[The Story] Editing With Respect

“By the way, in the interest of time, I am using terse language in my comments, which may come across as patronizing. Totally not my intent.[1]” For two years now, I’ve silently written over 300,000 words, developing the writing/editing skills to properly write “The Story.” In the past month, I’ve hit upon my first major round of success in writing for an audience outside of myself, so thought I’d tie that into John and Trishna’s stories.

Spoilers?: Minor (characters fielding criticisms)
WANNA READ THE PERSPECTIVE OF A BUDDING WRITER ABOUT HOW CHARACTERS MIGHT OR MIGHT NOT HANDLE CRITICISM? CLICK HERE TO KEEP ON READING!

[The Story] Their Shared Password

When Trishna and John meet for the first time, after years spent chatting online and over the phone, how do they recognize each other? It might be easier for Trishna because of certain events during the conclusion of Adolescence Arc “The Story,” but how about for John? Who is this girl that appeared through unforeseen circumstances? Is she really the person he’d been chatting with all these years? And, how can Trishna be so sure?

Spoilers?: Minor (idle character/plot brainstorming)
WANNA GET YOUR AUTHORIZATION TO READ MORE AFTER YOU’VE AUTHENTICATED YOUR INTEREST? CLICK HERE TO KEEP ON READING!

[The Story] On Saying Farewell

To open one door, you must usually close another door. We often want to cheat the system and keep both doors open as long as possible, maybe because we can’t fully accept choosing one path, but what does that accomplish but ensure we can’t pass through either door? John and Trishna conclude their week-long vacation visiting family in Sindia before starting the College Arc of “The Story” not wanting to pass through those “farewell” doors.

Spoilers?: Minor (psychology of characters)
WANNA CONSIDER THE PSYCHOLOGY OF ACCEPTING ASPECTS OF REALITY? INCLUDING SAYING FAREWELL FOR NOW OR FOR MORE? CLICK HERE TO KEEP ON READING!

[The Story] Cruising Through Genealogy

World-building is merely window-dressing for storytelling. While it certainly is important to loosely understand genealogical, socio-political, and geographical backgrounds within our stories, we are telling stories via subjectively relaying communication rather than objectively deducing science, so the focus should be on the point of these stories. My ambitious project, “The Story,” is about a few topics including overcoming adversities. Considering this more specific topic, would one of Trishna’s great-great-great-grandparents be thematically relevant to the narrative?

Spoilers?: Minor (just an essay…?)
WANNA CONSIDER HOW WE NEED TO PRIORITIZE DETAILS AS A WAY TO RELAY IMPORTANT INFORMATION RATHER THAN BOG OUR READERS DOWN WITH WEIGHTY FACTS? CLICK HERE TO KEEP ON READING!

[The Story] Sindian History Museum

I don’t yet know how much variation there is from our world and “The Story.” The easiest variations on fiction are real life and completely divergent paths. If I just wrote about India, then I’d just have to fly there, explore the area, and report my findings in a convenient way, just like writing about some imaginary location. Writing about a pseudo-India, Sindia, would require more research and nuance for John and Trishna to explore.

Spoilers?: Minor (artifacts within worldbuilding)
WANNA EXPLORE THE CREATIVE WRITING THOUGHT PROCESS OF DEVELOPING A WORLD? CLICK HERE TO KEEP ON READING!

[The Story] Cricket and Visiting

What do you do on a lazy Sunday afternoon with the family? Especially when geographically distant families visit, like Trishna’s family along with Trishna’s boyfriend John during one small arc early into the overall narrative of “The Story?” Probably what most families do: watch a sports game and catch up with the family! During a recent outing like this, I found one dynamic particularly interesting, which might happen in all families, including with Trishna’s family:

Spoilers?: Minor (characters in scenarios)
WANNA READ ABOUT HOW FAMILY DYNAMICS SHAPE INDIVIDUAL CHARACTER DYNAMICS? CLICK HERE TO KEEP ON READING!

[The Story] Friendly Familial Functions

“You can understand him better than I can![1]” If “The Story” is a broad commentary on the grime and glitter of reality, then how do we comment on factors closest to us: our families? Trishna has two distant families outside her own at the Lanchester Farm: maternal relatives in Direland and paternal relatives in Sindia. When John joins Trishna’s family to visit Trishna’s Sindian relatives, Trishna worries he’ll be excluded, until he has socializing breakfasts.

Spoilers?: Minor (characterization through socialization)
WANNA CONSIDER HOW FAMILY CAN HELP US COME TO TERMS WITH OUR FLAWS? CLICK HERE TO KEEP ON READING!

[The Story] Meeting Distant Relatives

It’s nice visiting relatives. There’s a sense of sharing common histories and quirks in personality are less problematic. In “The Story,” John hadn’t had a stable family relationship until moving in with Trishna and her family. At the end of every summer, Trishna’s family fly to visit distant relatives, with John’s first year being Trishna’s boyfriend being the year they travel to visit their relatives in Sindia. There, they’ll spend most of their time chatting.

Spoilers?: Minor (hypothetical character buildings)
WANNA CONSIDER HOW CHATTING WITH FAMILY CAN PROVIDE SOME POLITE INSPIRATION FOR CHARACTER DEVELOPMENT? CLICK HERE TO KEEP ON READING!

[The Story] Fasten Your Seatbelts

The Summer Arc of “The Story” is bookended by two major traveling events. The first trip ends the Adolescence Arc with Trishna’s family driving to pick up John; the second trip preambles the College Arc with a week-long flight to Sindia to visit family. This flight is also the first time John has ever flown. It will be quite the adventure, indeed, for an unlucky kid from Lanada to fasten into a more successful life.

Spoilers?: Minor (characters experiencing air-travel)
WANNA FLY INTO SOME THOUGHTS ON HOW THIS MINI-ARC WILL START? CLICK HERE TO KEEP ON READING!

[The Story] Formal Wheelchair Dancing

“We could make a dancing game![1]” “Yeah, with a character in a wheelchair, too![2]” It wasn’t so much a look of incredulity as much as the confusion that washed over his face before we changed topics; we later returned to the idea. Like everything in life, without contextual applicability, there is dismissal at worst or curiosity at best. In “The Story,” John hadn’t thought much about dancing until Trishna brings up her interest in trying…

Spoilers?: Minor (brainstorming character interests)
WANNA CONSIDER HOW THE MORE PEOPLE WE MEET AND THE MORE THEY SHARE ABOUT THEMSELVES THE MORE WE LEARN ABOUT OURSELVES? CLICK HERE TO KEEP ON READING!