1741 Miss.


All of the characters have all this backstory I wrote for them that may never come up. Like the stuff with these two was worked out but I hadn’t decided for sure it I was ever going to nail it down and then I decided to introduce Patricia and it all kind of needed to be dealt with. Which is fine. That’s the point of writing stuff you may never need, so you know the motivations of your cast. Nina’s relationship with her brother, Carol’s with her sisters, Ed and his father, etc. etc. They are all in the chamber if ever I want to use them. It would be sad, in a way if I never get a chance to. No one knows what tomorrow will bring. Drawing a story is so much more time consuming that just telling one and telling one can be pretty time consuming too. Minutes turn to hours and you haven’t gotten nearly as far as you thought you could. I shouldn’t be worried about any of that stuff really. I still have initial plot points to work out, but it all needs to be done in its own time and strung together just so.

Sometimes when you’re out driving at night you can see into a house and when I do that I often get this overwhelming sensation of retracing everything that led to the room you can see getting put together the way it is. The tv was set there because of some series of choices, and the nick nacks all have backstories and the pictures and the shelves and everything. Those people have multitudinous stories behind them and I’ll never know what they are. They live, love, lose, win every moment of every day just like I do and that little glimpse into their world, the little square frame, brings my attention to it in a way that doesn’t happen any other time. Then I have to stop myself from thinking about it because my brain starts to swim. Layers and layers of stories everywhere all the time that we shut out because the one we are living is almost too much most of the time.