Here we go: (it's very sketchy)
MC is a female, 18ish, named Natalie. She comes from a wealthy family, and has been betrothed to business partner of the family and rich banker, Lord Robertson. He, after courting her for a year or so now, said he has some business abroad to attend to, then he will 'call for her' (they will be married and she'll start a new life as a housewife etc.)
She grows to truly despise this man. So much in fact that, after a loud and violent verbal fight, she wants VERY MUCH to kill him. He leaves her on the porch and doesn't return (she sits for hours until it gets dark, and her car comes for her). As she sits, she imagines killing him so vividly that, by the time she leaves, she has convinced herself that she HAS killed him.
The secret of her murder weighs heavily on her mind, and she becomes unresponsive, too afraid that she will tell someone her secret. She spends her time staring out the window, or at the wall etc.
Her caretaker, older cousin named ???, decides to take her to a new setting, a big fat house in the country belonging to a family friend. She is forced to open up a LITTLE as she is being watched carefully. But she still spends time staring at the wall and such.
Now, there are several butlers maids etc in this house. Enter love interest, Charles. A young boy her age who lives and works there under the orders of HIS caretaker, his elderly, mean, aging aunt Pinkett. They have a few encounters, and he has fun teasing her, especially about Lord Robertson, ten years her senior. Then one day he, teasingly he thought, whispers her secret. (You killed him, didn't you?) Of course, he is shocked to find this to be true. But, for some reason, he doesn't tell. He finds enjoyment in holding it over her head. Eventually, he blackmails her into doing work for him, and taking the blame for things he can now do wrong.
STUFF HAPPENS (middle story stuff. Relationships etc. Her cousin and the family friend set up tea parties for her with the local girls, Charles and Natalie become more like grudging friends).
One night, she accompanies Charles to Mrs. Pinkett's house, where she is oddly quiet and reserved (well, odd in front of HIM by this point). She is rather mean and verbally abusive to Charles, and less than cordial to Natalie. Somehow, need to work out some stuff, she snaps and kills Pinkett. Charles is shocked. She said it was easy, seeing as she's killed before, to kill again.
Shocked, but trying to protect her, he helps her bury the body in the woods about a mile away. They leave a little shaken.
Their relationship continues to develop to the point where, somehow, they're making out heavily and on the verge of doing "it."
Natalie's cousin and host catch them in the room. Charles is immediately fired and banished from the town (because the friend is the mayor). Natalie becomes weird and cold, does not defend him, and tells lies as they're questioning the pair. Charles shouts out that she killed Lord Robertson.
He leaves without another word.
Two weeks later, Natalie marches herself down to the police office and turns herself in for murdering Lord Robertson. Her cousin and the mayor rush out to see why she did this, when she informs them of her secret. The town is shocked, and there is no real proof, but they have no choice but to put her on trial. Where, she sings like a bird about how she killed him, when, and where she put the body.
Suddenly, the doors to the courtroom fly open, and in enters Lord Robertson. He says: "I come to call upon my future wife, and yet I find her on trial for my murder..."
Natalie, still insisting that she killed him, is pronounced, after a visit to the psychiatrist, mentally unstable. Lord Robertson immdiately rejects the idea of their matrimony, and leaves her there. The judge asks who will be her gaurdian, or if she needed to go to an institution to be cared for.
Suddenly, Charles arrives through the door, and announces that he will care for her. (He had managed to take the money he had inherited from Mrs. Pinkett and get rent going in a small flat in a town about sixty mile away. He works in the shop downstairs.
Her cousin is more than happy to give her over to the boy he kicked out of his house. He wants nothing to do with her and her lunatic mind. His job was to care for her until she was old enough to be presented to Lord Robertson. He did his job. Robertson's declination was not his problem.
Charles and Natalie leave the town immediately by carriage. He has her belongings.
She will be able to live a relatively normal, if poorer, life with him. Although her mind IS unstable and she has slip-ups, as is seen with her question about visiting Mrs. Pinkett as they ride out of town. (which is the end of the story).
What do you think?
a blog and a half and Hefty bags really DO rip
16 years ago

2 comments:
Woah.
