The End of the First Person

I think I’ve just liberated myself. Stuck in the mud with getting the right tone for the book, I think that could be it for the First Person, at least in this one. For LBIH it worked, but now, since this one is going to epic in scope, I’m going to need a narrator. Is the author enough to be this or is there a need for a separate character to tell the story?

Everything is pointing towards the need for their to be an epic. Even the ball game on the TV is in the bottom of the 20th inning – I wish it would go on forever so I could keep up this strain of thought. Perhaps the Mets inability to hit the long ball will help get this out. Russian Literature has been creeping in, but I find it hard to read – I have always done so much in the digital format – I wonder if now, I can bring the epic scope of a larger novel to the mindset of people who need to read quickly.

It’s too early on to be thinking of audience. Right now I have my main character in a train yard in Ulaanbaatar with his friends talking about where the revolution actually started. This is no good because time-wise, even when he is telling the story now, he would be too young to really have a lifetime perspective. It should be someone else. An elder telling the story. But not in the “I” format. The person can be revealed in the end. It might help. There should be no “I” there. There might be the freedom to move around.

The trick would be how to keep things moving along and still keep the epic scope. The form of it all is maddening. The story is there but the form must come at first. Plot as well with the size of this thing. What I don’t want to happen is to get stuck in the middle and have to break through a wall to get to the other side. I have no time for these things right now.

The map is in back of me though and I have to have names. I will put in some phone calls to Mongolia and start on that.


Tragedy Structure


Structure of Greek Tragedy

Here are the basic components of a Greek Tragedy:

Prologue: Sets forth the subject and provides the mythological background necessary for understanding the events of the play.

Parodos: Song sung by the chorus as it first enters. Named for the corridors at the front of the stage of a Greek theater.

Episode: A scene of dialogue in which one or more actors take part.

Stasimon: A choral ode that often reflects on the dialogue and events of the preceding episode.

Exodos: A processional song sung by the chorus at the end of the play offering words of wisdom related to the actions and outcome of the play.

Referenced from :

Plot Dives

The hardest for me so far. I am going to have to dive into the classics and go from there. I think perhaps it might be a little like medical school in some sense, finding out how to go into the body of a novel and take it apart. I tried with Invisible Man to look at that with an objective eye on how it was done, but the story was just too good and it got me sucked in to reading it. Now, I’m going to have to go to Greece.

Aeschylus’s The Persians keeps coming up to me, so I’ll try to get at that. Bob Dylan was mentioning it in his autobiography. He seemed to have read much of that in developing how he wrote his songs, and since the stories he tells in his songs are so magnificent and epic – the length that I like, I’ll try to get at that with this next book. It is on the horizon. Aeschylus had to submit his plays in competitions. That’s how it was done back in those days. The writer, who was also a warrior himself, worked for it back then. I will have to look at the structure of the stories he told. I need a backbone to this tale.

It is interesting to note that each play was actually part of a trilogy. That would be an interesting way to look at novels. That the next one you wrote was really a continuation of the story. Wow. Fulfilling destiny. I must give everyone names in this one to say the very least. There is something more though. I’ll start there and hope it leads me down the road of plot.