marycatelli (marycatelli) wrote,

ah, sweet love

plugging through the story, reflecting on what the heroine is thinking about. . . .

Well, there's what she should be thinking about, and conscientiously is.  Considering that covers both her official duties, and the secret but vital tasks, far more crucial than the official ones, that does indeed give her much to think about.

Meanwhile, she's in love.

And she can't breathe a word about it.  Certainly not to the man she's in love with.  It would not be fair to him because they have to work together on the secret tasks.  That they have feigned for months or years that the reason why they keep meeting is that they are in love is only an additional burden.

Meanwhile, I have to convey enough of her being madly, madly, madly in love to explain something she does later in the story, when she can't say a thing, and any action she does is framed in terms of convincing any bystanders that they are in love.  (Tasks being too crucial for them to meet in other situations, and anyway, it's not fair to him.)


The one generalizable rule I have concluded from reading is that when the lover is a point of view character, you can't pull it off without at least some bodily description.  Love could involve only a soul, but being in love requires embodiment.  If only the lover being aware of the beloved's movements or stillness.

hmmm.  Perhaps I could have her distract herself, or try to, and happen on some passages that remind her.

"I am two fools, I know,
For loving, and for saying so "

Tags: characterization, exposition, point of view

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