I'm trying to punch my way back into the screenplay for The Red Tree, which means, it turns out, tossing out some of what I've already done. Belatedly, I realize that the proper way of doing this may be setting the novel aside. The film cannot be the novel. The film will be a reimagining, as they say, and while it will very closely follow the narrative of the novel, it has to be allowed to become it's own thing. For example, most of the dialogue in the novel won't, I think, work onscreen. And there actually isn't that much dialogue in the book. So, one of the tricks here is to go coax new conversations from Sarah and Constance.
We're trying to decide if we're going to tough out the heat in the house today, or it we're going to head for the John Hay Library. I wouldn't be able to write there. I'd have to settle for proofreading Houses Under the Sea: Mythos Tales. If we are going, I need to spend an hour of so beforehand making the final decision about which Vince Locke illustrations that will be appearing in the limited edition of Beneath an Oil-Dark Sea. There will be ten, along with two by Rick Kirk and a few pages by Steve Lieber (from Alabaster).
It's kinda warm in my office. I need to go splash water on my head.