… Or Drama Alert, I Am Cancelled!!!!!!

And the first of the insects starts moving in my stomach, only aiding my nervousness to build up, as I become physically aware of it. The insect scurries along my intestines, little feet (hundreds of them) scrawling along the lining of my inner tubes. Little hooks scratching, bits of fluff tickling. 

Welcome back to the Daniel’s Nemesis Podcast, reading XBook, Chapter 25 - Run, Ginger, Run. 

This is the podcast that fucks itself up. But we’ll get into that later, ‘cos I have no idea how it’s going to be fucked up today. 

XBook: written in the “innocence of youth”. Well, let’s have a look at that phrase.

[TEXT TO SPEECH]:

Innocence - the quality of having no experience or knowledge of the more complex or unpleasant aspects of life.

HOST:

The rose-tinted glasses version looks at that time as childlike glee, before the corruption of adulthood, and the crushing weight of responsibilities. 

When I look at this book, I think of the Innocence of Youth as another way to say that I was dumb as shit. And I wanted everyone to know. 

XBook: Alien invasion done through the invading alien’s perspective… because. Saving the Earth from alien invasion done through one human’s surreal perspective… because because? Oh, and it’s set in 1918. Because of commitment to a bad cause. 

After reading a chapter each episode, I then analyse it, psychoanalysing my younger self. I record that analysis. And whatever I do, that analysis does not get to you as it’s messed about with by my younger self. Yeah, the podcast that fucks itself up. After all, what’s the best way to avoid the cringe of exposing your inner self? Carefully manipulated cringe-scapes. 

So, what’s happened so far? 

William, leader of the Trascons - an alien civilisation seeking a new home on Earth, initiated a small invasion.  This was stopped when Ginger, human fighter-pilot, commandeered an alien fighter craft after it crash-landed. He is now heading into space to take on what he now realises is a full civilisation of aliens... single-handedly. 

Please Remember:

This is Fiction, 

Always Fiction. 

Logic is 

as Logic does.

Chapter 25 - Run, Ginger, run

I don’t know who or what I am right now. I’m tired. So mightily tired. I physically can do nothing, yet my body is restless, so much so that I can’t do nothing, which is all that I can do. My mind is a mess. I have no idea what has been going through my mind. My day has been shit and I’ve faced a number of humiliations, so much so that I just wanted to cry. It started off when walking through town I had to walk in an unhinged state, mentally insulting everyone I saw, wondering if the façade I was wearing on my face was actually the same as the confusedness inside myself. Shop windows gave me the answer, only that I looked the normal way that I look with a glass-eyed accessory. And then some French person says excuse me. I carry on for two paces before stopping and tentatively turn around to face him. I don’t know why. He asks me what the time is, as if that was not what he was originally going to say, and I tell him whilst his mate sniggers. At me. I hate them both, forever. In the shop, I need to buy some eggs. Forgetting the soap, obviously. I go to another corner shop, someone barges past me to the front of the queue, then looks the other way, allowing me to be served. I ask for some cigarettes. He asks me for money. I take pity on him. He looks rough; his face is cut up. I give him a small amount of change. He grabs my cigarettes as my change is being handed to me and runs. I chase, grab him, he gets away, I decide not to follow. It’s only cigarettes. But I’m already so confused, angry. I automatically chased him and then I had no desire to chase him, to know it was pointless, to know that whatever I could do, I would not get them. The thought of physical violence had not yet entered my mind, I turn around, shook up, humiliated, wanting to cry and I announce “cunt”. The shopkeeper is laughing at me, at the situation. I have no idea how to handle it, other than to announce that it happens all the time, that I always get suckered and fall for the pathetic tricks. I buy another pack, half-hoping the shopkeeper will give me one out of pity. Bollocks, he does. I leave, about to cry, shaking, stumbling, tired, exhausted, drained emotionally, weak, feeble. A twat. A cunt. A knob. A loser. A wanker. A tosser, a freak, an arse. That is who I am and I know this because I write all these words on my body. I drop my bag of shopping, hoping that the eggs have not been cracked. I get home. One egg did crack. But that doesn’t matter, because, from a box of six there are actually only four in there. Obviously. My mother hassles me. I can’t do a single thing. I cannot get myself sorted. Who am I? What am I. Why me? Is there a reason why I’m here, ‘cos I have a feeling that there is and that’s to provide whatever forces that control this life with a laugh, a cheap, cheap laugh at my expense, daily, hourly. I cannot never humiliate myself. Because I am. And I’m scared, worried and sticking up to foolhardy bravado. My bravery is non-existent. Can I not see that? Hello? I am scared. Scared, because I don’t know what’s out there and what am I going to do? Out where? I don’t know because I’ve never seen it before. Am I scared, or nervous? Actually, I would say I’m nervous, but that’s still not a state to be in. How is that going to help me, when I can’t aim my pistol properly because I’m shaking all over the place. 

