On Writing: Five-act structure – Act 1 – General #1

You can check out all my posts on writing through this link.

Once you’ve come up with a list of meaningful plot points that should happen in your story, and you have determined the general structure, you could strengthen the scaffolding further by relying on a five-act structure. The original three-act structure suffers from issues regarding the second act, which is the bulk of the story yet it’s treated as if it were the same length as the first and third acts. The five-act structure divides the second act into three, relying on a mid-story turning point as the main mast of the tale.

The following list of notions strives to strengthen the first act of a five-act structure.

  • What is the goal in this act that the main charactes believes that by achieving it he’ll get closer to achieving his external goal?
  • How does the main character’s external goal bend to his internal issue, the thing he struggles with that keeps him from easily achieving said goal without breaking a sweat?
  • For every goal in an act (or scene), see which goals could fail first. That ups the conflict.
  • One way to tell if what the protagonist wants in the beginning is her genuine goal is to ask yourself: will she have to face her biggest fear, and so resolve her inner issue, to achieve said goal?
  • Look at every single character in your story and ask, “What’s their goal at this very moment?” If they don’t have one, give them one.
  • List the actions your hero will take toward his goal.
  • Create a plan that requires the hero to take a number of actions, but also to adjust when the initial plan doesn’t work. How is the plan unique and complex enough that the hero will have to adjust when it fails?
  • As a general rule: whatever the protagonist tries, his first two attempts must be futile.
  • How is this act an unit of action bound by a character’s desire?
  • How does this act fulfill its purpose of preparing the readers for what’s in store?
  • How do you bring with your important characters, as you introduce them, the stakes, what they care about, and the antagonistic forces that threaten what they care about.
  • How do you take the time to introduce the character in his “normal world” before the inciting event comes blasting into view?
  • How does this act represent the phase of the universal story that is Comfort and Separation?
  • In the beginning quarter of the story, get the front story going first by hooking readers and audiences with present moment-to-moment conflict. The protagonist faces an immediate dilemma, experiences a loss, feels fear, and is compelled to take action.
  • The first act sets up the story: the story problem, the story question, and the motivation for the protagonist to take action.
  • Is there a hint of the consequences of failing the act’s goal, a mirror or echo of the kind of death he risks (physical, psychological, social, or a mix)?
  • How does this act mirror and echo act five (the traditional third act)?
  • How do the actions in this act prompt readers to ask “what is the worst consequence of this decision”, and the consequences will be shown in the second half of this story?
  • How do you set up the stakes and the opposition for the desire line?
  • All the scenes in this act should be contributing toward that First Plot Point moment: revealing backstory, giving it stakes, infusing it with tension and fear and anticipation.
  • The mission of these act one scenes is clear: Make us feel like we’re there (vicarious experience), so that we see dynamics that the characters cannot. The characters feel them—and you can certainly make that feeling visceral—but for them it isn’t a story yet, it’s just their lives.
  • The mission of this opening quartile is to invest the reader in the story through empathy for the hero, which depends on the establishment of stakes and a clearly defined dramatic question at the heart of the story.
  • The scenes within each act should align contextually with that mission and thus bear a different context than scenes from the other parts. That’s critical to understand—it’s the difference between a writer who knows what she’s doing and one who is faking it or imitating what she’s read and mislabeling it as knowing how to write.
  • Every single scene before your First Plot Point should contribute to the setup of the dynamic in the second act and forward, either through foreshadowing, hero backstory and present context, the establishment of stakes, or the ramp-up to the First Plot Point story turn.
  • To set up the “Normal World,” not only focus on the existence and archetypical role of the protagonist, but also in the relationships he maintains, and especially in how those relationships are going to be altered or cut off when moving into the second act.
  • Act 1 introduces your hero then throws a problem at him.  That problem will propel him into the heart of your story.
  • Does the hero hesitate to engage with the story problem until the stakes are raised?
  • Make sure the order of the events creates a gauntlet of challenge, baptism by escalating fire.
  • Since story, both internally and externally, revolves around whether the protagonist achieves his goal, each turn of the cause-and-effect wheel, large and small, must bring him closer to the answer. How? By relentlessly winnowing away everything that stands in his way, legitimate reasons and far-fetched rationalizations alike, until the clock runs down to “now or never”.

The Drowned City, Pt. 5 (Fiction)

The next morning, no amount of effort could focus me on the tasks that, like most others, piled on my desk past the deadlines set by the production line manager. Delaying work stoked my anxiety until it boiled over, but my subconscious had stopped caring. I’d squint and drift back to the forest. I savored the vision of the woman seated on the rock, a sculpture carved from white marble, her drenched dress clinging to her body like a Greek chiton, every fold precisely rendered.

In the clearing, the woman escaped the steamroller pressure of my routine. She relished each carefree minute, sheltered in a timeless bubble immune to erosion. Yet sitting at my desk, stealing glances at reflections and movements in my peripheral vision, her absence left me gasping as though I’d woken missing a lung. Was she in the clearing now, rinsing her hair in the lagoon where insects skittered? Diving beneath lichen veils? Talking to herself, drowning the silence with her flute-like voice? My ignorance seared me, kindling an ache in my chest.

I should’ve met her years ago, and lived beside her as those years crumbled. The mountain of details her life had piled up, the ebb and flow of her mind, how she’d look if I’d seen her then, her expressions, her spoken words—all lost as if someone had gathered every unearthed gem and tossed them into the mouth of a volcano. Even recordings of such details wouldn’t have resurrected them. Each second apart inched us closer to one of our brains flickering out. And I stayed chained to this office, lashed to a screen, slogging through meaningless tasks to fund a life I couldn’t stand.

That afternoon, I boarded the train to Hitachi. When it stopped, I spilled onto the streets, teetering between a walk and a sprint. I stood three meters from the passageway and drank in the sight like a pilgrim. No one passing the gap paused to notice the forest’s ghostly outline. No one had ventured in to discover the creature within. How could they be so blind? Painters should duel to set up their easels at the entrance; photographers should brawl for the sharpest angle.

As I hurried along the path’s curves, scrambling up slopes as fern palms brushed me, I heard an intermittent rush of water. A stream tangled in foliage? No—a voice. Hers. It flowed from a distance through branches and leaves, weaving speech and silence like a song. I quickened my pace. I hoped to catch a word, but minutes before I reached the clearing, she fell quiet.

She stood by her rock, profile tense. One hand fidgeted with her opposite wrist as she stared into the undergrowth. I closed the gap until two meters separated us. My lungs burned. She turned, squinted catlike, then smiled. I lunged forward and wrapped my arms around the back of her dress, lifting her off the ground. I stifled a laugh while spinning her weight. She gripped my shoulders. I set her down and stepped back, though I’d have held her for hours. She regarded my expression as if she were incapable of communicating through language, and needed to decipher my gestures and tone. Her widened eyes reminded me of an owl’s.

“I heard you talking as I came,” I said, my voice scraped thin. “You don’t have to stop.”

“I’ll talk with you.”

I gazed at her in silence until a crackling of dry leaves broke the pause.

“Want to sit?”

She settled on the grass, her skirt’s taut drape covering her knees. I sank beside her and flopped backward into soft turf. To my right, she had lain down and tilted her face toward me, her features half-hidden in a thicket of grass blades.

I stretched my arms out. My fingers brushed her warm skin—not the cold damp I’d expected. I slid my right palm beneath her left, interlacing our fingers. Her grip tightened like a lock.

Lifting her hand, I studied it: blue veins beneath pink, translucent skin. Light glimmered around its edges, filtered through trembling leaves.

Maybe the silence clawed at her, but what could I talk about? My job and the litany of worries it spawned? What would this obligation-free woman grasp? Should I share details of my life? It had lacked meaning until I met her. What could she share? She hadn’t brought a book, nor hid a TV. Who knew where she retired to sleep between visits to the clearing?

