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.
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…?)
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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)
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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)
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“You can understand him better than I can!” 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)
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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)
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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)
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I’ll casually estimate that I’ve published over 80,500 words related to “The Story” as of yet, even though all content related to it could easily surpass 150,000. Everything is nebulously floating around inside my head, loosely organized, so even writing specific ideas twice each week are just subjective rough drafts. My plan is to write everything in one go after I feel confident that I can. Until then, here’s a 6,000-word vertical slice walking through “The Story.”
Spoilers?: Major (an entire brain-dump)
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