The coolest thing about the latest update to Blah Blah is the introduction of striked through text. When you’re typing in a word, the letters you’ve typed are crossed out, so you get a better sense of your progress. Let’s talk about the writing progress on the project. This is primarily because the next few weeks may see some time, which otherwise would have been spent writing public-facing short stories, rerouted to secretive background writing…
Spoiler Warning Scale: Kasual (some brainstorming)
Maturity warning: safe reading, folks
Konsidering Plot Demos
True to my usual mindset, I got a good feel for what was requested, then jumped into start writing. The five short stories (01, 02, 03, 04, 05) encompass a good feel for how I think the story should go. I know what needs to happen internally, though expressing that externally was a little challenge. So I’ve written a plot synopsis (obscured in the picture above) or what could be considered a vertical slice of the plot to help clarify.
Mixing up Format
Let’s talk about my interpretation of engaging stories and the introduction, conflict, resolution structure below:
An Engaging Story
Plot means almost nothing to me. Scenes and execution are everything to me. When I think of Sympathy for Mr. Vengeance, for example, I’m reminded of Ryu is working in a factory without ear production. He’s deaf and so details like that build the world for me to brainstorm within. I must acknowledge that for others, they find importance in knowing whether it’s a revenge story or a romance: Blah Blah is about restoring order.
Value of Introduktions
The stories I enjoy the most have have clearly-defined characters. Can I clearly understand their personalities? Can I imagine how they’d handle situations outside their introductory plot? Factors like that encourage me to return to those stories. That’s why I’ve spent more time developing the Orthographimancer villainess character than the protagonistic Keen family. If she fails as a character, it doesn’t matter if I’ve come up with the best plot ever, the story will fail.
Value of Explosions
Once the characters are clearly defined, it’s time to throw them into conflict. How do they bend under pressure? Seeing moments like how the Joker overcomes his explosions not going off in The Dark Knight are memorable for me even close to ten years later because there’s no guesswork with the character. Within videogame narrative, there are plethoric plot directions available to the player-reader, so to remain coherent the characters have to be explosively clear.
Value of Kleaning
We also like neatly-packaged stories and characters. Plot holes and incongruent character actions are perhaps the biggest conflict of all, which is interesting to me, because our lives are not neatly-packaged. Our lives are not clear and people act according to their own whims, rather than our perceptions of them. So, perhaps, the true value of any story is providing a safe haven for us to explore unique stories and characters within a safe framework?