Chunks of narration

Thinking through things tonight. Almost 4 now. I started looking at one char at a time. The story from one char's strain. A section should belong to one character. It will keep things sane. I can walk through the idea now and see what is missing. What logic is invisible. What steps are out of order. And when a gap in time is just as good as a new hunk of narration.

Two BART books

I recently made two photo books based on old poetry and new photos. Download the PDFs here by clicking the images to the left if you want to see them in their entirety.

Find the Thread

The thing is huge. So large. I can't keep it all in my head at once. I can barely keep one thread straight. Perhaps I should consider how to write one thread at a time? It's different to keep and channel all the voices at any time.

Here's the thing--do I need all these voices? This is the cloud preventing me from moving ahead. The voices.

I like the idea of having the narr generated by the character or the character's partial omniscient sidekick. I am not interested in a narr with no relation to the characters.

ADARA
Why is she a narr point? A good deal of the mystery occurs from her vantage point. And a good reversal.

Maestra for boy, spying for OM.
The Golem and OM family.
The Talking Cross.
Boy dead.
Her father's past.

THE SPOOK
I like the idea of starting as an abstract omniscient POV and slowly realizing that the narr is in fact a real character--simply abstracted from life. He too possesses strong characteristics. 2 reversals and the unique approach mentioned above.

Intro LSPA + ICT
Intro self
The Boy's mother
Add details of El Patron's family (corrido, etc)
Parmenides + St Parmenides
The Water from Teays River
The Boy's death/The Panamanian
Tesla in the Death Ray
Adara's father + the Monism
Suicide by Death Ray, portal to the Monism
La Ciudad Subteranea

The Teays River may be LSPA.

LSPA
The sensitive inventor-poet. How do we bring him back from the dead of drugs and guilt? Adara and the Boy. The Fuck-Up. This narr is compelling. It moves along fast. Has an attitude, but it is not the Spook. It represents the henchmen and their world. Is there more to them? don'tknow-can'tpictureit. Interesting to think of him coming out of his conscious coma and the description of that. Interesting to think of his POV of the horror of the Death Ray. It may be possible to blur into his POV during his account of it to Adara.

THE HENCHMEN
Strong and lean. Funny. Hard to dismiss as a valuable addition to the narr.

THE BOY
There is plenty of potential here, too. Am I just not choosing? Is that the problem? Created too many options for myself. The Boy's narr is valuable because it puts us in a vulnerable place, the crux of the danger of the story. Also, the center of the connection between the Boy and the Panamanian boy, and all that implies.


Consolidation? Not sure. Of the narrs that I consider, I think LSPA is the least fixed, the least necessary and the least important.