Podcast notes:
So often, worlds are built around a specific set of characters with a “destiny” or a “power” – the magical 1%
Sometimes, it can be very interesting to step OUTSIDE that…make your protagonist *not* tailored for this world. Rosencrantz and Guildenstern (are Dead) are examples
This is very fertile ground for making fun of tropes and humor
“Klingon hairdressers” and “Vulcan Party Planners” and “The Final Reflection” (all Star Trek fan fiction filling in people who that world is not made for)
“The Slow Regard of Silent Things” – by Patrick (something?) — about the internal life of this side character who has no impact on the plot
“History from beneath” – reporting history from the dairy maids, the servants, the milliners, etc. — there’s a lot of potential conflict in this area
“Melodrama” is where your story only suffers from ONE tone (or a character only ever expresses one emotion)
Make sure to include at least one “every man” character in any story where the focus is on the magical 1%
You can also drop into a side, observing character and spend a moment in their head to create that outside POV
Exercise:
Story Seed: Think about the last time you lost at a game. What was the process of thought that led to your loss? Now, replicate that moment in the dramatic structure of the story, except the story isn’t about games.
“This way,” Barry called out, several yards ahead. “The exit isn’t too far ahead.”
The ducting was too small for him to turn around, but he could hear Suzy struggling with Petrick behind. Every now and then there was a moan from the latter, followed by a grunt or a muttered curse from the former. Petrick was not doing well. But, it didn’t matter. They were close. So close.
Barry turned a corner in the shiny silver tunnel, and saw the grate they were heading towards at the end of one last long stretch. “Come on!” he called back. “I can see it.”
He picked up speed. They were so close. They would go through that grate, stand up, and take a good look at their semi-conscious friend. He could signal Haber and Panzer, let them know where they were, and the adults would come to pick them up, save them, take care of the rest of this crazy escape…tell them what was wrong with Petrick. What had been done to him, why there were marks on his temples and his forehead, why he couldn’t remember who they were…if he was going to be okay.
Barry didn’t have answers for questions like that. He didn’t even have questions for questions like that. Every time he touched such thoughts, his chest tightened and he couldn’t breathe, and everything contracted from the edges in, narrowing down like this metal tunnel, this ducting system, until there was only one point he could hold in his mind. That one point was usually to get out, to get away, think about something else. Right now, that point was the grate ahead. Safety.
He’d been there before, it was clear out there.
He reached the gate, flung it open with a shriek, and stood up for the first time in nearly an hour. His legs ached. His back cracked. He stretched his head to one side, then turned and stretched the other side-
And looked straight into a dozen or so Authority troops. They were looking at him, mouths open, foreheads raised. The hallway was not as it had been before. It was not empty.
Down at Barry’s feet, the grate creaked. Suzy’s butt emerged. She was pulling Petrick out behind her.
One of the troops raised a weapon toward him.
“Back!” Barry yelled. “Back inside!” He kicked and pushed at Suzy before she could exit completely. “Go go go!”
She thudded back into the duct system, and Barry dove after her, pushing and shoving her as forcefully as he could. A shot rang out down the hallway, but the grate clanged shut behind them. Barry didn’t have time to feel whether or not the shot had missed. He didn’t have time to feel anything except blind panic, and another singular thought: they had to get away, and there was only one way to go.