Re Ivan Colt, from Word

This is about Ivan Colt, who took the name because his agent made him.  He was born Evan Colson.  I have written a lot of the story, but it isn’t posted here.  It will be available when it’s done.  These are my earliest notes.

This story started a dark fantasy about an actor I like, and I was informed by the other two main characters that they wanted to live, so I had to make the main main character a different person.  That makes sense to me.  I ask that nobody show this to Colbert.  Please see the note below.  I have a paranoia about being caught out diong this sort of thing.

(Note:  I left Colbert’s name in the first part of this.  An explanation follows.)

****

Sometimes I write stories I like so much I want to share them. I never did finish Playing Scrabble With Tommy Lee Jones, but I will eventually, and I’ll create a fictitious movie star for it. If you haven’t read it, it’s the one that’s narrated by an alcoholic woman who’s driving across the South, periodically having blackouts, and running from a guy who’s fallen in love with her. She calls herself Raelene, but it’s not her real name. She’s intelligent and resourceful but she’s lost her kid and her dignity to booze, and she runs from her Mornings After because she’d rather not know what she did and she wants to live without attachments.

The current one is different, very dark, with some graphic violence. The narrator is an ignorant teenage girl whose pathological genius boyfriend, who sometimes buys male prostitutes for them to have fun with, celebrates her birthday by abducting her favorite actor and figuratively putting a bow on him. She is horrified but wildly tempted; she tries to explain to the prisoner that he is just a subject; ultimately she can’t do it, but she has hurt feelings by his refusal and also can’t stand up to her boyfriend’s domination.

       

 The actor, who calls himself Stephen, spends just enough time in the house to realize that the boyfriend is psychiatric prison material but the girl is sick and needs help — a child in danger. He cannot pretend not to know. How far will he go to save her from herself? Does the situation justify a pretense on his part of an attachment that an adult would never fall for? It’s all written from Princess’s POV, and the reader has to see would be obvious to everybody but her.

The fact is it’s a good story and what I have written so far is good enough to show my agent. It’s written in such a way that if some diabolical troublemaker showed it to Stephen Colbert he would find that he’s drawn as an honorable man. I wish I had written it with somebody else’s face and features (eyes, mmmmm) in mind, but I can’t. If it ever gets published the good guy’s name will be something like Stephen Carter. He’ll be best known as the American cousin in some British comedy/drama in its fourth season on BBC.
Edit: Ivan Colt. Watch for the book.

Ah, if only writers got to cast their own works, direct the cinematographer, and choose the score. But before 2011 is over I will have completed another novella and possible the half-written novel.

Princess has soundtracks running through her mind at all times, and some of the songs in the movie are chosen to alert the audience to what she’s thinking or assuming.

 In the movie version, at the scene where Evan turns Princess over to the authorities, the music a woman’s voice singing James Blunt’s “Goodbye Lover” as she is torn away and dragged into a police vehicle (with a social worker) — she is a needy child to the end. Evan will not turn and look. He has come to believe that even tortured love grown out of madness and perverted emotions is just as holy as what he has with his wife.

And Run by Snow Patrol. “To think I might not see those eyes/ Makes it so hard not to cry/ And as we say our long goodbyes/ I nearly do.” Goddam I’m good. This gets copied to the blog I don’t write in.

Ivan Colt is sometimes called Positivity Man because of his mission to make people laugh by pointing out silver linings in terrible situations. “See? You lit up. Hey, everybody, light up!” His audience goes wild and holds up lighters. The deal is, “Lighten up” is a criticism; “Light up” means Let your light shine. There’s also a running cigarette joke going on.

I’m still fleshing out these characters. I know Princess is childish and sensitive, obsessive and obsessed with Colt. She’s been with Paul since she was fourteen, when she ran away from an alcoholic and violent home. Her compusion to violate men is overppowering to her, and Paul finds her victims, then enjoys them himself. Sometimes she goes for periods of time without violating men, and when she does she tends to get a clearer head; Paul, who wants her to be always enslaved by her addiction, does something to knock her off the wagon. Paul wants her to love only him, as he “loves” her – faithfully, in spite of these purely sexual relationships. Princess is afraid of him. He beats her sometimes, when jealous of her attraction to Colt; later he apologizes tearfully.

Princess is sometimes locked in her room, which is a shrine to Ivan Colt with touches of little girlness: stuffed animals, pink sheets. She sings beautifully, and plays guitar. Sometimes Paul sings with her – a strange form of intimacy for people in their positions. Her mind is always running with music; every occurrence has its own soundtrack.

Superfluous sexy gif.  After I saw this, I thought about having Paul make Colt lick the table.

Edit:  Wrote a great scene in which Colt has to eat spaghetti with his fingers.  Paul licks him clean and has fun with his mouth.  This is a book my family will criticize, I tell you what.  I don’t wven show my work to some of the people I love the most, because they don’t understand why I write about victims of violence.  I’ve tried comparing parts of my work to that of Jonathan Kellerman, but it doesn’t help even to engage in a discussion.

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Published in: on April 10, 2011 at 7:21 pm  Leave a Comment  

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