I realized a problem with my writing: I’ve reached a soft limit of how I can communicate. There’s a lot to unpack, so let’s analogize with my cheap “pawn shop special” bass: it fulfills all my limited needs when it comes to learning the basics. I can pluck strings and learn chord progression. I don’t mind tuning it whenever I’m serious about playing it. Now if I wanted to play with others or even professionally…
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!
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!
“In my first draft back in August, it seemed like she was sober, but when I went back to edit it this morning, I realized she was lying.” Writing/editing the Sammohini Arc of “The Story” has been going well in part for nuances like this. People lie, you’ve probably lied whether through convenience or contrivance, and characters do, too. Narratively, it’s complicated, and I want John and Trishna to be truthful, so will they lie?
Spoilers?: Minor (exploring character motivations)
WANNA CONSIDER WHY PEOPLE MIGHT CONTINUE WORKING JOBS THEY DISLIKE? OR AROUND PEOPLE THEY DON’T RESPECT? CLICK HERE TO KEEP ON READING!
“For regular writers and published writers, it’s all about getting yourself into the habit of writing.” Last week’s 6,000-word summary of “The Story” is the first in a quarterly exercise to provide readers with an overview of what to expect from my writing projects. This has been my plan: publish two short stories per week, developing the Sammohini Arc of “The Story,” while brainstorming the world, characters, and metaplot, but now, I have actionable goals.
Spoilers?: Minor (planning future fiction)
WANNA READ THE HORIZONTAL SLICE TO LAST WEEK’S VERTICAL SLICE? CLICK HERE TO KEEP ON READING!
It’s alive! After months of preparation for our booth at the PAX Seattle Indies Expo 2018, and receiving klamorously positive feedback from game-likers and educators alike, the Keyboard Kommandos took a well-deserved break. Now, we’re back! Since our October build of Keyboard Kommander will primarily focus on back-end material, let’s focus on the most noticeable additions: KeyboardKommander.com will be our central communication hub for news, updates on various aspects of development, including, our story mode plans!
Storytelling is like cooking. Whether you just want a light snack, tiding you over until dinner, or need a meal preparing you for some arduous task, there are many meals for any situation and flavor. This flexibility has one constant: the importance of good ingredients. Fancy flatware doesn’t matter if the chicken teriyaki or unagi aren’t good. In my long-form writing effort, “The Story,” John [left] and Trishna [right] are the primary storytelling character… “ingredients.”
Spoilers?: Minor (brainstorming spicy characterizations)
WANNA CONSIDER HOW STORIES CAN HELP NOURISH OUR IMAGINATIONS LIKE MEALS NOURISH OUR STOMACHS? CLICK HERE TO KEEP ON READING!
Hello from the Seattle Indies Expo 2018! If you weren’t there, we showcased Keyboard Kommander, “a fast-paced action-packed typing game in which the player must fight off a horde of post-apocalyptic Zombies and Mutants in order to defend his or her fort.” There’s a visceral physicality that I enjoy, and props to game creator and lead programmer William for constantly implementing improvements, including plans for a Story Mode. Here’s my strategy for making that plan possible.
I’ve been writing and rewriting “The Story,” scene after stochastic scene, for as long as I can remember. An idea will pop up while I’m riding the bus, talking to someone, or reading a book. I’ll see a couple on the bus and think about John [left] and Trishna [right]. Better than stressing about work! In these situations, memories, or maybe more, I wonder: how much of “The Story” will be based on real people?
How much of reality can we rely upon when building fiction? The movie Inception argues that you should create your dreams without external stimuli, otherwise it falls apart. While John [right] and Trishna [left] are purely fictional, the world of “The Story” is mainly based on our reality; it’s more broad constructive criticism than narrow escapist recreationism. That said, once something is named, even a fictional town like Lanada, it can become its own “reality.”
Spoilers?: Minor (broad worldbuilding brainstorming)
WANNA CONSIDER HOW FACT CAN INSPIRE FICTION, AND HOW FICTION CAN AND PERHAPS SHOULD INSPIRE CHANGE? CLICK HERE TO KEEP ON READING!