I surrendered to the quiet. The quivering lattice of branches cast nameless shapes pierced by twinkling sunlight. Air hissed through her nostrils. Her hand warmed mine.

My body had always fought to stitch itself back from anxiety’s corrosion, but now it lay drugged-calm. I savored time’s crawl, the sun’s glare, the forest’s whispers, the heat of her foreign skin—unspoiled. Is this how they felt, those who claimed life was worth living?

I craved to roll over and clutch her until our flesh fused like adhesive. But would that send her fleeing?

I drifted into a half-sleep. Each time I surfaced to consciousness, I relived the warmth of the woman’s body, which remained close to mine.

Time to leave. I held the wristwatch up to my face. Dinnertime was approaching. I rose, tugging her up.

Facing her honey-gold hair dusted with soil, her rose-and-white ice-cream complexion, the taut neck muscle strained by that mane, a shiver tore through me, and my heart jolted as if kicked. I needed to kiss every inch of her, swallow her mouth and tongue, bite her neck, strip her, devour her. I gripped the grass and held my breath until my vision cleared and the pounding in my neck subsided. I rubbed my eyes. Sighed.

“I have to go. Hope I see you soon.”

“Tomorrow?”

“You want me here?”

“In the morning?”

“I work.”

Her unblinking eyes gleamed, though her fluted voice stayed flat.

“Please.”

That night I slept in 20-minute shards. Tossed between shoulders, sheet tangled at my chin or knees. A whirlpool sucked at my mind. The hand that had held the woman’s was now inflamed and tingling, radiating a heightened sensitivity across the rest of my skin at the touch of this hot, stagnant air, as though I had submerged my entire body in acid.

Morning found me slumped on the bed’s edge, elbows digging into my thighs, gaze deadened at the floor. I grabbed my wristwatch from the nightstand, strapped it on. 8:47. Late. Late for the office.

It mortified me like a sharp lash on the fingertips. I’d handed my superiors the excuse they’d craved to fire me and hire some groveling replacement. Years of flawless, punctual work—incinerated.

I called, asking for a supervisor.

“Yeah, sick. Maybe something I ate. Or the flu. Very likely. Thanks.”

I showered, dressed. Within an hour, I raced through Hitachi’s station-adjacent streets. Buildings blurred as my mind quivered like a gong’s aftershock.

I plunged into the forest. In the clearing, she stood back to me on the lagoon’s pebbled shore. Her hair, split and water-darkened, draped her chest; droplets zigzagged her nape and were absorbed by her dress’ embroidered collar. Skin patched eggshell-white gleamed between her shoulder blades. The skirt, suctioned to her thighs, dripped like rain from an umbrella.

The woman was etched against the backdrop of pines like a figure conjured in the mist, ready to fade with a single breath. How could I picture her near the passageway, returning from sleep or feeding coins into a vending machine? Outside this pine sanctuary, she’d face a world of clawing, asphyxiating pressures. The air I’d breathe would corrode her skin, dissolve it. She’d linger an instant before ether filled her space. Her existence was a miracle—complex life sprouting on a planet too close or far from its star. Yet the woman had been born, had gazed upon these pines, had bathed in this lagoon, and was breathing this oxygen. She had blessed this clearing with her voice. Once she vanished, the world would barrel on, oblivious to losing the sole force that infused my molecules with meaning, that made my pain-bought years worth enduring. The universe would keep chewing and grinding its prisoners until, billions of years hence, like some beast trapped in a well and driven insane, it would dismember itself.

I strode over and placed my palms on her shoulders. She turned as if no one else could’ve come. I glided my fingers through her scalp and kissed her wet lips like I’d suck out her entrails.


Author’s note: I wrote this novella in Spanish about ten years ago. It’s contained in the collection titled Los reinos de brea.

The Scrap Colossus, Pt. 9 (Fiction)

Elena gripped her glass of coffee, raised it to her lips, and tilted her head back. The remaining coffee sloshed as she guzzled it down to the sediment, a sludge that must have smelled of earthy, singed beans. She set the glass down with a hollow clink, then paused to swallow. Her tongue flicked across the surface of her lips and disappeared between them.

“I didn’t conclude my talk about the unnamed void. In case you’re still game to continue this tour of the netherworld.”

“If you’re willing to share, I’m willing to listen.”

“Alright. As the darkness fills every corner of your mind, as it eats away at everything that made life bearable, you spot a yellowing scrap of paper at the bottom of the abyss, so small you’d miss it if you didn’t squint. You lean to make out the words scribbled on its crumpled, dirty surface, and they read: ‘This is not temporary. This is not an anomaly. This is the true state of being.’ You integrate a realization that the majority of humanity has been spared: the void existed from the start, and only the evolved chemical balance, the lies your brain tells to keep you alive, had shielded you from confronting it. But my safeguards had failed. As if the Earth’s magnetosphere had collapsed, the solar winds had blasted away the atmosphere, and the planet had become exposed to a torrent of radiation. The void can never be vanquished; it can only be delayed. Down there, the notion that such a nightmare could end doesn’t make sense. The mocking voice repeats that this is how it’s always been and always will be. But you’ve escaped before. The only way out of that black hole is to hold on tight and wait until it spits you back out. Your mind has been reduced to a whirlwind of razor blades. Your body is made of lead. You retreat under the covers, curl into a fetal position, and await a new birth. You wait through the night. You wait through the morning. You wait through the afternoon. You wait through another night. Days pass, but you perceive them in increments: the space between one breath and the next, one heartbeat and the next. One day, the abyss feels shallower. The cold begins to thaw and the darkness retreats, dragging with it the voice repeating that you’re useless, rotten, unwanted, a cancer to all those close to you. Your inner theater lights up with a faint, fuzzy memory of sunlight. A song. A line from a book. A hand on yours. The brain’s machinery churns out its magic again. Inhibitors and disinhibitors toil overtime to rebuild the protective illusion. The veil of normalcy falls back in place, allowing you to resume the masquerade. It’s not a victory. You haven’t slain a dragon or stormed a castle; you survived yourself. You emerge from the underworld, your face smudged with ashes, your eyes haunted. Then you remember the voice that has been your lifeline. You reconnect with the artists that have seen through the cracks of the world, who helped you understand yourself, and made you hope to survive long enough to light your own candle in the dark.”

The breeze had grown colder as the sun struggled to pierce through a sheet of darkening gray overhead, the color of corroded silverware. Elena tucked her almond-blonde locks behind her ears, then rubbed her palms against the thighs of her jeans. After a quiet sigh, she continued.

“You may have noticed that my tolerance for bullshit is low, which is funny considering what we all swim through, which is liquid bullshit, from the moment our ears are developed enough to process the noise spouted from our parents’ mouths. That’s why we need to learn to distinguish the sound of the wind rustling through the leaves, or the raindrops pattering on a window, or the symphony of a band we like, or the voice of someone we love. To have a few sounds in our lives that break through the fog of bullshit to mean something.” Elena’s left hand drifted up to her sweatshirt and sought her metallic moth pendant, thumb and index fingers encircling the sculpted insect. “Sadly that is a precarious, temporary healing. Eventually, a shift of weather and a misfiring of synapses will drag me down to that dark place, to that ancient void waiting for me in the caverns of my mind, that reminds me that my joy has always been an illusion. Each cycle of darkness scraping precious matter from my brain that I will never recover. Until one day, that black hole will return and there won’t be enough of me left to claw my way back into the light. So there is no happy ending. Not in this life. My best answer to your original question, Jon, is that I’m not actively suicidal but I’d prefer not to exist. I’d rather be a book on a shelf than a living human.”

I pictured Elena as a child, alone in her darkened bedroom, huddled in a corner. Her knees hugged to her chest, her arms wrapped around her legs. Her eyes squeezed shut, tears streaming down her cheeks, her body trembling with each ragged sob. The tiny figure in a vast and uncaring world rocked back and forth while muttering to herself, “I want to die. I want to die. I want to die.” But no matter how fervently she wished, the world refused to let her slip away. It clung to her like a parasite, feeding off her misery. Meeting Elena meant brushing against a profound sorrow, to trace one’s fingertips along a fault line.