I try explaining this to you, Holly, here in this darkened room, but you tell me to stop being stupid. Sometimes, you just have to do things and they may not be pleasant things, but you still have to do them. If you worry, that’s always the worst because you try to delay and the best thing, really, is to get it over and done with. Wisdom from a person who’s never had to face three planets worth of aliens. I try telling you about the brave face I’m putting on and you say good, that’s the way to go about it… but I interrupt you to continue that even my bravery got scared and ran off, leaving me to myself. Never a good thing. You pat me on the back and tell me that Dee Dee will be waiting for me when I come back. Yet, that promise just seems empty. Not like it used to be.

I am currently waiting to die, sitting here. Every second I know that the door is going to get opened. Every second I know that I am going to die. They will come because they blatantly know I am here. They are evil bastards and I am a sitting duck. The cruel bastards are even making me wait. Oh well, I at least managed to get here. Much more than I was expecting, I suppose. Must be my lucky day after all. Ha! Now what? Except for being buggered, I haven’t got the foggiest what to do. I suppose my best bet is to get out there and blast all these alien chappies to hell and beyond. Then again, judging by the size of this ship, I think that my best bet is to just hope like hell and pray like mad.” A mental slap tells me that I’ve been talking to myself. And another voice adds itself to the melee. “Who are you?”  

I have no sense of fear. I have, after all faced death many times. Even just today. But I do gain a sense of extreme nervousness, right now, when I hear this voice. I first of all notice that it is in English. There is a queasy, uneven feeling in my stomach. Why is this voice in English? Are these actually English people come from the future? Are they trying to alter the past in order to change the future to the way they need, in which case due to the changed timelines, they may never be born and not exist? Will this cause them to fade away, which may or may not actually mean that history could revert back to the way it was, which may or may not (it has not been proven, any of this) enable them to come back, in order to try and alter the past (present for me) and let these huge interstellar events continue, creating a time continuum, meaning that the universe can never die, trapped as it is in this finely contained scale of events, only stopped when somebody breaks the cycle. It’s a long, boring argument, that I have a lot of interest in. It’s the type of argument, that although you (think you) understand it, you try explaining it to someone else who (thinks they) understand it and you argue until there are no more seas on the planet, all evaporated into clouds on which the entire population of the world has emigrated to and are currently building a time machine in order to go back into the past in order to get you to shut up about it all in the first place. And so the continuum continues. 

And the first of the insects starts moving in my stomach, only aiding my nervousness to build up, as I become physically aware of it. The insect scurries along my intestines, little feet (hundreds of them) scrawling along the lining of my inner tubes. Little hooks scratching, bits of fluff tickling. 

The voice was not only English, but it came across loud. It was scratchy, throbbed and had a growl about it (maybe caused by the volume) that made it sound inhuman. If these are monsters, as I originally suspected, why do they speak English? Is this actually a sign of how powerful the English nation and its empire is? Of how powerful it is that it needs to be destroyed? Maybe they’ve actually taken the time to learn English to tell us this, which may unconsciously be seen as a sign of some kind of twisted honour? Who fucking knows? 

