Edmund Yeo

Man, I've been doing so many things about Death In Venice for European Mythologies(one of my literature units in uni) that I feel like an expert already. I mean, not only have I done an oral presentation about Thomas Mann and his novella, I've also written a 3000-word long essay analyzing the 1971 film adaptation by Luchino Visconti (just printed out the whole damned thing just minutes ago, it's due on the 15th of November... er, that's today). I'll be putting up the essay onto my site, cos' I'm pretty damned proud of it, and it's film-related, and also it's rare for me to write something that goes THAT deep into a film and its source material. Just let me look for some screenshots first.

Yes, I'm going to talk about my novel now, a writing project I haven't touched (excluding the time when I brought the rough draft onto my site, and also a short chapter I was writing 2 months ago which was meant to be a meeting between two major characters) since Alanded went off to Sydney on February. As many of you should know now, the entire project's going to undergo one MASSIVE overhaul. It's going to be VERY different from before, even though many of the characters who appeared in the rough draft will still be around. But everything else, the main plot, the settings (especially this), the tone, the mood, everything will be pretty damned different from before. I'm bringing this up after having a pretty short conversation with Alanded this afternoon regarding the new direction our novel will be heading. And I think I pretty much like what's going on. And yes, once I'm done with Slam Dunk: Inside Stuff, I'm going to concentrate fully on this no