who had no choice in going.
I had a scenario I wrote for a game session that I was trying to expand into a novella at least, called 'Ghost Town'... where the basic idea is that you're being sent to a world to find out what killed the previous team sent there. Oh, and the previous team was sent by a different corporation so you're claim-jumping as well. It's survival horror because you have six people who have to survive long enough to build the other end of a transporter so reinforcements can arrive, while knowing that the last group here all died, but not knowing how or why. And the oddities of this world keep piling up...
I had a scenario I wrote for a game session that I was trying to expand into a novella at least, called 'Ghost Town'... where the basic idea is that you're being sent to a world to find out what killed the previous team sent there. Oh, and the previous team was sent by a different corporation so you're claim-jumping as well. It's survival horror because you have six people who have to survive long enough to build the other end of a transporter so reinforcements can arrive, while knowing that the last group here all died, but not knowing how or why. And the oddities of this world keep piling up...
As I mentioned above, I basically have an outline for most of a TV season's worth of plot (well, TV season's worth of half-hour shows) and this scene would be part of the B-plot of something like the fourth or fifth episode. Establishing characters, and the ongoing main plot is still building up.
Now I just have to find some free time to actually write the rest of it.
Now I just have to find some free time to actually write the rest of it.
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