There are some people I’ve talked with over the years where I’ve felt an instant connection, where nothing feels weird, there’s no friction even when we disagree, and even when we don’t communicate our ideas well, there’s a degree of empathy that we’re approaching the topic with mutual respect. For others, there’s conflict and anxiety when just saying “hello.” Of all the characters in “The Story,” John and Trishna will have the closest bantering bonds.
Spoilers?: Minor (exploring character interactions)
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“By the way, in the interest of time, I am using terse language in my comments, which may come across as patronizing. Totally not my intent.” For two years now, I’ve silently written over 300,000 words, developing the writing/editing skills to properly write “The Story.” In the past month, I’ve hit upon my first major round of success in writing for an audience outside of myself, so thought I’d tie that into John and Trishna’s stories.
Spoilers?: Minor (characters fielding criticisms)
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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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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.
Spoilers?: Minor (psychology of characters)
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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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