Okay.
Man, I can't even TELL YOU how much I love the crazy-element. I find it incredibly amusing to toy around with--because, you know, the human mind is so malleable! You, the author, can make your main character believe whatever you want her to believe, right along with your audience itself...
Okay, so if you go for that angle (which I'm loving, I tell you), I think the biggest thing would be keeping the question of her sanity out of the picture till towards the end. Easier this way in first person. Because it's always more of a ride for the audience, right, if they believe her too. They'll know, in the back of their minds, that Lord Whats-his-face is still alive, but their narrator will be so convinced that they will be forced to go along with it! Ahhhhh.... That's so much fun.
They come close to doing "it"... Oh my. Scandalous!!! (<---Ashleys)
Sounds very much like a period piece. To me, at least. In description. Forced engagements don't happen a lot in our culture, nowadays. Anywhos, if you're in an older society, without all the stupid technology of today getting in your way--well, that could be even more exciting, I think. 'Cause then you can really play with emotions, right? 'Cause they'll be all, "She's CRAY-ZEEE, lock her up in prison," or whatever.
Let's see....
I myself would have a problem writing with the entire outline, but that's what you did with Dim, isn't it?
(reading back) Yeah, butlers, maids, caretakers, definately sounds like some other place in time to me.
I think it would be a satisfactory and rewarding endeavor--perfect for a summer project, I'll bet you. And I think you'll come to find that insane characters are much more fun to play with than NORMAL ones.
In short, I love it. I'd love to read it, too--crazy peeps get my blood pumping. *blood pumps*
Respond forthwith!!! I hope my analysis was... helpful... satisfactory... blatantly annoying, muffin-filled, whatever.
Yes, a different time period. Not sure which one it fits, but I don't plan on mentioning it.
I think I MIGHT go with first, because I definately want her sanity to stay questioned until the end.
And, the thing is, I don't want anyone to know that he's alive.
The story will start with her leaving for the country, not with the two of them together. In fact, you should only see Lord Robertson in that final court scene. Obivously NOT dead.
Crazy people do look fun...
Woah.
Okay.
Man, I can't even TELL YOU how much I love the crazy-element. I find it incredibly amusing to toy around with--because, you know, the human mind is so malleable! You, the author, can make your main character believe whatever you want her to believe, right along with your audience itself...
Okay, so if you go for that angle (which I'm loving, I tell you), I think the biggest thing would be keeping the question of her sanity out of the picture till towards the end. Easier this way in first person. Because it's always more of a ride for the audience, right, if they believe her too. They'll know, in the back of their minds, that Lord Whats-his-face is still alive, but their narrator will be so convinced that they will be forced to go along with it! Ahhhhh.... That's so much fun.
They come close to doing "it"... Oh my. Scandalous!!! (<---Ashleys)
Sounds very much like a period piece. To me, at least. In description. Forced engagements don't happen a lot in our culture, nowadays. Anywhos, if you're in an older society, without all the stupid technology of today getting in your way--well, that could be even more exciting, I think. 'Cause then you can really play with emotions, right? 'Cause they'll be all, "She's CRAY-ZEEE, lock her up in prison," or whatever.
Let's see....
I myself would have a problem writing with the entire outline, but that's what you did with Dim, isn't it?
(reading back) Yeah, butlers, maids, caretakers, definately sounds like some other place in time to me.
I think it would be a satisfactory and rewarding endeavor--perfect for a summer project, I'll bet you. And I think you'll come to find that insane characters are much more fun to play with than NORMAL ones.
In short, I love it. I'd love to read it, too--crazy peeps get my blood pumping. *blood pumps*
Respond forthwith!!! I hope my analysis was... helpful... satisfactory... blatantly annoying, muffin-filled, whatever.
Yes, a different time period. Not sure which one it fits, but I don't plan on mentioning it.
I think I MIGHT go with first, because I definately want her sanity to stay questioned until the end.
And, the thing is, I don't want anyone to know that he's alive.
The story will start with her leaving for the country, not with the two of them together. In fact, you should only see Lord Robertson in that final court scene. Obivously NOT dead.
Crazy people do look fun...
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