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Writing Progress and Thinking About Frame Stories

Image of a tortoiseshell cat named Taco
A tortoise shell spoke from her perch on the arm of a weathered Adirondack chair, a second-story balcony overlooking the way. That's not how it was.
I finished up “Villa Encantada”, a short story with a frame clocking in at 4500 words yesterday. It’s urban fantasy, the same world as the novel I just sent off to beta readers.

The story’s set in a fantasy version of the complex I live in, which has been FRAUGHT with HO meeting woes that I will not get into here. It’s the result of sitting at many meetings thinking about how much more interesting it would be to live in Villa Encantada, a similar condo complex filled with witches, retired gods, defunct oracles, and even a centaur. Hopefully there will be more set in the same setting.

The story’s also dependent on a secondary frame story,, which I’m not sure about. Here’s the beginning:

The cats were telling stories, from their spaces in the Game, scattered around the sun-baked parking lot of the Villa Encantada complex.

A grizzled Siamese had grabbed control of the telling. He licked his haunches and said, Once upon a time there was a woman who could not forgive herself. Every day she tried to kill herself in the smallest of ways, with cigarettes and lack of sleep and careless driving. She punished herself for a crime she couldn’t name, burning cups of coffee uncushioned by food, high-strung nights of crap television, unsatisfying and numbing all at once.

A tortoise shell spoke from her perch on the arm of a weathered Adirondack chair, a second-story balcony overlooking the way. That’s not how it was.

He blinked, a gesture as majestic as an ice shelf, kilometers high, sliding into the sea.

The tortoiseshell remained undaunted. She continued.

This is how it was.

There’s pieces from the frame used in the actual story itself, which I think makes it feel less superfluous, but I’m also always wary about devices like that. When they work, they’re beautiful – when they don’t, they’re awkward and distracting. So what makes one frame “work” where the next one doesn’t?

Making the frame a story in and of itself is something that often works. If you want to see a book that is concocted of nothing but frame stories, look to Catherynne M. Valente’s The Orphan’s Tales: In the Night Garden (The Orphan’s Tales: In the Cities of Coin and Spice and Kindle version). Valente weaves frames in and out of each other so deftly that she constructs a beautiful basketwork ball of them, a construction where, following one line, you slip into another, and another, then somehow find yourself back in the beginning, with nothing but the world changed.

Other considerations for frame tales: they should be (in my opinion and perhaps not yours but who knows, feel free to chime in with a comment) as well-written as the content they contain. They should be connected somehow, so there’s a reason for the frame tale, something it contributes to the overall shape of the story.

For example, in Villa Encantada, the tortoiseshell cat appears in the story as well, and it becomes, through the interjection of the frame, her story, the story of her efforts in the Great Game played by the cats of Villa Encantada. And then I twist that again in the ending, but I won’t spoil that. :p

So, to recap, frame stories should be:

  1. actual stories (or contain the sense of a larger story) in themselves
  2. beautifully written
  3. connect with the internal story and change its meaning

Anything else? What are your favorite frame stories and why? What have you tried with them and what’s worked best (or worst)?

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Retreat, Day 6

FullSizeRender (3)Today’s wordcount:5008
Current Hearts of Tabat wordcount: 95071
Total word count for the week: 5008
Total word count for this retreat: 22085
Worked on Hearts of Tabat, story “District of Brass”
Time spent on SFWA email, discussion boards, other stuff: 30 minutes
10263 steps, 67 flights of stairs

From today, the beginning of a Serendib story, “District of Brass”

In Serendib, there is the District of Brass, and there the traveler can find marvelous machines, made not just of that metal, but many of the lesser metals, like iron and aluminum and the first degree of steel. The tinkerers of the District of Brass can make any machine, but always after their fashion, which is cogs and gears and wheels within wheels, not the crystals and lights of other lands.

Once there was a tinkerer there, who had not come from elsewhere, but was native to the city, which meant that anything could happen with her. Her name was Pye and she was a clever girl, who loved to puzzle things out, and by the time she was six, she had created mechanisms that performed not only all her own chores, but those of her slower siblings. She was an innovator, and many disliked her intensely for her habit of looking at a design and saying, in the most reasonable of tones, “Yes, that’s clever enough, but what if you did it this way?” before pointing out any number of improvements.

This dislike was exacerbated by her main failing, which was that she was incapable of puzzling out people as expertly as she did machines ““ in fact, people were mysteries to her, always saying one thing and then acting another way. There were rules to existence, and they seemed to change so often, or at least be conditional and dependent to the point where there was no telling what to do at any given moment without standing and thinking for a good ten minutes about it.

While her family was fond enough of her, though most preferred not to spend too much time in her company, since the designs she was improving were so often their own, Pye had no friends, only acquaintances among her age-mates and other school friends, and the nurse who had raised her between the ages of eight and fourteen, and now lived in an elderquarter of a more advanced age, where the medical care was far better.

Pye would have liked to have said that she didn’t care about her lack of friends, but the truth is that she cared in two ways: one, she would have liked to have had friends, and two, she thought it an abnormality in herself not to have accumulated such things already.

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Today's Wordcount and Other Notes (8/21/2014)

Photo of a humpback whale
Three whales this morning - they came out of the water enough that we could see there was one large and two small and think they might have been humpback whales. Vida pura, indeed.
Lots of skipping around, often what I do when I’ve got several projects in the works.

So here’s the breakdown and total:
650 words on Circus in the Bloodwarm Rain
673 words on “Carpe Glitter”
534 words on “Prairiedog Town” (working title)
200 words and editing finished on a story in a semi-accepted state, plus sent off to the magazine that requested the changes.

Total word count: 2058

Not too bad, particularly when I’m working on getting back into productivity’s swing.

Today’s new words in Spanish: aire acondicianado (air conditioner), apogon (power outage), ballena jorabada (humpback whale), cafetera (coffeemaker), calambur (pun), picadura de mosquito (mosquito bite), la puerta de teja metallica (screen door), reinicializar (to reset, usually a machine).

And Wayne woke me this morning to watch three whales (we think a large humpback and two smaller ones) in the surf.

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