My throat felt dry and constricted, and my vocal cords struggled to produce words.

“Live for today, Elena. Keep going as long as you can, and keep enjoying what you love.”

She dipped her chin and furrowed her brow, her pale blues fixed on my eyes. A faint smile tugged at a corner of her mouth; she might as well have told me outright to come up with better lines.

“Sometimes I think Siobhan had it right. At least she knew what she wanted: oblivion, peace, whatever you want to call it. Me? I’m stuck in this loop of wanting to disappear while craving something to tether me here. Like my favorite songs, or…” She gestured vaguely at the printouts. “Or these words I keep bleeding. I’m a junkie who needs a fix to prevent her from falling apart. So yeah, the only question is whether anyone’s going to be there to drag me away from the edge when I finally give up. Right now, though, I’m here, in a fancy coffee shop, with a guy who has long eyelashes and a strange fascination with my stories, and who is probably a serial killer. That’s about as good as it can get for me.”

The fingers of Elena’s right hand fluttered in a wavy motion. Maybe she caught my glance, because she balled that hand into a tight fist before withdrawing it beneath the table. With her head bowed, her eyes skittered over the table.

“You didn’t ask me to spill that much of my guts,” she said in a hesitant voice. “It’s just that, well, I’m on edge. Not used to sharing my serious writing or talking about anything that matters. I also have a hard time filtering myself.” Elena took a deep breath. She lifted her gaze to meet mine, her pale blues searching. “Let’s talk about you for a change. What do you like to do, Jon?”

“Masturbate.”

Elena smirked, then chuckled dryly. She uncoiled as if my reply had released the built-up tension, and her eyes twinkled with a conspiratorial gleam like an imp about to propose mischief.

“Oh, samesies. I don’t know if I have a sexual orientation so much as plain perversion. Do you ever feel ashamed when you molest yourself?”

“I only feel ashamed when I don’t.”

She snorted and shook her head.

“What other hobbies have you developed to cope with the misery of existence, Jon? Writing’s one of them, right? We met at a writing course, after all.”

“I used to. For me.”

“How long ago, and why did you stop?”

“Ten years, when I realized my words would be useless.”

Elena’s eyes searched my face. My skin itched as if I’d been bathed in toxic goo, and now I could feel every cell’s molecular structure degrading.

“Maybe you should give it another shot, Jon, for the sake of the lonely, invisible man behind your bullshit.”

“I also like to listen to a woman telling me the most intimate, horrifying things.”

She lounged back in her rattan chair, her head cocked slightly as she scrutinized me.

“Now seriously. Why are you here, Jon?”

“Because of you.”

“I’m not asking why you’re sitting at this table. I’m asking why you’re here in the world. What is it that keeps you from walking into the ocean and swimming until you sink?”

“I’m addicted to the smell of your hair. Honey-scented shampoo, right?”

“Whatever’s there when I reach for the shelf. And you know that’s not what I meant.”

“I’m also a sucker for a pretty pair of eyes, especially if they’re full of pain.”

“If you don’t answer truthfully, I’ll have to go with my serial killer theory.”

“I’ll say it again: because of you. The story of your existence.”

Elena’s pale blues narrowed as she stared me down, trying to figure out the angle.

“What a sweet lie.”

“You’re my motivation to stay afloat. You’re that guiding star on a stormy sea at night. That’s all there is.”

She exhaled deeply through her nose.

“Please. I’ve been dumping my depressing shit on you. I thought it’d be harder to open up, and I was sure that once you realized what you’d gotten into, you’d run away screaming.”

“I’m not going to leave. I’m here for the long haul. Even if you tell me fuck off, I may pretend I didn’t hear it.”

“Fuck, you’re an idiot. Why the hell do you want to hang out with a miserable bitch like me? I’m not even that hot.”

“My loins disagree.”

“The monster might emerge if you stick around. I’m radiation’s daughter. I can’t stop hurting people.”

“Someone needs to be there to drag you away from the edge. One day you may look back and be glad you didn’t jump.”

Elena’s shoulders slumped.

“Being someone’s only tether to the world. That’s quite the sacrifice, Jon. I doubt you’d benefit much from it.”

“That’s for me to decide.”

Her eyes bored into mine. She then hunched over, a loose almond-blonde lock spilling onto her forehead, and she rubbed her eyes with the heels of her palms.

“Late at night, when I’m listening to my favorite music, there are fragile moments where I believe life may be worth living. Just to hear what she’ll create next, to feel whole if only through my headphones. But that’s pathetic, isn’t it? Clinging to life because of an artist who has no idea that I exist. Who would probably hate my guts if she met me.”

“Your everyday life can erode even your sense of what’s meaningful. Jobs in particular excel at that. Everything becomes an unwanted transaction. But art is worth sticking around for. If you feel understood at least by some artists’ work, that means you’re not alone. And I care about what you write.”

“Do you have any idea how terrifying you are to me, Jon? Having someone want to read the darkness that spills out of my mind. I don’t know if I’m more afraid of you understanding or not. Because if you do understand, then what the fuck am I supposed to do about that? And if you don’t… well, then we’re two strangers playing at connection in an overpriced coffee shop, aren’t we?”

“When it comes to my role, Elena: the next time you find yourself at the end of your rope, if you can’t reach me with your hand, send me a text message that just reads, ‘Siobhan.'”

Elena tried to beat me in a staring contest, but she broke away and looked down at the second stack of stapled printouts. She picked it up and tossed it in front of me, letting them land on top of the first set.

“Something about you sets off alarm bells in my head. It makes me feel like I could fall deep into that dark, fathomless place within you, never to emerge. A strange comfort, to say the least. Like discovering someone who looks at the same bleak landscape, who feels the same cold, uncaring winds. Who’s heard the same whispers in the dead of night. But I’m afraid if we get closer, that place inside of you will pull me in. So here’s to this distance between us and these small steps, Jon. Now quit fucking around and move onto the second exhibit of Elena’s Dark Carnival.”


Author’s note: today’s song is “Waitin’ for a Superman” by The Flaming Lips.

Life update (02/19/2025)

Recently I found out about an intriguing Norwegian songwriter named Aurora Aksnes. Her general demeanour as well as clear stimming when performing live made me suspect she was autistic, which she apparently has confirmed herself. I’ve been reflecting on the autistic artists that end up floating to the top.

Apart from Aurora Aksnes, I know of other songwriters that have spoken about being autistic: Björk Guðmundsdóttir (I’ve never retained any of her songs, so I can’t link to anything in particular), Claire Elise Boucher (AKA Grimes, one of Elon Musk’s many exes, Musk himself being autistic), and Ladyhawke (I barely know anything about her, but that song is cool enough). I’ve suspected for many years that Joanna Newsom is also autistic.

To make it as an artist, you need luck, connections, a winning personality, and preferably an attractive physical form. Most autists are doomed when it comes to connections and winning personalities, to the extent that they eat into their luck. That leaves whatever remains of luck, as well as the attractive physical form. Given that men are more likely than women to elevate others professionally because they’re hot, that makes it far, far more likely than any autistic artist that makes it out of obscurity will be a woman that at her peak was very attractive, in some cases drop-dead gorgeous. That’s certainly the case for all those female songwriters mentioned. If I recall correctly, Joanna Newsom herself (I say herself because she may as well be a god as far as I’m concerned) didn’t intend to perform in public. She recorded her songs with a Fisher Price recorder, then passed her tapes to her friends. One of those friends went to a Bonnie ‘Prince’ Billy concert and gave him the tape, which led to Newsom getting a recording contract with Drag City. It probably also led to Bonnie ‘Prince’ Billy wanting to bang Newsom really, really bad (she wrote the song “Go Long” mainly about him). Anyway, I naturally connect more with autistic artists than with those who aren’t, which makes me regret that the vast majority of them are lingering in absolute obscurity.

