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jerepars · 8 years ago

Text

The Con Extended Chapter Notes

Hyperlinks appear in blue (underlined on mobile). The story is posted here. Direct link to this chapter is here.

> “Well, is this a new thing or an old thing?” Veronica supplied a starter question.

> “A bit of both, I guess. I had a huge crush on him when I left Riverdale. And then this summer, when I saw him, all those crush feelings came rushing back.” I got the floaty fluttering of butterflies in my stomach just speaking of my feelings out loud. “Then I found out he was moving here. Then I found out he was moving into my building. It all just kind of encircled me.”

I don't think I've made any reference to "The Con", the song by Tegan and Sara, since Chapter 2 ("The Plan"). We're now at the point in the story where the parts of the song that inspired me to name the story after it will begin to pop up more. One of the lines that's repeated several times in the latter part of the song is encircle me, I need to be taken down.

I do understand the context that the line is being used in within the song, and that might come back around later in the story. But for now, we've got Betty admitting to being encircled by her feelings. Tegan and Sara have mentioned a bunch of different times that the original name for the song was actually "Encircle Me" and was later re-named as the title track for the album The Con.

> “Oh my God, swoon. You just got Disney Princess heart eyes,” Veronica cooed. “You are so smitten. I don’t think I’ve ever seen you like this about anyone.”

> “I’ve known him for so long and I do feel like I really know him,” I said. “Lately it feels like…like maybe he could have some of the same feelings. And maybe we could have something that I thought would never happen.”

Here's an instance when I realized I was making a reference to a song literally as I was writing the sentence. Part of the chorus in "Attention" by The Academy Is... goes: Oh, did I mention when I see you it stings like hell? To the fact that we could have something that'll never happen.

Back in the notes for Chapter 5 ("The Sleepover") I said that I was hoping I'd get to reference Academy somehow, someway during the story, because they were a Chicago band. This time I wasn't even thinking about any of their songs, it just happened. I inadvertently put myself on a total nostalgia trip, too, because I remember referencing the same song--much more directly, actually--in a story I wrote over ten years ago. Wild.

> “Oh, Betty.” Veronica shook her head pensively. “As much as I love the idea of you pulling one over on him, and as much as it sounds like he’s got some seriously repressed feelings for you, I don’t want you to end up hurt if this goes badly. Please be careful.”

> Be careful. Those were the same precautionary words Jellybean had warned me with when the con was in its infancy, before I’d gotten in so deep.

I'm always going to back-reference to things that happened earlier in the story. In Chapter 3 ("The Fireworks"), when Jellybean revealed to Betty that she knew what was going on, she warned Betty to be careful. Even in Chapter 4 ("The Robots"), when Betty and Jughead have breakfast together, the chapter ends with him warning her about whatever game she's playing.

> For Trev and myself, preparation for the holiday shows would be grueling just as the preparation for the autumn program had been. The year before, for the inaugural season with the new Nutcracker, the company had begun the piece from scratch, with only a one-page synopsis of the story and our choreographer’s vision. We’d worked on The Nutcracker from the very start of dance season in August through December. Since it was no longer rubbing two sticks together and hoping they caught fire, and haven taken the time to premiere Giselle for the autumn program, it was back to the usual approach of rehearsing The Nutcracker from November until the first performance in December, with few full-on rehearsals through December. I was thrilled about the parts I’d been cast for; a pas de deux in the Spanish Dance, one of four dancers in Buffalo Bill’s Wild West Show, as an understudy for the Arabian Dance and a Snow soloist, and corps roles as a Snowflake (of course) and fair worker. But it would be no easy feat. For most dance companies, Nutcracker time was (maybe ironically) crunch time. We never worked harder under such unforgiving time constraints than during the holidays.

In the chapter notes for Chapter 6 ("The Minutes"), I talked about the Joffrey Ballet's "new" Nutcracker and linked a few articles about how it was reimagined and how it's different from a classic Nutcracker, so maybe check that out. If you want.

When I was doing my research, looking through the program for Giselle, I noticed that one of the pages was an advertisement for a documentary on Joffrey's new Nutcracker to air on WTTW, the local PBS affiliate in Chicago. Knowing that this chapter was coming up, I thought to myself that I might as well wait to see the documentary. So I did! I even took notes so I could write the paragraph quoted above. And you can watch it too if for some reason you want to spend an hour learning about the new production. The documentary is called Making a New American Nutcracker and it's streaming on the WTTW website. Want to make a Riverdale connection? For all the Skeet Ulrich fans out there, it's narrated by Neve Campbell, who played Skeet's/Billy's girlfriend in Scream. Six degrees of separation with Skeet? You bet.