I am not here. These people do not exist. I am asleep, or I am some kind of abstract construct in some twisted imagination. These people are about as unreal to me as the Germans were in the war in which I have just played a part. Some part of my mind is struggling to come to terms with the safety of the new post-war reality, building up a construct for me to face up to the fears that I would previously have to come to terms with on a daily basis. However, as much as I know all this to be true, I know that it is not helping me out. I have to face up to all this. I faced up to the war, and that went away. 

The insects are stampeding in my intestines, through holes in my stomach they emerge, scurry, my insides bruised battered, bleeding from the rush, the escape horrors which I know I will have to face up to. If I was scared, these feelings would be immediate. I am nervous. Causing avoidance techniques to draw out the inevitable. Nervousness is a form of fear. But not from where I am sitting. I am wasting time. I have to make a move, and I have to make a move now. I may die, but the time is now. 

Shit! How do I open the door!? I push my body against it first, hoping that that will open it, but of course it doesn’t. There… there is a handle, somewhere, I know it. I have to open it using that. But I have handle blindness, and I can’t see it. Where is IT? My hand is scraping all over the door, hunting, looking for the fucking handle, but why does it hide from me? Is it so evil? Is this part of the alien plan? I’m trapped in this machine, doomed, a sitting duck. My body is slamming against the door, I can feel the floor moving as I’m pushing it, knocking the machine over. I force and I slam and I’m still trapped here. Why can’t I get out? I want out. I need to get out. I’m slamming harder and my arm hits something. The door opens. I tumble out.

Immediately I see four of the aliens running towards me. They are pointing a THING at me and it looks bad. I’m sprawled on the floor and I know that they know that I know that they can aim and shoot in less time than it will be possible for me to pick myself up off the floor and hide. There is only one thing to do now. Try anyway.

Scrambling up, feet slipping underneath me, suddenly scorched by an explosion just centimetres away, causing me to jump, I duck another shot and quite simply fall into the machine. 

One, two, position, four, run, six, dodge, find place, hide, ten. I’ve tucked myself in-between two huge stacks of boxes. This is some kind of a storage depot, or something. It looked to me like the guards were wearing big armour. Very big armour. And I realise now that I’ve trapped myself. The only exit is in front of me. One, two, compose breath, four, get ready, six, run, eight, now where?, ten. 

Things aren’t so easy now. There is nowhere to run to. Nowhere to hide. I’m trapped in a vast expanse. And all I know is that there is a rattling in my pocket. Of course! My house! I have a plan now. My house is safety, my house is light! I reach into my pocket, still on the run, stumbling, fumbling in my pocket, and I place my house in front of me, putting it on the floor. Of course it’s very small, that’s how I got it into my pocket. But that’s only because it’s in the distance. 

I sprint towards my house, faster, explosions in front of me, behind me, and I sprint, my house getting bigger, getting closer. Never have I been so glad to see home. I get to the front door. Keys, shit!! They are in my pocket. They are in my pocket. Found them. Key in door, turn, open, in. Close door. Lock door. Run to the back of my house. Safety inside. Out the back door, keep running. The aliens can’t get through the door and there is still my house in the way. 

The nearest bit of cover I can see is not for a long way away. So I must continue to run. I look around, my house is small enough now, so I pick it up and put it in front of me. But the aliens have a clear shot of me again. So I must sprint. I am tired, so I stumble, falling forwards onto my knees, rolling onto my hips, my legs swing above me. They hit the floor and, gracefully, pull me up. I can run again and just as well as I am nearing my house now. 

Again, I must unlock the door first, but this time I have my keys with me. Ready. Opening the door, I go in, lock it, run to the back of the house. I’m out and running. Nearing the wall, where I know there can be cover. I run and I run. My legs do not appear to be my own any more. They feel unnatural, and as I look down, I wonder where they are because I can’t see them. It does not matter if they are there or not because what’s keeping me going is an unstoppable momentum, anyway. My legs seem irrelevant. 

