Låt den rätte komma in 2

[dongregg]

Welcome!

I agree with what others have said—it is very unlikely that JAL will do a sequel. However, the cool thing is that he doesn’t object to fan fiction, so a path is open for you and others to express your imagination about the lives of Oskar and Eli.

I have some ideas for a "sequel" to "Let The Right One In" and I would like to know what you guys think about them.
"Låt den rätte komma in 2" a story by a fan.
Set the story in the next year 2018.
Introduce a new character to deal with the mistery of Eli and Oskar.
This character will be at least 18-35 years old.
This new character will have some backstory involving insomnia problems that will be inducen by constant nightmares involving the death of his 13 year old brother by the hands of a black and faceless figure with the physique of a 12 year old child.
Introduce new characters that will complement the story in different perspectives like in the original novel but make him accord with the modern times.

Very rich with possibility. Set in the present (and in whatever country you choose), you remove what was a big challenge for me. Google maps and any sites you visit will be current. I had a devil of a time getting the details right about things like bus schedules, ferry schedules, how long train trips would take, and even what buildings existed in 1981-1984 in Swedish towns and cities. A Google search of images was tricky -- most images aren't dated!

Fun to learn all about that stuff, but the research took a long, long time.

But maybe it's just me. I'm used to writing fact, not fiction, so my need to see-hear-feel-taste-smell a place may not be the same for you. However, I was inspired by gkmoberg1, especially his story "Kristina."

The biggest challenge for you might be to just start writing and then fill in as you find out more. Or use a setting that you are personally familiar with.

The operant phrase here is "just start writing."

[SpartanAltego]

Set a goal for yourself: 300 words a "session." Then 350. Then 400. Try to get a session in every other day at least. And before long you'll find you've written so much more than you expected because the story in your mind is bursting forth, eager to be unveiled. The writing process is tricky to begin, but when you start rolling it's a blast.

Setting it in modern day removes a lot of hurdles regarding research, as dongregg says. Setting it as more of a mystery with the lead being an indirect victim of Eli or Oskar's vampirism is good for setting up emotional stakes as well as a motive for your lead to pursue them so vigorously. Depending on how sympathetic you want him to be, any final conflict between your lead and the duo could make readers have a tough time picking a side. Delightfully gray.

[intrige]

IS.. THAT.. A NEW.. MEMBER!? YAAAYY!! It's been a while! New blood

What I do to get into the zone is to put on intrumental music that I love and just let your hands run freely. The story almost writes itself sometimes.

In you don't know what to write at the very start, I got you buddy. Just write some notes on what you need to happen, where it takes place. Like: It is at night, in his room. Has nightmare, awakes, goes to the bathroom. Then you can add everything in between, from there on, it is pretty easy to get into the flow.

Also, welcome!!

[sauvin]

Welcome!

I agree with what others have said—it is very unlikely that JAL will do a sequel. However, the cool thing is that he doesn’t object to fan fiction, so a path is open for you and others to express your imagination about the lives of Oskar and Eli.

I have some ideas for a "sequel" to "Let The Right One In" and I would like to know what you guys think about them.
"Låt den rätte komma in 2" a story by a fan.
Set the story in the next year 2018.
Introduce a new character to deal with the mistery of Eli and Oskar.
This character will be at least 18-35 years old.
This new character will have some backstory involving insomnia problems that will be inducen by constant nightmares involving the death of his 13 year old brother by the hands of a black and faceless figure with the physique of a 12 year old child.
Introduce new characters that will complement the story in different perspectives like in the original novel but make him accord with the modern times.

Very rich with possibility. Set in the present (and in whatever country you choose), you remove what was a big challenge for me. Google maps and any sites you visit will be current. I had a devil of a time getting the details right about things like bus schedules, ferry schedules, how long train trips would take, and even what buildings existed in 1981-1984 in Swedish towns and cities. A Google search of images was tricky -- most images aren't dated!

Fun to learn all about that stuff, but the research took a long, long time.

But maybe it's just me. I'm used to writing fact, not fiction, so my need to see-hear-feel-taste-smell a place may not be the same for you. However, I was inspired by gkmoberg1, especially his story "Kristina."

The biggest challenge for you might be to just start writing and then fill in as you find out more. Or use a setting that you are personally familiar with.

The operant phrase here is "just start writing."

dongregg, the choice of application for creating things for me twenty years ago was AutoCAD, and I was only very rarely concerned with aesthetics of any sort apart from usually trying not to make things look too blocky. As I'm experimenting now with an image manipulation program, what I seem to be finding is that it's not only very difficult to be "precise", it's also sometimes outright time-consuming and futile. I'm still learning, again and again, that it's not always necessary to paint over every little pixel of a given region or match that edge up with the other to within a few thousands of an inch. In other words, I'm trying to teach myself how to work without zooming in too much, to focus more on creating an overall effect than in trying to make things technically perfect.

This is an ongoing process! Used to be, if I didn't get things "perfect", people wouldn't be able to make the things I drew, or they'd not function properly (or safely) once they had been built. It's not about functionality anymore - not about detail - and more about just trying to communicate an idea, a feeling, an impression.