I found the casting sheets from 2016 and, oh boy, it was really hard to decide what roles to put Betty in beyond the corps roles. But I definitely wanted her to be in Buffalo Bill's Wild West Show (one male dancer is Buffalo Bill and the three other dancers are women). As described in the documentary, it replaces what is usually the Russian Dance, but it's danced to Tchaikovsky's score that is used for the Russian Dance. There's some kind of humor in there, man. I like it.

> As for Kevin, he would be on the earliest non-red eye flight back to LA in the morning. He had a master class to teach that same day and rehearsal for a performance at the American Music Awards after that. He was just as busy as a dancer in a company, if not even busier. I was thankful that Kevin still managed to make time for me when he was in town and that our close friendship continued beyond our adolescence. There were no hard feelings that he never made it to any of the Giselle performances because he had his own life and success to tend to, and I was so proud of him.

This is Kevin's second appearance in the story, and his last. I wish he could have been in it more but it was more important to me not to relegate his role as just the gay best friend who occassionally provides comic relief. The comic relief he provides on Riverdale is great, yes, but we're now six episodes into the second season and I'm still wondering where Kevin's major arc is. I don't think he should be just a placeholder.

That's exactly why when he was introduced in Chapter 3 ("The Fireworks"), Betty spent some time talking about him--his life, his career, his success--rather than just the role he plays in her life. Keeping that in mind, I did want Kevin to make one more appearance in the story, briefly, squeezing a little bit of time for Betty into his schedule (and not the other way around), amidst all the good things that are happening in his busy life.

> “Thanks. You’re the best, Arch. I know you’ll be great tonight.” I leaned in and shifted onto my toes so that I could kiss him on the cheek. As was customary in ballet, I whispered my good luck wish to him, “Merde.”

I came across this quite a few times while doing research for the story. It's bad luck to say "good luck", and because breaking a leg is a possibility during ballet performance, ballet dancers don't wish each other well by saying "break a leg" either. The term merde, the French word for 'shit', is what dancers say before a performance instead. There are differing views on why that slang is used.

> I grabbed my coat off the back of my chair to shield me from the early November evening and slid my phone and card case into one of the pockets—I’d need my ID to get back into the bar after. I turned back to my friends and mouthed a ‘sorry’ as Jughead and I walked toward the door. Trev merely shrugged but Kevin gave me goofy grin and added a wink for good measure.

> I followed Jughead outside and we didn’t stop until we were standing in the doorway of the storefront across from the bar. It was a hair salon that, according to the hours listed in the window, closed at five every afternoon. The salon had bay windows, which made for a wide doorway that was lit by a solitary fluorescent motion-detecting light.

There is, in fact, a salon across the street from Schubas. And if you enlarged the image of the storefront using Google Maps, you'd see that the bay windows create a wide entryway in the shape of a trapezoid. What am I doing with my life looking this stuff up?

> It felt good to insult him to his face after finding out just what he thought about me liking him. I’d really started to believe that he might have a thing for me, too. At the very least I thought he genuinely cared about my well-being. But none of it was true. And once again my crystal vision was so wrong. My fate with him wasn’t like those girls like Sabrina. It was worse—it was nonexistent—and he had made sure of it. As quickly as he’d made my heart swell, he yanked it out of my chest, threw it on the ground, and stomped all over it with his combat boots.

The line about Betty's crystal vision is a quick little back-reference to her mention of crystal vision in Chapter 6 ("The Minutes"), which as I mentioned in the notes for that chapter, is actually a reference to Fleetwood Mac's "Dreams".

> Oh, I was counting on it. I was absolutely livid. There would be no complaints on my part if Chic wanted to use his overprotective older brother card for justice against his beanie-wearing cad of a best friend. In fact, I would gladly help him. Chic could pour the gasoline and I would light the match.

I debated with myself whether or not this was the right moment to use some of Alice's lines from 2x01. I wondered if using the "beanie-wearing cad" term was too distracting here, if it brought humor into an otherwise serious and tense moment. But then I thought...Betty's definitely got some of Alice's fiery spirit in her. So when she's livid? Well, that probably comes out, with Alice's terminology, too.

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