How best to ??

Handley_Page

Draco interdum Vincit
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Aug 18, 2007
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How do I bring two streams together in a story ?

I have the primary protagonist going about his lawful occasions; meanwhile, I got to get his romantic involvement up to speed. This involves a deal of genealogical research and location (by someone else), but I cannot see quite how to do it.

I'd rather not do it through a separate story, though.
 
If they don't fit, use a hammer. It's traditional.
 
Are you asking, how do you plot it out so that it works? Or do you already have the plot details in mind, and asking how to write it so that it works? Two very different questions.

If your question is the first one, it is tough to answer without knowing more details about the two parts of the story. If your question is the second one, though, I'd write them first as if they were two separate stories, and then "interweave" them, one chunk of each at a time, until they converge.
 
How do I bring two streams together in a story ?

I have the primary protagonist going about his lawful occasions; meanwhile, I got to get his romantic involvement up to speed. This involves a deal of genealogical research and location (by someone else), but I cannot see quite how to do it.

I'd rather not do it through a separate story, though.

Not quite sure what you're asking, but: you want to present a story while providing exposition/backstory?

One option is to intercut, though it can be confusing.

Another is to look for a device that makes it easy to convey backstory. For example, I have one work in progress that starts with an email from a Homeland Security type asking his boss for a second opinion on Our Hero's security clearance. Convenient excuse for a terse info-dump about his background, family etc.
 
Thank you, people.
It's a family matter; the distaff side have, somehow, to be brought up to speed while our hero (who is Not Related) is doing something.

There's a distinct facial resemblance between an old sculpture and the real person who modelled for it. Her genes have obviously trundled down the ages (about 4 or 5 generations, I reckon) to a modern person who is [a] a dead ringer for her, and modern. Our hero has yet to meet her.

Does that make any more sense?
 
Why not casually bump them into each other while they are both at the same place doing research?

It would make for an easy 'and the dude's jaw dropped' moment.
 
Might have them meet by coincidence at the statue. She's visiting and touring the sights and stops at the base of the statue to sit. Your hero is stunned to notice she's a deadringer for the statue and that's the joining point of both. Twist in an introduction of some sort and play it out from there.
 
Be careful about stories to do with statues coming to life or having someone who looks like one 'appear.' You should go back to the classical Phoenician myth of Pumayyaton and Galatea - the daughters of the king deny that Aphrodite is a god, and in vengeance she turns them into prostitutes whose blood lacks the true hot desire of real love, and whose complexion consequently turns white like statues. In dismay and despair, the sculptor Pumayyaton creates a statue to admire in place of these local women who are no longer satisfying to him - and Aphrodite makes the statue come alive.
 
Why not casually bump them into each other while they are both at the same place doing research?
It would make for an easy 'and the dude's jaw dropped' moment.

Might have them meet by coincidence at the statue. She's visiting and touring the sights and stops at the base of the statue to sit. Your hero is stunned to notice she's a deadringer for the statue and that's the joining point of both. Twist in an introduction of some sort and play it out from there.


This has some advantages, but it might be a little obvious obvious.
I'd rather not do it, but if that's the only way. . . .


Be careful about stories to do with statues coming to life or having someone who looks like one 'appear.' You should go back to the classical Phoenician myth of Pumayyaton and Galatea - the daughters of the king deny that Aphrodite is a god, and in vengeance she turns them into prostitutes whose blood lacks the true hot desire of real love, and whose complexion consequently turns white like statues. In dismay and despair, the sculptor Pumayyaton creates a statue to admire in place of these local women who are no longer satisfying to him - and Aphrodite makes the statue come alive.

It's not the resurrection (enlivenment?) of a statue that's the point. Rather the assembly of the old family, one of whom is a dear ringer for the statue, being descended from the original model.

Well, that's the idea, anyway.


PS. I'll have to look up the myths.
:)
 
Maybe have her find the statue and have a moment of self-recognition, a form of connection happening to the past. He sees this as he's doing his research and comes across her and the statue interacting in some way.
 
It's not the resurrection (enlivenment?) of a statue that's the point. Rather the assembly of the old family, one of whom is a dear ringer for the statue, being descended from the original model.

Somebody who's familiar with the statue notices her, mentions it to a local journalist who thinks it would make a good story to get a photo of the family next to the original statue?
 
Somebody who's familiar with the statue notices her, mentions it to a local journalist who thinks it would make a good story to get a photo of the family next to the original statue?

Something along those lines, yes.
 
Could the statue be of some importance that it has a special day commemorated to it? The woman has come back to her homeland to visit family she hasn't seen in a long time or even met yet.
People could start saying she's the spirit of the woman sculpted and bring the two together through that twist? JAT
 
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