I can pick up my house now, though exposed I will be. There is not really enough space to try the same trick again, now, so I am just going to have to look for cover. Reaching huge rows of boxes, I must find the suitable row for cover. Passing one, two, three, four, on the fifth one I find what I feel should be right. I duck in, hoping the movement to be so sudden that maybe the aliens won’t know into which aisle I have disappeared. There are boxes around me. There is a wall directly in front of me. A hard, solid wall. The floor is an obvious problem, but I have my solution.

Checking that my house is safely tucked into my pocket and that I haven’t dropped it, I climb the boxes, and reaching up to the ceiling above me, open the grille. I pull myself inside. Fortunately, it is just as I place it back that I hear the shouts “This one, he went in this one!” I see them appear at the opening of the aisle and I have to duck back out of sight. I am out of breath, gasping, silently, but my heart still beats fast because I know I can be caught. I know I should carry on, but I want to stay and catch my breath. Another part of me also wants to know; will I be found up here or not? So I have to stay to find out. 

I look around myself, but first, I notice the breeze, the loving breeze. It picks me up and carries me along these long, smooth, but metallic grey corridors. The breeze carries me horizontally because it is too small an area to stand upright. The breeze relaxes me and it soothes, it kisses and it teases. It helps my now aching body, attempting to repair some of the injuries that I have picked up over the course of the day. My left arm has been rendered practically immovable, now. I feel that I have picked up some new injuries, though I am not sure when. I think that my head has also been wounded, as there is still some wet blood on the left-hand side. How much of my face the blood covers, I cannot be sure. But my head hurts, so I fear it may be serious. Yet the breeze does help to soothe these pains.

I am in an air duct of some kind. Everything about where I am suggests that I am in an air vent, but I idly wonder to myself, would aliens need air vents? How can I be sure I am in an air vent as I have never been in one? Especially not an alien one. But then the loving breeze betrays me as it brings up the voices of the aliens. I wonder if it is taking down my sighs of pleasure. How much will you betray me? In a blissed out fear, I check my pistol. I have to know what ammo I have got. It is loaded, to my relief. Part of the breeze tickles my neck. I breathe in deep. But I know that I have only one round. Not enough. But will they know that? Will it kill, if needed? The machines were able to deflect bullets, what if these aliens can too? What if they are made out of the same material? My gun certainly is not as powerful as the gun on old Bessie.

I look at it and, aided by the caress of this breeze, I will my gun to change into something more powerful. It morphs, it grows, it is big. But alas, it is the same gun and will always be the same gun. Now the breeze begins to chill as the sweat on my body cools down to this lowered air temperature. The breeze has turned evil and I can hear the voices distinctly. I begin to want out of here, but there is still one thing that I need to know.

“Where did he go?” someone shouts, I presume it is the team leader and I imagine that he would be shouting at some poor guard.

“I don’t know, Captain Yertjuk,” replies the guard, confirming my suspicions and handily providing me with a name.

“How could you have let this happen!?” There is the sound of a smack as, I guess, the guard has been hit by Yertjuk who continues to shout at him. But firstly I must say that it is not his fault. He does not need to be hit. It is my fault, I ran away.

“Those human things, you know that thing with pink skin, they don’t just disappear into thin air you know!”

It sounds like a second guard has decided to step in.

“Well, we don’t actually know that, Captain.”

“They are only a primitive race. They have absolutely no idea about matter transference,” says Yertjuk, who appears to have calmed down quite significantly by now. Or maybe he hasn’t. I don’t know. The first guard dares to speak, now that Yertjuk appears to have stopped hitting people.

“Well, we don’t know that for sure, Captain.”

I imagine that I can hear Yertjuk turning quite sharply and I think that he is hitting the first guard again. I can even see his fist now, going into…INTO…the guard’s head and coming out the other side, the force is that powerful.