About ten years ago, when I was working on my Serious Six, the novellas I sent around hoping to get published, I met regularly with a group of local autists, so I got to know like fifteen or twenty of them. I believe I met three autistic women in total, but there were some troubling commonalities: all the female autists were in relationships with neurotypical men who were, by the women’s own admission, very accommodating. All the autistic men save for two were single. The tales of those two, well, they’d make you want to be single. Their partners seemed to recriminate most aspects of their nature, and had them running on a treadmill to counter their shortcomings. Both of them seemed to be on edge and generally miserable all the time.

I also realized that there is a huge schism among autists: there are those whose peculiarities have been embraced and nurtured by their parents and close ones, then there are those whose natures have been repressed to pass for normal. I’m in the latter group. The autists in the first group are far happier, freer, and often obnoxious. Autists, of course, can be extremely obnoxious; I recall having been that way at different points of my life. Those of the repressed group not only are generally guarded and somber, but can deal with lots of self-hate and even trauma. Many of them don’t make it far in life, as in they step out of life at some point of the journey.

Of course there’s the general ignorance about autism, mainly thanks to the media. I recall the admin worker that many years ago had to assess my disability level asking me how come if autism is a developmental disorder, I still struggle with it as an adult. Who’s the retard here? Then there are those that believe autists to be math geniuses with perfect memories. In reality, autists are more likely than not to have tremendous issues with abstraction, and regarding math, many end up with some level of dyscalculia. Some idiots mention Rain man even today; Hoffman’s performance was based on a single guy who wasn’t even autistic: he was born without a corpus callosum.

Also, autism is caused by an atypical pruning of neural connections during development, which leads to idiosyncratic neurological processing. They proved that the differences between the neural activations between autists are larger than between those who aren’t autistic, nevermind how large those differences are between autists and those who aren’t autistic. That makes it hard to generalize about autists, although they are generally extremely sensitive (both emotionally and to sensory input), more likely to suffer from gut issues, also more likely to suffer from OCD and ADHD (I have the OCD comorbidity, which comes with intrusive thoughts and heightened obsessions). Also weird stuff like prosopagnosia, which I have, and consists on being unable to properly register a face. It’s so bad that I can’t tell if I ever saw again one of the girls I dated even though we lived close, because I wouldn’t have been able to recognize her on the street. When I worked as a technician and had to interact with nurses and doctors, it was common for me to enter a room, talk to someone, walk away to do something, and then realize I had no clue whom I had just talked to.

I got to thinking about autism in general because the protagonist of the novel I’m writing at the moment, The Scrap Colossus, is a female autist to whom I’ve assigned the authorship of the six novellas I wrote back in the day. But as I work on the notes, I’m having a hard time pretending that Elena, being an attractive woman, would have had that much issue getting those novellas published. Perhaps that’s bitterness talking through me. Since I was a child, I’ve felt cursed in that respect: no matter what I did, no matter how hard I tried, I couldn’t get anybody to pay any attention to what mattered to me. It seems there’s no further point I wanted to make about that other than saying it.

Anyway, I’ve got a scene to finish, so bye.

The Drowned City, Pt. 4 (Fiction)

On Sunday, I awoke clinging to the image of the winding path through the pines, but the morning light dissolved the sway of branches and leaves. Before I could shake off the grogginess and reason clearly, I arrived at the station and boarded the train to Hitachi. When I exited the station, I mimicked the wandering that had led me to the passageway. An emotion magnitudes greater than any I had known guided me toward that spot, as birds recognize magnetic north.

I reached the point on the street where days earlier I had glanced up at the passageway on the opposite sidewalk. To my right stood the three white-and-red vending machines embedded into the cement building. I bought a water bottle. To calm myself, I sipped it while pressing my free hand against my side to keep it from trembling.

A delivery van passed. Two men in warehouse overalls overtook me. One stared ahead; the other’s gaze swept the pavement a hand’s breadth from his feet. An elderly man walked the opposite sidewalk, passing rusted sheds and an electronics store.

None of them had noticed the passageway. To me, the vision in the half-light—the path of trampled grass, the palm-like fronds of ferns flanking it, the clover field the path bisected—invited admiration, like a centuries-old fresco in a museum.

I crossed the sidewalk and entered the path’s curves. Beneath my soles crunched a layer of leaves and pine needles. An electric current heightened my fingertips and sharpened my awareness. Butterflies of light and shadow fluttered over pine trunks split by vertical grooves. Twisted branches, meters above the path, were cloaked in emerald-green moss hanging in fringes. Ferns and clover sprouted from the gaps of a stump, its structure barely protruding with splintered shards. Between two pines glistened the hammock of a spiderweb. Its owner, as large as my palm, swayed on the net as a breeze billowed it.

The grass thickened, a sign fewer feet had trodden here, and I pushed aside the fern fronds draping the path. In minutes, the lagoon would come into view. I hunched forward as if to arrive fractions of a second sooner, placing each heel down only to immediately lift it again.

Itches flared across my body, as if trapped in a room with an invisible mosquito. I had climbed to the peak of a snow-covered slope, fastened my skis, and now had to hurtle down at breakneck speed. What would I say to the woman, and how would she reply? What combination of words would seize her pale-blue gaze and draw out her voice?

I emerged into the clearing as rings of static constricted my vision. I exhaled. Beside the swampy lagoon waited the moss-upholstered rock, worn by decades of people sitting, where the woman had been the afternoon I met her. The clearing smelled of wet fur and stagnant water.

Of course, the woman was absent. I’d have needed luck for her to come on a Sunday morning. Perhaps I should be content just to have met her. This clearing remained, though her absence dominated it.

I sat on the rock, settling into the plush moss to occupy her ghost’s space. I filled my lungs with the air that might have filled hers. Leaves swayed in a mausoleum silence, where no sound muzzled the cacophony of inner voices passing judgment.

I hunched. My gaze fell to the pebbles around the lagoon, the scattered pine needles. A pain pierced my heart. Perhaps for years, perhaps for the rest of my life, I would return to this clearing in my daydreams and replay our conversation. I’d chastise myself for idiotic phrases, insert clever remarks that years later would occur to me. In my imagination, before saying goodbye, I’d ask for her phone number or propose another meeting.

The lagoon’s surface bulged into a green tumor, outlining a figure. The coat of algae and mud sloughed off, revealing the woman’s honey-blonde hair, and her face. Streams of water flowed over her eyelids, nose, and cheekbones, crossing the mottled patches of discoloration. She advanced toward the shore as if her legs cleaved air. Green foam stained her soaked dress, which clung to her shoulders and molded her breasts. With each step, the skirt, plastered to her thighs, wrinkled like a second skin, her bare feet imprinting wet marks on the shore’s pebbles. She noticed me as she brushed off lichen flakes stuck to her shin.

When I regained my senses, I flushed as if caught hiding in her closet to spy while she undressed. I stood and retreated a few steps toward the clearing’s exit. I forced myself to meet her gaze as my temples burned.

She eyed me like we’d bumped into each other in the living room of a shared home.

“You can sit there if you want.”

I didn’t know if I shook my head, though I’d meant to. I gestured toward the rock as if offering my train seat.

When she sat, her dress slapped wetly. Water trickled down the rock’s sides. She gathered her honey-blonde mane into a fist, wrung it, and water gushed from the darkened strands. Some slid from her scalp, circumvented her eyes, traced her jawline, and fell. Her skin, mottled with irregular patches, reminded me of a leopard trapped by a hunter for a zoo.

“Did you miss this forest?” she asked.

I straightened. My vision blurred as if recovering from a blow to the head.

“I needed to see you.”

I expected her face to show discomfort, even terror, but whatever raced through her mind halted before reaching her facial muscles.

“Why?”

“I had never met anyone like you.”

She nodded and rested one hand over the other in her lap.

I’d admitted it—the words had left my mouth without needing to unlock gates or lower a drawbridge.

