I've realized that simultaneously reading Tamburlaine Part II, Ken Wharton's Divine Intervention, and Connie Willis' Impossible Things is doing bizarre things to my brain.
I found a used copy of a Hugh Blumenfeld CD I didn't have yesterday. Go me. I need to get some Alice Cooper on CD--specifically, I need copies of "Desperado" and "Zorro's Ascent."
I'm obviously pretty incoherent this morning, aren't I? I seem to remember figuring out something important about The Stratford Man at two o'clock in the morning, and I can't remember what it was. But it can't have been a sentence, because I keep a pen by my bed to write those down. So I'm sure it will come back to me. And I figured out why Kit is stalling: he knows Will dies in 1616, and it's 1598/9, and he doesn't want to deal with it.
He's not buying it when I tell him that he died in 1593, so what does he have to worry about?
I understand that some writers have characters who don't have minds of their own. What do you do with them to get them motivated? Mine, it always seems to be a process of negotiation, where negotiation = "do what I want or I'll make your life even more miserable."
The problem being I'm running out of rope with which to make either of my protags unhappier, because it's That Part Of The Book. (The low point, for those of you following along in a scriptwriting book. Actually, it's a secondary low point: there's one more worse one coming up.)
And OMG, I have to go to work right now.