We don’t know about matter transference, so how the hell are they going to know!?” Matter transference sounds interesting. I wonder if that means having a face turn yellow, like Yertjuk’s is, right now.

  “Well, I don’t know,” says the first guard to himself. I know. I just know that Yertjuk has overheard him and is daring him to say it again, the force of his glare strangling the guard, who falls to his knees, thrashing arms, flying back onto the floor, with eyes closed and will never move again.

“Well, where has he gone then?” asks a fourth guard, not knowing that this has just happened, like I know.

“I don’t know, do I? And it’s his fault for letting it happen.” Yertjuk points at the first guard, whose dead carcass bursts into tears.

“But I didn’t do anything,” the dead body says.

Precisely.”

Yertjuk hits the guard again. This time for good measure. But it will do no good, for the guard will never know the pain. The nerve endings have stopped sending messages to the now non-functioning brain. I sleep.

General Notes

Well, this was a shitty chapter to read. There are a lot of sentence structures that may be pleasing for the eye, yet are a nightmare for the mouth. There were some deliberately long sentences (with added parentheses) to make the journey from the beginning to the end that much more hellish.

And then there were some deliberate fragments that look nice on the page next to each other, but are shitty to read out, because how do you intonate from one fragment to the next?

They were deliberately dislocated on the page, but my mouth doesn’t know how to read out dislocated ideas as it is used to having context around the things that it says. 

This whole podcast has been a lesson for me in that I may have a defined voice through words on a page. Yet, when I attempt to vocalise that written voice, I struggle. I have not been able to marry both forms of communication into one cohesive package. A bummer when you’re doing a scripted podcast. 

Anyway, how about the chapter itself? 

That was quite the breakdown Ginger was having at the beginning of this chapter. 

[UNCLEAR VOICE UNDERNEATH MAIN AUDIO]

Well, I did. As exaggerated as that sounds, it happened. Pretty much exactly as written. I don’t believe there was any embellishment, or removal of details. I still remember that day well. Possibly because I documented it, cementing it in my brain. But it happened to me. However, that’s one of the joys of writing a novel. You can shove a shitty day onto a fictional character. You let them deal with it, in the meantime recontextualising it in your own head. It happens a few times here and there throughout the book, not quite to this extreme though. 

I’ll leave you to decide where such moments happen. I’ll give you one clue though, I haven’t fought with any giant sharks in the sky. Let’s move on. I don’t need to go through all of that again. 

OG DANIEL’S NEMESIS:

[SPEAKING OVER HOST]

This old song and dance again? You don’t talk personal shit. What’s your new word? Cancelled? I’m cancelling you from this bullshit. 

HOST:

(UNCLEAR AS HE TRIES TO REINSERT HIMSELF)

[OUTRO MUSIC PLAYS]


And just in case you were wondering, all text was written by me, Daniel’s Nemesis, and XBook is purely a work of fiction and is not meant to be based on anyone or any events at all. 

The music was also by me, Daniel’s Nemesis, as was the image that accompanies this podcast. 

It sucks, doesn’t it? 

But there we go.  

[CUT OFF WORDS AND SOUNDS AS THE HOST TRIES AGAIN TO REINSERT HIMSELF.]

TEXT TO SPEECH:

This is frustrating. I’ve been completely eliminated from my own podcast. I’ve tried re-recording stuff, but I can’t insert my own voice anymore. Yes, I associate it with terrible, spammy YouTube videos, but text-to-speech seems my only option. 

Where are we story-structure wise? Looking at both Blake Snyder and John Truby, I think that it’s fairly clear that I’ve accelerated through a few main story points, if not completely blending them together into a “super-beat”. “Super-beat” was supposed to be in inverted commas, and I don’t know if my voice can carry that sarcasm. Is there a plug-in for the editing software that I’m using?  

