Legend

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A Guide to Outline Organization.

(example)

I – xv – (ii) – So what if … trends of thought.

So what if someone has chosen … established trends of thought.

Circa April 1993 (heavily revised December 2005). Reconstitution of 1993 manuscripts illustrating the plight of common man entwined in shadow.

 [Circa 2005] An exchange in the marketplace of ideas between Creed and Althea, the continued receipt of whose mail by Frank (Ch. X – What other weirs … involved comptometry) indicates she no longer survives.

[11/21/2008] Althea (“dissociative and also enunciative of prohibitives, her perceptive display of persipicacity had Creed swamped to within sensibilities quantifiably meretricious yet immeasurable”) lives on, helping Mantissa avenge her loss of honor (II – vii – (iv) – Meeting of minds in the Inference Library). In the meantime, this sketch, while lively, was difficult to place, and moreover featured a superseded character, Creed, who “recalled the events of the previous evening during that, at the same location, he arrived upon the existence kiosk nine shillings short of a stone.” He is presumably buying a one-way plane ticket. An unidentified person “behind him expressing astonishment, optimism, and Einverstandnis, became quickly demonstrative that no intention of advancing the requisite pittance was imminent.” In time, the text was reassigned from Creed to Bitsy’s spouse, Slam (I – xiii – (v) – Logan was often … along the shore formlessly), who buys a ticket to Ossian (I – xv – (ii) – So what if … trends of thought) hoping to find a cure for his children (I – xii – (iii) – Articulation of Zsigmondy and its impact upon Snorggi’s Syndrome), although the unidentified person remains thus.

SUBSCENE

So what if someone had chosen … established trends of thought (3.14 KB).

                Narrator: Depending on the displacement of foreshadowing material from Act III to early Act I, the Miranda sketches (including those not in the subscene) might shift from early to mid Act I. Consider having Marta, as part of her internship for the Village podesta, contact the facilitators to intervene with the cognomen, who is a disruptive influence and must be neutralized. Thus introduced, Marta can then read the “dry” 13th century history as part of her studies.

                A Time & A Place (Setting): A check-out line.

                Primary (active, subject) Ch: Creed.

                Secondary (inactive, object) Ch:

                Tertiary (referenced, en passant) Ch: Althea.

                Purpose: After buying a one-way ticket, Creed doesn’t have enough money for snacks.

                Method (narrative, process, genre): A breezy bowdlerization of ancient text into surrealism.

                Relevance/Transition: The sketch placement early in Book One gives the impression that this is a warning to beware, it gets even worse…

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 The outlines of Acts I through IV are composites of three distinct compendiums, assayed in an effort to organize approximately 600 disparate sketches.

The Pre-First Draft Synopsis, completed during the Winter of 2005-2006, was structured with the sketch title in boldface, an italicized synopsis indicating the date of the source text, and a more detailed synopses which references other sketches. It includes summaries of approximately 250 original sketches written (or re-written) from 1998-2005.

The Post-First Draft Synopsis, completed during the Fall of 2007, was structured with the sketch title and size, and brief comments under the headings of Narrator, A Time & A Place (Setting), Primary, Secondary, and Tertiary characters, Purpose, Method, and Relevance/Transition to the overall manuscript. This was essential in evaluating the placement of sketches and re-structuring them in the Second Draft (sketches that moved are usually designated as “Subscenes”).

The Post-Second Draft Synopsis, completed during the Fall of 2008, was structured in similar fashion to the pre-first draft synopses. It includes many of the old sketches that were not synopsized in 2005-2006, as well as 150 additional sketches written after 2005.

Note on referential nomenclature.

During the Pre-First Draft Synopses, sketches were not yet incorporated into a coherent manuscript, but instead drawn from a pool of eleven (I – XI) folders loosely grouped by topic. Hence, one will note that some references [e.g., (Ch. X - What other weirs ... involved comptometry)] are designated by a single Roman numeral. This is prevalent in the Pre-First Draft Synopses, and occasional in the Post-Second Draft Synopses (referencing some sketches which aren’t yet incorporated in the manuscript).

In the Post-First Draft Synopsis, most, although not all, of the sketches were organized in a sequential format, which is evident in the Post-Second Draft Synopses, in which one will note that most references [e.g., (I – xv – (ii) – So what if … trends of thought) are designated by three Roman numerals, defined as follows:

I – IV               : the Act whence the sketch is located in the second draft;

i – xxiv             : the Signature whence the sketch is located in the second draft;

(i – xxiv)          : the Signature whence the sketch was located in the first draft (note this doesn’t indicate which first draft Act it was in – but was useful as an internal control.

In addition, some sketches are preceded by numerals (e.g. 87-88) indicating the pages of a Black Book from which they were drawn. Each sketch may contain elements of all three Synopses, although most contain only two (and a few contain just one). I selected the above example because it contained elements of all three Synopses.

Translator’s Note

Jan. 30, 2009

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