Last week, I discussed how being in two different character’s heads was driving me a little batty. So, how did I finally get back into Julia’s head…or at least lift the veil of why I was getting lost in the scene I had to step away from?
In a word: Castle.
I ignored this show when it first came out. Yet another cop drama. Blech. And a writer was involved…oh, that couldn’t be a good twist. But, one of my Facebook friends KEPT asking if I’d seen it and finally posted a clip that she thought I’d like. I did. And I started watching regularly at some point in the second season.
Recently, I Netflixed the first season…yes, smack dab in the middle of the third season, I decided to start reading the beginning. Because I knew the characters going in, when I watched the pilot, I unintentionally dissected it. Not in a “ouch, what were they thinking” kind of way, but in a “wow, what a great way to introduce the character” and “what a great way to set up the stakes” kind of way.
How this actually translated to my brain working on Julia?
Not a spoiler, but if you want to see it fresh for yourself, I’m letting you bail now.
Richard Castle is a mystery writer who just killed off his beloved hero. We meet him at a glitz and glamour release party for the final book. His publisher asks why on earth he killed the cash cow. Castle is flip and says he was bored. But his publisher reveals that she knows he has writer’s block and his next contracted book is due soon.
High to low in .2 seconds. We know who Castle is (vs who he wants to be), what his stakes are and the consequences.
Because I had spent so much time reviewing the last written Julia scene, my brain put two and two together. I realized that I was just adding words and, in the process, problems for myself, instead of just being short and to the point. A well worded conversation in a specific setting can tall you more than hours of exposition.