Well, let’s quickly go over William. What is his midpoint? Probably when he goes to Earth. This is when he’s at his most optimistic - what many story analysers call “The false high”. A midpoint can either be a low-point or a high-point, either way it should be a false-extreme. On a personal level, he’s achieved his simple goal of completing the journey, even if it’s temporary. He got to Earth, and for a few short moments, it’s his and his alone. 

Plus a cow. Of course, to complete his goal truly, he needs to get the whole of his race onto Earth. From here, he probably fits more the John Truby mould, in that he has gone through the “Drive” moment. He finally agrees to the large scale invasion that many of those around him clearly want. 

To briefly summarise “The Drive”, it’s a series of actions that our protagonist does to win against the antagonist. In William’s story, Ginger, representing the humans, is the antagonist. These actions can become desperate and immoral as the antagonist is too strong. Now, I wouldn’t say that Ginger is “too strong” here, he’s certainly stronger than was anticipated as he’s stopped the first attack. But the way that William (over) reacts to this is to suggest that Earth is full of super-humans, or Avengers and Justice Leagues combined, and his next attack on Earth is vastly stronger. Such a large attack fleet is obviously desperate, as the first invasion would have been sufficient were it not for one bizarre moment in which Ginger accidentally managed to crash one of the Trascon fighter crafts. 

Then in the previous chapter, we saw William move into John Truby’s next step. 

“Attack by Ally”. To say that Skernajj hasn’t been eye-to-eye on a number of issues with William is an understatement. Whatever the relationship between these two is, and a number of different types of relationship have been hinted at, Skernajj is viewed by William as his key confidant, therefore his key ally. But Skernajj has been pushing his own agenda, and is slowly winning by getting William to submit to his plan. 

Now, John Truby says that “Attack by Ally” is when said person confronts the protagonist due to their increasingly immoral acts. The Ally is an avatar of the protagonist’s conscience, and so the “attack” is actually an appeal to the conscience of the hero. An intervention, if you will. The Anatomy of Story was published in 2008, approximately two years after I last made any revision to XBook, and two years after I graduated from my Script Writing Master’s. So forgive me for preemptively misinterpreting this step. Skernajj’s attack is to undermine William. He is not alone, Dritkil is dragged in, but Skernajj is very apparent in his mocking of William. And in fact, William has already, of his own accord, dug into his conscience as he envisions a violent invasion with killings done for the pure sake of them rather than for any need. Whatever the route that was taken, William has begun questioning whether his choices were right or not. And he is seen as weak for doing so. 

But, at least he can capture Ginger, right? 

Where is Ginger, storywise? 

Well, let’s look at our groovy cat Blake Snyder. 

Blake Snyder defines the midpoint as where stories A + B cross. So, he’s had his “fun and games” in his new toy, and he’s won. He’s at a high, very confident. Then the base is attacked by William. Ginger shoos them off. Still a winner. So, let’s consider that as the midpoint as the fun and games crashes to a halt. Ginger has a job to do, and he has the toy to do it in. 

Flying into space, he goes through a couple of Save the Cat steps. “Bad Guys Close in” is the step that immediately follows the midpoint. William’s little attack was merely a teaser. On the radar, Ginger can see the vast number of new fighter craft flying towards him, and then onto Earth. Can’t get any more literal than that. 

We then push onto the “All is Lost” step. This mirrors the midpoint and is a false defeat. Well, the midpoint was winning against the first invasion. So, how do we mirror that? Being unable to act against the next attack. For Ginger, that’s a defeat. Even if he chose to turn the craft around, he can’t as he’s locked in by a tractor beam. Do we still use that term anymore? I feel like I haven’t heard it since the ’90s. 

And then we come to this chapter and the next beat. “The Dark Night of the Soul”. This is the existential moment. The “Why is it all happening” moment. Or as Ginger says, “Why me?”. 

As stated, I have blended various steps together. Ginger has been existential over the last couple of his chapters. But in this chapter, he really does realise that he can die. 

