For my smaller writing projects, I’ll sufficiently consider the subject, structure my thoughts, before launching into writing. Using a rough medical analogy, the structural skeleton is mechanical and the rest is organic, so I’m free to adapt my focus if I discover something significant during the writing procedure. For Blah Blah, I’m doing much the same, except it’s bigger. The skeleton is a solid 10 pages! Here’s an obscured screenshot and what I can currently reveal:
Spoiler Warning Scale: Kasual (some information about the villainess)
Maturity warning: safe reading, folks
Table of Kontents
The team currently consists of graphics artist Edward, composer Graham, project manager Blah, project owner/programmer Blah, and myself. We’re busy working professionals, so keeping this Story Treatment document organized is key. When Edward and I collaborate on drawings featured along with each short story, for example, he should be able to easily find relevant character information to help inform how a character might act. The document also acts to maintain a healthy bus factor number.
The Elevator Pitch
There’s a science to distilling an entire concept into a 30-second selling statement. My rough pitch is that the “Story Mode” will be a serious and silly story to add flavor, depth, and meaning to the currently available “Arcade Mode.” I’ve made significant progress ironing out the plot with others, the team via video chat, and simply daydreaming. My aim is for readers to be able to enjoy the Blah Blah story on multiple levels.
Building The Skeleton
My biggest writing obstacle is establishing the structure. Using a driving analogy, each sentence begins at point “A” and ends at point “B.” Each paragraph, chapter, and story really, begins at point “A” and ends at point “Z.” When you’re driving along and hit a roadblock, the more points you know in the area, the more you can adapt and take detours. Similarly, you can experience less writing anguish when you have solid structural points.
Adding The Meat
I’ve been occasionally refining the Story Treatment while writing this update. It’s now up to 13 full pages. Each time I read, write, and edit through the document is like adding another layer of lacquer to the literature. If I’m stuck on a point, like “what is the family’s last name?,” I’ll use my “” editorial mark. This start/end bracket is easy for me to type, so I don’t break concentration, and easily searchable for later consideration.
The Orthographimancer’s Humanity
Some pointed out that the weight of any story usually depends on the complexity of its antagonist. After all, protagonists and antagonists that only act in one primary way are boring at best. After last week’s update, I had a conversation with a friend about this in more detail, wrote The Orthographimancer’s 396-word tirade, and began reading Frankenstein. All of these structural points can help make her character a nuanced, sympathetic, yet still villainous villainess.
[Last Edited: June 23rd, 2019]