The pace on Cassie feels wrong to me in "game-time", but right in "real-time" as development has been stuttered for plenty of reasons anyone who's followed this knows about. I'm happy things seem to be humming along now, so I can't complain too much. The latest scene being crazy fucking hot and the quality being so high helps on not being too disappointed about missing a slow(er) burn story.
Maybe there would have been a way to have both (quick and slow) by having a corruption route play out with Roger slowly going through the motions of not getting any visits from social workers or the cops over a few more versions, but leaving the Cassie reverse seduction route (blue) as is from this update?
Roman, I haven't really caught if you have the story completely mapped out already or if you have a basic outline, but otherwise figuring it out as you go. What's that process?
Let's say I have a vision of the horizon but how I get there is still largely undetermined.
When I write, in general not just porn, I like to spend a bunch of time in the beginning learning who my characters are. Their personalities, their quirks, their aspirations, etc. I flesh them out like real people in my mind and get to know them insanely well. After that, I just come up with events and scenarios. I think, ok, what if Jane and Roger went to a Rock concert together.
Then I sit down, I write, and because the characters have so much predeveloped personality, they pretty much inform the script themselves. I think that is why the conversation comes off so naturally because the whole scene just starts to play out in my head like a scene from a T.V. show.
Before I know it, they are talking to each other, interacting, and pretty soon they are just doing their own thing and my job is to just write it down. I know that sounds meta-cheesy, but it's actually how my process works.
I know where I want the story to end and I have thoughts on various endings to different plot lines. But for now I'm just kind of riding these characters and seeing where they want to go. Often the conclusion of one scene will determine the actions of the next and I just sort of follow that path.
Of course I have to do some wrangling to ensure things don't spin wildly out of control. I conciously try and find ways to tie character plots into each other so that each character isn't standing alone in a void. And I think of various ways I heighten the drama to keep momentum in the story. But outside of that, my writing is pretty much my characters telling me what they want to do.
And this why I unfortunately have to sometimes say, I can't put things like an Emily, Cassie, Jane, Amanda four way into the story. Because as soon as I start contradicting the personalities of the characters, the whole process falls apart. I need their strong personalities to guide my writing and without it, we're just sputtering crap.