“I had to see you again. You, whose name I don’t know, to whom I’m nobody. It should bother you. Does it?”

She shook her head. Contorting as if stretching, she adjusted the back of her dress.

“I enjoy talking to someone.”

My throat tightened. A pulse throbbed in my neck like a muscle tic as I fought the smile tugging my lips. I wanted to hear every word she’d share, uncover every detail of her life.

“How do you spend your time? Beyond swimming, I can’t picture you outside this park, this forest.”

“What do you think the answer is?”

“Do you wake early to trudge to an office and waste hours on nonsense?”

“I don’t need to do any of that. Whenever you come here, you’ll find me.”

Her lack of expression might have meant she’d forgotten, or never learned, that people use gestures to communicate. Beyond the mottling, she belonged to another race. A lifetime of rejection might have taught her to avoid others. She’d bond with the lagoon she dove in and the encircling pines. Perhaps she welcomed this conversation as if we were exotic creatures separated by zoo glass.

“Who do you live with?” I said. “I assume you don’t work. Does the state pay for your home?”

I cringed at my hunger for every scrap of information. I imagined her scowling, sharpening her tone, rebuking my impertinence.

“Before you came, I hadn’t spoken to anyone in a long time.”

I crouched on the shore’s pebbles, leveling my face with hers. Meeting her gaze—those pale-blue eyes flecked with white and green—sent electricity from my nape to my toes. No one else had interested me because no one else deserved it. Here sat a real person, not someone playing a role society had drilled into them.

“Do you want to know anything about me?” I asked.

“Tell me.”

“No, I’m asking. Are you interested?”

“In what?”

“Where I live, how I spend my time, what I like.”

She tilted her head, her gaze dancing across the trees as if weighing whether another human was worth knowing.

“Does it matter?”

My legs protested. I sat and leaned a forearm on my knees.

“I don’t know. There’s little to say. Little I care about.”

I searched for some nugget to share, but my past spread like a muddy expanse. I spoke before realizing it.

“My childhood was boring and miserable—the tedious kind. I went to university expecting the promised camaraderie. A week after graduating, I’d forgotten my professors’ and classmates’ faces. I’m on my second job. Since childhood, I’ve waited for some passion to seize me, something I’d crave to spend hours on unpaid. But for years, I’ve walked straight ahead down a gray hallway. When I paused, invisible hands shoved my back. I suspected that somewhere—behind walls, a door, an inaccessible wing—a luminous world existed. Meanwhile, I experienced a plastic, flavorless reality. I blamed myself. The world’s data filters through my distorting brain. I live like acting in a disjointed play during a fever dream. I followed instructions, excelled at them, but found only hollowness. I assumed someday I’d stumble upon why I bothered.”

I elongated a silence. Droplets slid down the woman’s forehead. She glanced away but soon locked eyes with me again, awaiting direction.

I inhaled as my cheeks burned.

“But let’s talk about you. What do you enjoy?”

“What?”

“What do you like to do?”

Her damp hair dripped onto her soaked dress. She laid her palms on her thighs, fingers relaxed. She stared unblinking, whick kept my eyes from wandering to the curves her dress hugged.

I shifted, thirsting to draw out her words.

“What satisfies you? What do you do whenever you can?”

“I come here. I swim.”

Her irises quivered within their orbits, pupils dilating and contracting. She studied my face like a beast’s cub encountering a human.

I listened to her breath mingle with the hiss of branches and occasional thud of fruit falling into rot.

“Give me your hand.”

She raised her left hand, palm down. Cloudy droplets swelled on her fingertips. I crawled forward and clasped her hand between mine. It was cold and wet, like something left overnight in a bucket of water. Chalk-white patches mapped her veins. The hairless arm, smooth as if waxed, showed no goosebumps, no tremors.

“Aren’t you dying of cold?” I asked.

“I’m not dying of anything.”

I squeezed her hand, warming it. She lifted her gaze to mine and curved her lips slightly. I brought our joined hands to her face, tracing with our fingers the mottled patch spanning half her cheekbone and jaw. I swallowed.

“Does it bother you?”

“It tickles.”

“Having these patches. Being different.”

She shook her head.

“I am who I should be.”

I glided my fingertips over her hand’s back, shifting pliant skin. I outlined a patch. Light carved white curves along her knuckles’ wrinkles. Her nails, segmented by microscopic ridges like pine bark, held mud under their edges. I turned her hand over. Water and cold had puckered her fingertips and creased her palm, aging it. I traced every line, imagining their formation from her birth to this moment, when I could touch them.

“I think I’ll return soon.”

“Tomorrow?”

Dizziness struck.

“I work.”

“In the evening?”

How could I focus at the office, counting hours until I returned? But my mouth dried, and the details of her face and the forest’s silence sharpened as if I’d shed nearsightedness and earplugs. I longed to transport myself to the moment tomorrow when I would descend the office stairs and realize that instead of spending the rest of the day resting in order to perform well at work the next day, I would meet the woman in this clearing where no one dared to venture. A smile surfaced unbidden. She lowered her gaze to my lips as if they were another pair of eyes.

“Will I find you,” I said, “like you promised?”

“Whenever you come.”

Reluctantly, I released her hand and stood. How did I know to leave? My wristwatch warned of dinnertime. The canopy of branches etched a granite-gray sky, and the same half-light that had greeted me upon entering the passage enveloped us.

I stepped forward, half-raising my arms to embrace her, but stopped even though my heart pounded like a radar nearing its target. I wanted to hold her, balance her warmth with mine, imprint the feel of her soaked dress and the body beneath until tomorrow. I’d just met her. What if she’d tolerated my touch only to avoid conflict?

I bid goodbye with a smile she returned. I promised we’d meet tomorrow. As I walked away, she raised a hand and waved. I left the clearing and quickened my pace to overcome the urge to run back to her side.


Author’s note: I wrote this novella in Spanish about ten years ago. It’s contained in the collection titled Los reinos de brea.

Today’s song is “Breezeblocks” by alt-J.

On Writing: Five-act structure – Act 1 – Objectives to hit

You can check out all my posts on writing through this link.

Once you’ve come up with a list of meaningful plot points that should happen in your story, and you have determined the general structure, you could strengthen the scaffolding further by relying on a five-act structure. The original three-act structure suffers from issues regarding the second act, which is the bulk of the story yet it’s treated as if it were the same length as the first and third acts. The five-act structure divides the second act into three, relying on a mid-story turning point as the main mast of the tale.

The following is a list of points that should be nailed for a satisfying first act in a five-act structure (or in a three-act structure for that matter).

