I didn’t feel like I made a dent even after spending nearly two hours packing. It’s frustrating because while I’ve still got time to get everything moved out, I want to be further along than I am. It’s not like writing an essay, where after a certain point, I can call it done. Let’s explore that sensory overload anxiety so I can figure out how to circumvent that before returning for another round of packing.
Junk shelves, random boxes, and “to do” lists are subtle ways to keep us organized by deferring the eventualities of cleaning. If pursuing perfection paralyzes progress, getting around to completing these cleaning tasks should just be a matter of time and interest, right? Throughout my moving process, I’ve discarded anything that doesn’t enrich my life, with some lingering questions: How many of this item’s collection do I want to keep? All or none? Maybe one?
When Trishna and John meet for the first time, after years spent chatting online and over the phone, how do they recognize each other? It might be easier for Trishna because of certain events during the conclusion of Adolescence Arc “The Story,” but how about for John? Who is this girl that appeared through unforeseen circumstances? Is she really the person he’d been chatting with all these years? And, how can Trishna be so sure?
Spoilers?: Minor (idle character/plot brainstorming)
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The most miserable people I’ll meet always have goals and no plans for achieving them. Large or small – whether it’s getting out of debt, buying a boat, getting a job, getting a better job, or finding happiness – I’ve found misery in people’s life perspective when their goal is impossible rather than difficulty obtainable. If my current big goal is writing “The Story,” centered on John [left] and Trishna [right], what goals are they focused on?
Spoilers?: Major…? (early plot structures)
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Two furniture movers arrived early to their final stop: an upscale, downtown high-rise office building in upper Eville. Their customer, a pink-haired fashionista in bicycling gear, met them at the loading dock. “Alright! My new desk! Cool! Let’s sign you two in before heading up.” She guided them inside, talking while occasionally walking backward. “You’re Jim, right?” They shook hands. “Yes, ma’am!” “And a young lady mover?” She tried hugging the quiet mover. “How cool!”
If my ambitions for “The Story” include comprehensive commentaries on the nature of our reality, how much nuance should go into those commentaries? A thoroughly-built restaurant might evoke patron conversations idly chatting over the fine flatware or reveal restaurateuring price negotiations for finer flatware. The narrative should always guide the focus. It’d waste your time and my effort if Trishna (left) and John (right) only visited Zbigniew’s (center) Teriyaki once. But if they go frequently…?
Spoilers?: Minor (worldbuilding, character development)
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It’s hard dealing with people in an idyllic world. If someone is rude in a polite world, it’s unfathomable! If you’ve encountered enough personal or professional experiences where people cheat their way to victory, then you can spot it quickly. “The Story” – an amalgamation of our world, truths, fiction, and imagination – is not idyllic. How readily can Trishna (left) and John (center) handle or even utilize liars, cheaters, and comical villains like Dr. Mindbender (right)?