I am inspired by everything. My nebulous memory recalls obscure scenes from movies last watched years back or situations experienced months ago. The resulting recollections create unique new memories. In this collaborative environment, it is, therefore, most important to observe and understand myriad random circumstances. “The Story,” in my initial attempt would proudly wear its references, reflected even in its name “References,” but now as I develop John [bottom-right] and Trishna [bottom-left], that consideration changed.
Spoilers?: Minor (comparing multiple characters)
Shouldn’t references be subtle and ubiquitous?
Nothing in Megalobox or Golden Kamuy directly relate to “The Story.” The efforts of Joe and the scenery of Hokkaido, respectively, may present tangential interest, but they do not relate to the central themes. I think that’s where references fall. What was intended to be shared understanding becomes uninterestingly silly.
How about real life?
The short stories I’m writing in the Sammohini Arc of “The Story” have an inkling of referentiality in reality, with their core concepts being rooted in my professional experiences. Yet there must be separation. Merely telling my stories would be boring, and wouldn’t help me learn the storytelling craft required to tell “The Story.”
How am I practicing this storytelling?
I’m developing my critical eye by consuming everything and commenting on what’s relevant. Finding the flaws in my favorite thing and finding the glitter in the grime. This is helping my writing because I won’t replicate a romantic scene I felt fell flat, I’m learning from the mistakes of others, along with succeeding moments.
Why all this practice, planning, and predicting?
In another example of jumping the gun, what was going to be a fun short story in Jane’s side of the Sammohini Arc quickly developed into a nuanced story of her character’s growth and development. Not bad for an initial joke character referencing Kaos from Comic Girls and the boisterous pink-haired anime girl trope.
Why not write that arc now?
I can’t yet convey the required nuanced complexity effectively. I know I’m getting there, so I’d rather practice writing inconsequential short stories that convey pathos, pacing, and personality without problematic prose prodding through attempts that could fail due to overcomplexity.
How will I get there?
Through consistent practice, we begin observing patterns of what we like and dislike. If I were to randomly shoehorn in a reference to Cowboy Bebop somewhere in some important scene, yes, perhaps it would offer some additional narrative weight. Most likely, it would be a distraction. Even that show’s references were sublime.
How are John and Trishna involved in all this?
Sammohini, Jane, and Chaos all started as characters designed to help me practice dialogue, psychology, and more. John and Trishna are my oldest and most-valued characters. They’ll be the culmination of refining the mistakes I’ve made and seen. If any good story has a terribly-relayed character, the story is lessened, even if that character can be useful as a cautionary example.
I don’t want “The Story” to be referred to as a failure.
|Sources: The Story’s Imaginarium.|
|Inspirations: Wanting to provide more sustenance to this bi-weekly column, I will soon be writing [not necessarily posting in order] material commenting directly on what I write in the Sammohini Arc of “The Story.”|
|Related: Essays building “The Story.”|
|Drawing: Quick sketches of all the main characters of Golden Kamuy, Megalobox, and “The Story.” Drawn in about 20 minutes?|
|Written On: July 2nd [45 minutes]|
|Last Edited: July 4th [15 minutes]|