  • Introduce the major characters, giving the reader an idea of who they are, their emotional makeup, and the weight they carry in the story.
  • Devise the characteristic moment for your protagonist:
    • How does it accomplish several tasks:
      • Introduce your protagonist.
      • (Probably) reveal your protagonist’s name.
      • Indicate your protagonist’s gender, age, nationality, and possibly his occupation.
      • Indicate important physical characteristics.
      • Indicate his role in the story (i.e., that he is the protagonist).
      • Demonstrate the prevailing aspect of his personality.
      • Hook readers’ sympathy and/or their interest.
      • Show the protagonist’s scene goal.
      • Indicate the protagonist’s story goal.
      • Demonstrate, or at least hint at, the protagonist’s lie.
      • Influence the plot, preferably directly, but at the very least in a way that foreshadows later events.
    • To do this, select an event that will:
      • Make the protagonist appealing to readers.
      • Introduce both his strengths and weaknesses.
      • Build the plot.
    • What important personality trait, virtue, or skill best sums up your protagonist?
    • How can you dramatize this trait to its fullest extent?
    • How can you dramatize this trait in a way that also introduces the plot?
    • How can you demonstrate your protagonist’s belief in his lie?
    • Can you reveal or hint at his ghost?
    • How can you use this scene to reveal the thing he wants most?
    • Does your protagonist’s pursuit of both the overall goal and the scene goal meet with an obvious obstacle (i.e., conflict)?
    • How can you share important details about your protagonist (name, age, physical appearance) quickly and unobtrusively?
    • Don’t settle for anything less than spectacular for your Characteristic Moment. This is your opportunity to create a fun and effective scene that will introduce readers to your character in a way the’ll never forget–and from which they won’t be able to look away.
  • Show us the hero’s situation, goals, worldview, and emotional state prior to the launch of the path that lies ahead.
  • Show us setting, time, place, and (as necessary) some backstory.
  • Develop the normal world of the story:
    • People are largely defined by the microcosms in which they live. We are inevitably shaped by our surroundings, either because of the ways we fit in or the ways we don’t. Just as inevitably, we are defined by our surroundings because they reflect our choices and limitations. How we came to be someplace, why we choose to remain there, or why we are forced to remain even if we don’t want to–all these factors reveal interesting facets of our personalities, values, strengths and weaknesses.
    • How does it do this: the Normal World plays a vital role in grounding the story in a concrete setting. Even more important, the Normal World creates the standard against which all the personal and plot changes to come will be measured. Without this vivid opening example of what will change in your character’s life, the rest of the arc will lack definition and potency.
    • Is it a place in which the character has found contentment–or at least complacency?
    • The point is that the Normal World is a place the protagonist either doesn’t want to leave or can’t leave. It’s the staging ground for his grand adventure.
    • Think of the Normal World as a symbolic representation of your character’s inner world. The Normal World dramatizes the Lie and Character Beliefs. It empowers the character in that Lie, giving him no reason to look beyond it. Only when the Normal World is challenged or abandoned at the First plot Point is the protagonist’s belief in that Lie shaken.
    • Does it present one set of challenges, which the protagonist finds himself unequipped to deal with until after he’s experienced life beyond the Normal World?
    • In creating your story’s Normal World, first ask yourself what kind of world will provide the most logical backstory for why your character believes the Lie. Then consider how to enhance the Normal World by making it the comfiest place ever for that Lie to continue its existence. note, however, this does not mean it necessarily has to be a comfy place for your protagonist. Sometime she may seem outwardly comfy, while, deep down, the Lie is making him miserable.
    • How can you create a Normal World that will best contrast the “adventure world” to follow in the next acts?
    • You want to strive for the most dramatic contrast possible between the worlds, in order to provide your character with as much incentive as possible to enact this change.
    • What setting will open your story?
    • How will this setting change at the First Plot Point?
    • How does the Normal World dramatize or symbolize your character’s enslavement to the Lie?
    • How is the Normal World causing or empowering the Lie?
    • Why is your character in the Normal World?
    • If your character doesn’t want to leave the Normal World, what is helping him mask the discomfort caused by his Lie?
    • If your character wants to leave, what’s stopping him?
    • If the Normal World is a legitimately good place, how will the protagonist need to change in order to appreciate it?
  • The first act’s highest calling is to introduce and set up the story elements in such a way that when the First Plot Point arrives, it is reinforced by stakes, emotional empathy, the shadow of an emerging antagonistic force, and foreshadowing of other elements that await down the road.
  • What kind of thesis about the normal world of the characters this act poses, for which the rest of the story will be an antithesis?
  • Represent the overall range of change of your hero in the story. This frame gives you the structural “journey” your hero will take. As when starting at the endpoint of your hero’s development by figuring out his self-revelation, we returned to the beginning to set his weakness and need and desire, we must use the same process when determining the plot. Establish the endpoint of the plot first.
  • What will my hero learn at the end?
  • What does he know at the beginning? What does he believe?
  • What is he wrong about at the beginning?
  • Is there an event from the past that still haunts the hero in the present? An open wound that is after the source of the hero’s psychological and moral weakness. Could think of it as the hero’s internal opponent. The great fear that is holding him back from action. Acts as a counter desire: the hero’s desire drives him forward, his ghost holds him back.
  • In some stories, it could be that a ghost is not possible because the hero lives in a paradise world. The hero begins free, but an attack will change that.
  • Try to withhold as much information as possible about the hero, including the details of his ghost.
  • Weakness: the hero has one or more character flaws that are so serious they are ruining his life. They come in two forms: psychological and moral. Could have both.
  • Inner person is damaged in some way. The moral one causes someone else to get hurt.
  • If he has a moral weakness, how does he have a direct negative effect on someone else? Is he clearly hurting at least one person at the beginning of the story?
  • Need: what the hero must fulfill in order to have a better life. It almost always requires that he overcomes his weakness by the end.
  • Problem: the trouble or crisis your hero faces at the very beginning of the story. He is aware of the crisis but doesn’t know how to solve it. The problem is usually an outgrowth of the hero’s weakness and is designed to quickly show that weakness to the audience. Should be present at the beginning, but it is far less important than weakness and need.
  • Set up the dramatic action and the underlying conflict that will run throughout the story.
  • Foreshadow as necessary, including the presence (perhaps implied, maybe in the reader’s face, your call) of the antagonist (dramatic tension).
  • Make us care about the hero through the establishing of stakes.
  • Make sure you establish the underlying stakes and the personal demons attached to the First Plot Point decision before it hits.
  • Hook the reader (compelling premise).
  • Introduce the concept of the story (compelling premise and dramatic tension).
  • How does it manage to get the readers involved?
  • Have you come up with the most powerful and memorable combination of inciting event and key event so that they will fuel the entire story?

On Writing: Five-act structure – Overview

You can check out all my posts on writing through this link.

Once you’ve come up with a list of meaningful plot points that should happen in your story, and you have determined the general structure, you could strengthen the scaffolding further by relying on a five-act structure. The original three-act structure suffers from issues regarding the second act, which is the bulk of the story yet it’s treated as if it were the same length as the first and third acts. The five-act structure divides the second act into three, relying on a mid-story turning point as the main mast of the tale.

The following is the overview of the five-act structure.

Act 1 (Orphan, Innocent, No knowledge, Call to Arms)

  • Hook
  • Beginning
  • Inciting Incident (No knowledge)
  • Midpoint / Turning point / Story’s Inciting incident (Growing knowledge)
  • Crisis
  • First Plot Point / Climax / Point of No Return / Story’s Key Event (Awakening)
  • Resolution / Denouement

Act 2 (Wanderer, Training, Doubt, Dream Stage)

  • Beginning
  • Inciting incident (Doubt)
  • Midpoint / Turning point (Overcoming reluctance)
  • Crisis / Lowest Point
  • Climax / First Pinch Point (Acceptance)
  • Resolution / Denouement

Act 3 (Magician, Midpoint, Experimenting with knowledge, Frustration Stage)

  • Inciting incident (Experimenting with knowledge)
  • Midpoint / Turning point (MIDPOINT, Knowledge)
  • Crisis / Lowest point
  • Climax / Second Pinch Point (Experimenting post-knowledge)
  • Resolution / Denouement

Act 4 (Warrior, Doubt, Nightmare Stage)

  • Last stretch
  • Inciting incident (Doubt)
  • Midpoint / Turning point (Growing reluctance)
  • Crisis / Lowest Point
  • Third Plot Point / Doorway of No Return 2 / Climax (Regression)
  • Resolution / Denouement

Act 5 (Martyr, Hero, Reawakening, Total mastery, Thrilling escape from death)

  • Inciting Incident (Reawakening)
  • Midpoint / Turning point (Re-acceptance)
  • Crisis / Lowest Point
  • Climax (Total mastery)
  • Resolution / Denouement

The Drowned City, Pt. 3 (Fiction)

The following morning, I repeatedly jolted awake at my office corner, my dead gaze drifting between the lines of a report as the monitor’s glow washed over me. Seconds earlier, I had inhabited another body. Standing before the passageway to the park, I stepped in. Every trace of cement, glass, and metal vanished behind trunks, branches, and leaves. Air swollen with oxygen refreshed me. I followed a path that flickered white along its sinuous turns. The voice of the woman echoed in my head, fragments of sentences she might have spoken to me. Her hair, gleaming with water, fell over one shoulder, soaking and darkening her embroidered dress. Even in memory, I refused to look away.

