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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“What’s he doing to that dog… no, just kiddin’!” What I enjoy most about interacting with people outside my comfort zone is how they take an idea, run with it, and when I catch up, it turns into something much better. In “The Story,” there are millions of ideas that need to align just right for it not to fail. One ruminating idea was: when will John [left] and Trishna [right] have their first kiss?
Spoilers?: Minor (brainstorming a scene)
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Couples holding hands is one of the cutest things I’ll see walking around the city. (Along with babies and puppies.) The public intimacy. The mutual expression of a common goal. All of which should be freely available to all. Bystanders in “The Story,” similar to our reality, will be …mostly tolerant toward people that stray outside the ‘norm.’ John [left] and Trishna [right] may stand out. How well will they learn to adapt and overcome?
Spoilers?: Minor (arguments for autonomy)
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Every morning, the same characters pop into my head. It’s not always John [left] or Trishna [right], but it’s always someone related to them in some way, whether it’s Pollyanna, Sammohini, Jane, or someone that in some way connects to either of them. I find it more funny than annoying or disturbing, because what other characters would I trade in their place? They’re the stars of “The Story!” Could I possibly trade “The Story” away?
Spoilers?: Minor (ubiquity of characters)
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Can we really do whatever we want, or do we limit ourselves based on circumstances? Focusing within the realm of fiction, how much freedom do we truly have in telling stories? If I were to write the tale of John [left] and Trishna [right], comprising a majority segment of “The Story,” exactly as I wanted, would it sell? Would it matter? Is that why we tend to compromise, accept our fates, and don’t challenge ourselves?
Spoilers?: Minor (character brainstorming, perhaps)
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I can envision the final scene of the Pollyanna Arc of “The Story” so clearly in my mind. Everything from the white linoleum tiles to the characters. It’s just there are hurdles to address. Primarily, an ending requires a story to precede it, the skill of which I am not yet confident I can write. Secondarily, the world of John [left] and Trishna [right] are not “there” yet. Tertiarily… let’s back up a few steps.
Spoilers?: Minor (brainstorming, worldbuilding, character-building)
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