Mini Premise: I spectacularly suck at commitment. Relationships with partners, TV series, Novels and writing content all fall into the same category when I’m concerned - Forever Unfinished.
So, my beautiful brainwaves did thing: How about I write slices of lives centered around a story without having to commit to the actual story. Y’know, Janet preparing her toddler’s lunch when she hears about the story on the radio; Todd overhearing the story as he rushes past the water-cooler at the office because he was late for that all-important interview; Silent and Sorrow, the high-class, baddass, fatal female assassins casually bringing it up in conversation over lunch at a cafe ("… and he said something about what happened last week - did you hear about that?" “Oh yeah, wrote home to Momma about it. She’s worried for me, but I think I’ll be okay.”)
How far can I push it? How much interest about the unnamed, vague event can I generate? Probably at least some, I figure.
Actual Premise: My brain said, “Hey, you know, other authors might like to experiment as well. Maybe we can give them an opportunity to try this with us, and together we can make a big shebang about nothing in particular.”
So, how do you feel about writing a CS scene exploring the lives of those who might be affected by unnamed, vague event? I imagine most Stephen King short stories start out that way, and, I dunno, might be interesting. Collating different ideas, styles and tones of different authors would do well to show how far- (or near-)reaching the effects of the event may be, and how it might influence different cultures, genres, worlds…
And CS, in particular, might offer a unique opportunity to explore how the reader feels about their character’s livelihood, how quickly they attach to the grand narrative.
Worth giving it a go?