Seated at my computer, hours passed while I remained stuck on the report. The monitor’s glare dulled my mind. I lost track of what I was working on, and before I could focus enough to progress a few lines, my attention plummeted like someone trying to climb a cliff with numb arms.

My skin grew clammy; my armpits and hairline soaked. My vision blurred. I tore my eyes from the screen and swiveled my chair to clear my head. Rows of fluorescent lights striped the ceiling like luminous zebra crossings. The view: a dense mass of desks and workers with black hair and white shirts, the space compressed until every pocket of air was squeezed out.

The remaining hours to surrender to my tasks slipped away, the obligation to finish them pricking like a knife tip at my neck, but the images in my mind chained me. I wanted to belong among those pines, to sit by the lagoon and speak with that woman, while the office echoed with squawking voices and clattering keyboards. When I fought to concentrate, someone fidgeted in their creaking chair. Someone squeezed past desks and chairs. Phones rang insistently until their owners returned. Pairs of employees chatted about news or baseball games.

In my drowsy vigilance, I monitored who stood, who crossed the office to take a call or piss. I spied reflections in the glass partitions, in the framed artwork, in the monitors. The lenses of a pair of glasses burned two white holes into the blurry oval of a face. I recognized a colleague’s tank top and swinging ponytail. Another’s clacking heels to the printer and back. Another’s limping hunch. I had never looked any of them in the eye.

Sometimes, a supervisor’s specter slid across glass. In my mind, I sketched a map of the office, tracking the supervisor’s blip as it weaved between desks and pillars. If they approached, I’d feign fascination with the report filling my screen.

During two or three breaks, I splashed my face in the bathroom and breathed deeply. Back at my desk, my mind retreated into images of the forest, the lagoon, and the woman—spheres of light peeking through fog. A leaden tedium crushed me: day after day of absurd labor. My mind had found a crack and, like a caged animal, it strained to slip through.

At lunch, I devoured my sandwich and rushed back to my computer. I rubbed my eyelids. Exhaustion clung to me like glue. Resisting the next report, I searched online for the Hitachi map. From a bird’s-eye view, I pinpointed the station I’d stopped at, an inch from the coast. I traced the streets I’d wandered until I located the neighborhood with the passageway. The map showed an electronics shop to the right of the path and a cluster of homes and sheds to the left, but the buildings appeared glued together.

I blinked, absorbed. I felt like I was tossing in bed late at night, enduring hypnagogic hallucinations. The office crowd returned after a break, their laughs and shouts snapping me awake. Was the map outdated? To let the passageway open into the clearing, the buildings should’ve been spaced far enough for the forest to nestle in.

Thirty minutes after lunch, an urge seized me to scour the internet for traces of the woman. Without a name or leads, where would I start? I might as well have met her decades ago, when payphones dotted the streets.

Fifteen minutes before the workday ended, I burned them checking my watch every few moments. I fled the office with my head bowed. At the station, I paced the platform a dozen times, striding several meters forward, pivoting on my heels, and retracing my steps. The minutes monitored by my wristwatch seemed frozen.

I approached the ticket machine and hovered my index finger over the button to print my return ticket. What if I bought a ticket to Hitachi? I’d leap the tracks to the opposite platform and return to the forest. I had to go—as if bound by a second job, with a contract so sacred that refusing would summon a lawyer to my apartment by morning.

My heart raced. My mind cycled images: the sinuous path through pines, the woman on a rock in the clearing, wringing a soaked strand of hair. The white blotches on her skin shimmered like watery reflections.

That woman, her figure pulsing with light, breathed the air of this cardboard world. I felt her presence like a second heart grown inside me and forgotten in the clearing, still tethered to my chest by kilometers of vibrant tendon.

She hid from others; I’d trespass her peace. Yet I craved to go like a diabetic needing insulin. I wanted to see her face, speak to her, hear whatever she’d share. I fixated on my desire, but why would she care about me? My life shuttled between apartment and office, trapped in a job that unraveled me. I returned home only to rest and repeat.

I crumpled the handkerchief in my pocket. She’d know I returned for her. Would she call me a stalker, phone the police? That she’d spoken to me felt like betting on a rigged race. My brain deceived itself to survive in a bubble of fantasy, but tomorrow I’d have to blast through two days’ overdue tasks while images of the passageway and woman yanked me like a hook in my cheek. If I retraced my steps and found her, how would I focus? I’d pile up overdue work. The acid of anxiety would corrode my insides.

I pressed the button for a ticket back to my apartment. To quell the nausea rising in my gut, I slumped on a bench, palms pressed to my eyes. Minutes later, the loudspeaker announced my train. The platform trembled. As the train braked, I uncovered my eyes and boarded, head low. Once the train lurched forward, my anxiety spiked. I imagined pulling the emergency brake.

I had met a beautiful woman who intrigued me, who spoke like a person instead of one of the million clones populating this world. Was that enough to make me feel like I’d betray a sacred pact by refusing to run to her side? For today at least, the encounter had shattered my gray routine. A routine I’d drown in for years—yet my survival depended on finishing my tasks.

That evening, and into the night, my mind would recreate her and invent conversations, daydreams swelling my skull until no other thought would fit. No matter how many scenes I conjured, scripting every word, would my stubborn fantasies lead to a radiant present?

How wrong I’d been to linger in the clearing when I spotted that woman. I should’ve abandoned the forest before she finished lifting her hand.


Author’s note: I wrote this novella in Spanish about ten years ago. It’s contained in the collection titled Los reinos de brea.

Today’s song is “Runaway” by Aurora Aksnes (who apparently, confirmed by her, is a fellow autist).

This is the first story, I believe, in which I tackled autistic obsession, a subject I have struggled with all my life. During my first couple of internships, my brain kept tugging me away from my tasks to the stories I was supposed to be working on instead, or at least to learn more writing techniques (I gobbled up books on writing back then). I ached every time I tried to focus on my job. I won’t get into how insane it feels to me that people who can bring new “things” into life are shackled at menial jobs, which programming websites felt most of the time (these days they’re almost trivial due to artificial intelligence; I doubt many programmers are going to get hired in the future).

I’m going even deeper into autistic obsession in my ongoing novel The Scrap Colossus, whose protagonist Elena is autistic, although I doubt I’ll mention it explicitly.

The Drowned City, Pt. 2 (Fiction)

The woman intertwined her gaze with mine. She raised her right palm from the rock to greet me. I froze as if the slightest tremor might dislodge the camouflage my skin had conjured. She might have been addressing someone else whose line of sight I’d trespassed into, but her gaze held mine and waited. My words had jammed in the rusted gears of some ancient machine. I said hello in a voice like sawdust. When sensation returned to my legs, I turned and retraced my steps.

“You’ve only just arrived,” said the woman in a fluting voice.

I stopped and offered her my profile.

“I came to be alone. This park seems designed for that.”

“Do you want me to leave?”

“You must’ve come for the same reason. And you were here first—I’m the intruder.”

“Am I bothering you?”

I’d assumed so and readied a lie, but the tension in my muscles, the knots in my gut that usually urged me to flee, were absent. I stepped toward the pebbles fringing the lagoon. In the silence, they crunched like snapping bones. The water lay hidden beneath a pelt of algae, a mesh of lichen where insects glinted.

I’d trespassed into this secluded park, ventured to its core, and now, rooted at the lagoon’s edge, I blocked the woman’s view. I tainted the air passing through my lungs. Before my arrival, this clearing had endured as a sanctuary, a natural oasis she’d have cherished, its secret guarded. I’d ruined it.

“I stole your peace.”

“It’s good to speak sometimes.”

I scratched my nape.

“I suppose.”