The paradox is that some of the things I've done that I like best for how they convey what was in my mind are also the things I like least from a zoomed-in point of view; they're RAGGED around a lot of the edges or corners or hairlines. Most of them are junk - but two or three of them that I did with a quick, broad brush speak (to me) what was in my mind at the time very powerfully.

[metoo]

As I'm experimenting now with an image manipulation program, what I seem to be finding is that it's not only very difficult to be "precise", it's also sometimes outright time-consuming and futile. I'm still learning, again and again, that it's not always necessary to paint over every little pixel of a given region or match that edge up with the other to within a few thousands of an inch. In other words, I'm trying to teach myself how to work without zooming in too much, to focus more on creating an overall effect than in trying to make things technically perfect.

What you describe here is something that might surprise people who haven’t tried editing digital images, namely that sharp boundaries disappear when zooming in. What looks like a sharp line when zoomed out becomes just a jumble of squares in different shades of hues when zoomed in. This shows that the appearance of the sharp line is an illusion, created in the brain of the viewer. Thus, precision is an art, the ability of creating the illusion of sharpness. Practise makes the master, as always, but modern tools are a great help. I tried doing this in the 90s, with much simpler tools, when I was teaching the use of computers to students at the school of architecture. It’s not easy...

[sauvin]

As I'm experimenting now with an image manipulation program, what I seem to be finding is that it's not only very difficult to be "precise", it's also sometimes outright time-consuming and futile. I'm still learning, again and again, that it's not always necessary to paint over every little pixel of a given region or match that edge up with the other to within a few thousands of an inch. In other words, I'm trying to teach myself how to work without zooming in too much, to focus more on creating an overall effect than in trying to make things technically perfect.

What you describe here is something that might surprise people who haven’t tried editing digital images, namely that sharp boundaries disappear when zooming in. What looks like a sharp line when zoomed out becomes just a jumble of squares in different shades of hues when zoomed in. This shows that the appearance of the sharp line is an illusion, created in the brain of the viewer. Thus, precision is an art, the ability of creating the illusion of sharpness. Practise makes the master, as always, but modern tools are a great help. I tried doing this in the 90s, with much simpler tools, when I was teaching the use of computers to students at the school of architecture. It’s not easy...

Did you find that teaching painful?

I didn't find it odd then that people could be so naive about how computers did what they did, and how they stored and retrieved the results. Most people I knew at the time, some of them very intelligent and otherwise generally well-informed, understood how to use their computers procedurally - push this key or click on that button to change a spot on the screen - but couldn't tell you in what way a Paint program differed from a CAD program at a fundamental level. For that matter, most of them didn't know the difference between a spreadsheet program and a database program (and you certainly want to believe I've seen more than my fair share of companies reporting millions of dollars annually keeping vital accounting, inventory and project status records as convoluted systems of Excel sheets), and a great many of these folk couldn't even tell you what "source code" is, let alone the reason it's unwise to try to maintain source trees as sets of Word documents. They didn't care, and why should they? They got the work they needed out of the tools they were using, and that's all that mattered.

The sheer depth of that naivete struck me unexpectedly with full force when the man who taught me AutoCAD and brought me into the mechanical engineering fold needed an entire afternoon to understand why you can't just import a PCX file (a raster format quite common at the time) into AutoCAD and delete these lines, assign those circles to other layers, and anchor dimensions to them. I wasn't aware of any raster-to-vector conversion utilities, couldn't find anybody who did, and wound up explaining that the best I could do to help him with the task at hand was to write a utility to convert a PCX file to a field of POINT entities. That was, in fact, the only way I found to explain the very concept of a raster file: a field of POINT entities of a form that AutoCAD can't handle without outside assistance.

There's so much people need to know about how their computers work, I think, that can be the very devil to explain because it involves things you can't see, hear, taste, feel or touch, and basic concepts often enough have no really good "real-world" analogs. It's a bit like mathematics beyond elementary arithmetic and algebra: you have to learn tons of concepts and be able to keep the relationships between them in your head because mapping them diagrammatically as lines, circles and squares on a piece of paper just isn't feasible.

Ah, well, I prattle on, don't I? Back to what I said before: still trying to get a good feel for when "good enough" is better than "absolutely perfect".

[metoo]

Did you find that teaching painful?

No, quite the contrary; I liked teaching.

[artredfield1999]

Can I put the character of "Jason Voorhees" in my FanFic?
I was having this wild idea of putting the character of Jason Voorhees in my history and make him the main antagonist of my FanFic sequel of "Låt den rätte komma in" but I have this question.
Can I do that? Is it allowed in this kind of stories putting other fictional characters from other franchises? I have many possibilities to explore in which way Oskar & Eli would have to fight against this "Undead Serial Killer" and I really would like to work with this character in a story that involves Oskar & Eli.

[dongregg]

I don't know what rule about using such a character would apply. My fan fictions are limited only by John Ajvide Lindqvist's caution to not make money from the stories. Well, that and good taste, about which there are rules that keep our language pretty clean.

If Jason has you fired up, you might as well try something and then ask the moderators to give their interpretation of any rule violation.

[artredfield1999]

Somebody that knows Swedish could tell me what is this?
https://youtu.be/QSjGlno8qJw
I noticed that is Lindqvist's voice but I don't know what he is saying.