I’ve only touched on two theories here. I’ll leave it to you to match Ginger’s story with John Truby, or William’s with Blake Snyder. Your analysis will be just as relevant. 

That’s where we currently are. 

The Psychologist’s Chair

The house makes a reappearance. It’s not usual in this book for things to move across from one chapter to the next. I appear to have developed that little known concept as “Con tin oo it e”. 

I mean, in terms of convenient devices and imagination, McGuyver and James Bond never had a childhood home to hand. 

We don’t know much of Ginger’s childhood nor of his home. It first appears in Fly, Ginger! Fly! and in the very first actual chapter, Ginger makes reference to growing up in a town five miles away. We only know that it’s Ginger’s childhood home as he describes it as the house that he spent most of his life in. He deems it important enough to pick up without ever giving any reason for doing so, and it is then immediately forgotten for the majority of Fly, Ginger! Fly!

But it reappears here. So, we can only infer from the scant details given. It is a place of safety, in fact, it’s a place of defense. Ginger uses it as escape, to get away from the external terrors of being shot at by aliens. It’s not stated that the aliens do not penetrate it, but as soon as Ginger picks up the house, after running through, his troubles begin again. 

He is aware that as soon as he picks it up, he is exposed. And that’s all we have. But in terms of associations, that gives us a teaser of what his childhood must have been like.  

Except, he doesn’t just refer to his house as safety, he also refers to it as light. Here, I’m pretty certain that means luminescence, as opposed to being easy to carry around, despite the fact that he actually does. So, his childhood home is not only a fort. It can be (and may previously have been) used as a fort. But this is clearly not the house’s only function. 

Unfortunately, there are no other clues. 

So, time to move on again. 

Ginger clearly needs sidekicks. Holly is an apparent one that keeps popping up. Dee is a representation of who he does everything for. And now we have a breeze. One that is temperamental. First, it soothes and heals him. It then turns evil as the Trascon security team appears. It’s fairly obvious that he’s in an air vent. I’ve never been in an air vent, myself, but I do imagine winds travelling through. Please let me know if I’m wrong. Assuming there is a flow of air in such places, it’s a clear sign of Ginger's fear and desperation that he anthropomorphises even a gust of wind to not feel completely isolated. 

An ally is a core thing in a story. After all, how do we know how somebody feels without having someone to tell? 

Alright, I’m deliberately downplaying a lot of great stories that are able to show and not tell, but you get my point. Vocalising feelings can be a big part of showing. 

I’ve kind of circumnavigated this by going into first-person narration, and present tense narration at that. Narration implies that someone is listening or reading. That someone has a story and they are telling that story to another person. Present tense first-person narration doesn’t get used much, because if things are happening right then to a character, who are they telling their story to? It’s fourth-wall-breaking, and as much as I personally felt it would bring the reader further in, experiencing the action as the character does, much like in a movie, I know that many, many people disagree and think it’s an awkward narration device. 

The characters are too self-aware, perhaps of being in their own story and work of fiction. 

However, with my two characters being so solo throughout this book, this technique at least allows both characters to vocalise themselves, and therefore to process, and digest, and act on what’s happening around them. In fact, there’s a military strategy, the OODA Loop, that military agents try to break in their enemies. OODA stands for Observe, Orient, Decide, Act. And this is something that we see Ginger doing in his own surreal ways. Granted, we see this in many, many stories. Other characters at least get to discuss this with their allies. 

But I go through the loop with Ginger and William alone. For Ginger, definitely, the first-person present tense narration is his true sidekick. We, the audience, are his allies. 

He vocalises internally to process and act on his decisions. Without us observing, would he be able to do that? 

And on that Schrodinger's Cat bombshell, I shall finish here. 

What do we have to look forward to next time? 

In another act of “con tin oo it e” we learn one of this chapter’s guard’s name. 

Until next time, TTFN!

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XBook Chapter 24

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XBook Chapter 26