Her gaze drifted to the grass at her bare feet as she finger-combed a damp strand crossing her collarbone. On her other arm, a droplet slid down to the blue veins of her wrist. An urge gripped me—like craving chocolate after a sugar crash—to unravel details about her, though most days I floated adrift, indifferent to whether life’s incomprehensible currents might stagnate.

She’d posed a silent question, granting me time to order my thoughts. I cleared my throat.

“You’re lucky the city preserved this park. They’re scarce where I live.”

“What replaces them?”

“Apartment blocks, shops. Fascinating varieties of concrete.”

She nodded, and isolated another wet strand.

“Do you come here often?” I asked.

“I never wander far.”

“I’d do the same.” I hurried to raise a palm. “But you found it first.”

“It belongs to whoever finds it.”

I chuckled, and the desperation to please her shamed me as if I had turned into a child stranded in a tree, needing an adult’s help to descend. The folder under my arm grew heavy. I set it on the pebbles. My eyes scanned the clearing for the woman’s belongings, maybe a purse, but she’d brought nothing beyond her meditative stillness. My gaze swung back to her, magnetized, as if she were a ruby glinting in dust. I needed to modulate my attention, or I’d scare her off.

“You can stare,” she said, “if you’re curious.”

My heart jolted. I felt like apologizing. How many people saw straight through me? I held her gaze in a silent vow of harmlessness.

Though a stranger had stumbled upon her in the park’s depths, the woman’s face stayed serene as if I were just another chirping bird. Honey-blond strands arched rebelliously over her forehead. Narrow brows melted into translucent pink skin above eyes whose irises, perhaps born green, had been conquered by pale blue, compressing the original hue against her pupils. The bluish shadows beneath her eyes resembled smudged makeup. Chapped lips, cracked by cold, had split into notches. Across her face, neck, and arms, plaster-white patches lay like peeled paint.

I observed the blotch spanning her brow to the right cheekbone. She’d hate others noticing. Hate herself. She’d anticipate questions she’d rather not hear. She had come on a weekday, and probably spent hours here. Unemployed. Alone, no book for distraction. Marooned with her thoughts amid trees and silence.

She smoothed a damp strand. Her gaze slid from my face to my shoes.

“Do you live nearby?” I asked. “Unless you mind me asking.”

“Close enough.”

“The locals must treasure this place like they’d planted it. Tourists would ruin it.”

She shook her head.

“No one comes.”

“I’m not surprised. They pass by, right? I came here to kill time, but most people would have headed to a bar. I needed some time alone.”

“I’m always alone.”

She’d said it flatly, like stating the time. Her patches exiled her; I at least warranted pretense before being sidelined. Every mirror stabbed her with flaws. Friends’ calls would have dwindled to monthly guilt offerings. Only the trees’ stillness remained, herself as sole company unable to abandon her.

I sat on the pebbles, my back protesting, and gripped my shins.

“What’s your name?”

“Depends who asks.”

“You must prefer one.”

“Call me what you need.”

I pressed my palms together, bowing slightly.

“I guard my privacy too. No offense meant.”

A branch rattled in the foliage. She tilted her head. The thicket seethed with shadows and cloud-filtered light. Her neck had stiffened, and for a moment I thought her ears, peeking through strands, would have pivoted toward the noise.

She lowered her gaze to the grass, and parted her lips.

“Over the years, I’ve had many names pinned on me. Names that flirted with meaning but never quite captured my whole. Language alone is too limited to understand one another; no word can encapsulate what I am—or what you are.”

I fell silent. She was accustomed to speaking only in soliloquies—her inner voice the sole interpreter of her untranslatable thoughts—yet now, she had opened a door for me.

“How do you refer to yourself?”

“The images in my head suffice.”

“What should I call you?”

“Who’d you speak of me to?”

I turned pale and grew cold, as if someone with a knife had accosted me in an alley. Eyes fixed on me, waiting for my response—just like when my office colleagues, discussing their weekend ski getaway, either trying to include me or to make fun of me, grilled me with questions: “Have you made plans with your friends?” In the few seconds they granted me to answer, I weighed the myriad lies I’d told for years to a blur of faces, and I was eager to concoct any story that might divert them from the truth: human beings—their customs, their impulses, their tastes—terrified me, and I longed to free myself from their presence like a rabbit crouched among the grass in a field where rabid dogs prowled.

But this woman sought solitude. I wanted to keep the forest, the clearing, and the woman a secret—a refuge that had survived among walls of concrete and metal closing in on every patch of green. I had been entrusted with that responsibility, and I would protect them.

“I won’t speak of you to anyone.”

“You see my face,” she said. “You hear my voice. No name holds the myriad details they contain.”

I waited, lips parted, eager to listen to any words that would flow out of her mouth. Today I’d steered our talk, but any other day, I may have heard her in the distance, woven into wind and birdsong.

“You mentioned killing time,” she said. “For what?”

I checked my watch.

“I took the wrong route—” A shiver struck. “Crap, I’ve missed my train, and I’ll have to run to catch the next one. Thank you for reminding me.”

She nodded. I grabbed my folder, stood up, and brushed the grit off my pants. My heart raced. I’d sprint sweat-soaked, praying to reach the platform in time. Otherwise, I’d be forced to wait another forty-five minutes.

“I’ve enjoyed this. Meeting you. Keep the silence.”


Author’s note: I wrote this novella in Spanish about ten years ago. It’s contained in the collection titled Los reinos de brea.

In case the dialogue seemed shoddy to you… yeah, I’d say the dialogue is the worst part of this story. The protagonist is an awkward loner and the woman is, well, something else. I don’t remember much of the story in that regard other than the fact that back then I wished I knew how to make the dialogue less awkward.

On Writing: Theme #1

You can check out all my posts on writing through this link.

If you’ve been following my posts up to this point and you’ve done the necessary work, you should have ended up with a killer concept, a promising premise, and a compelling protagonist. Now let’s tackle the subject of theme: a compelling moral problem at the core of the story, what the tale is ultimately about.

  • Can you sum up what your story is about in a short paragraph? One way to begin is to ask yourself how your theme shapes your plot.
  • What is the story’s central dilemma, the central moral problem of the story?
  • What is the inner issue? How does this story dig beneath the surface of life? How does it illuminate the meaning the protagonist reads into events?
  • What themes would make the story unique, and give your story heart?
  • What thematic point is borne out in the protagonist’s inner struggle?
  • See if you can nail the point your story will make in a few concise lines. Don’t worry if in the beginning it splashes all over the page. Just keep focusing in on the single driving point it wil make, to reduce it to its essence.
  • If a theme can be stated in terms of “This is good and that is bad,” then it won’t be ironic or interesting. If your story, however, is about a contest between goods or between evils, then you will create a gap between expectation (good should always be pursued; evil should always be evaded) and reality (some goods must be rejected in favor of others; some evils must be accepted to reject others).
  • How would the story be a contest between two equally appealing or appalling ideas that come into conflict?
  • How is this story a manifestation of inner psychological conflict?
  • Is the central dilemma of the story important enough to change someone’s life forever?
  • How is this story an argument about the nature of the world?
  • How would it force characters (and hopefully readers) to ask questions — about life, themselves, what they believe, how they view others?
  • Can you make the moral argument ambiguous, in a way that would force the audience to reevaluate the hero, the opponents, and all the minor characters to figure out what makes right action?
  • What do you want your readers to go away thinking about? What are you trying to say about human nature that will help us keep from getting trounced in the future?
  • Is the dilemma ultimately unsolvable?
  • How does the emotional conflict and the physical conflict intersect to create the central conflict?
  • Determine the central conflict by asking yourself who fights whom over what, and answer the question in a succint line. The answer to that is what your story is really about, because all conflict in the story will boil down to that one issue.
  • How does the theme stem from the struggle the problems trigger within the protagonist as he tries to figure out what to do about the problem he’s facing?
  • How is the plot’s main problem larger than it looks? Why does it matter to us all?
  • How is the story’s moral problem thorny enough to intrigue the audience?