It might be all fun and games for the characters in my latest story, The Time Travel Situation, but for me this is all serious work!
Actually, no, there’s been some genuine fun in writing this piece for me, but I have also covered a few important principles while working on the story, and now it’s time to review what all of those were.
The Work of Children)
Fred Rogers once said “play is often talked about as if it were a relief from serious learning. But for children play is serious learning. Play is really the work of childhood.” I absolutely believe that this is true. As a child, everything in the world is new. New sights, new people, new emotions, and new ideas. And all these new things must be processed. They must be worked over and understood, they must be laid out alongside of one another to understand all of their joint implications.
Watch a child playing pretend and you will inevitably see ideas and words and feelings that recently made an impression on them crop into their narrative, working their way through the child’s mind and words, until at last the child feels he or she has a bit more of a grasp on the matters.
This is why I started off this whole series by stating that there are no rules in the play of children. There are no necessary elements of plot structure or character arc or anything else we typically expect in a story. Because children aren’t really telling a story, they are trying to have an experience.
And I tried to make this a guiding principle of The Time Travel Situation. While I did give it enough structure that it could still appeal to more mature audiences, I was careful to preserve the sense of children just wanting to explore all the many different things that fascinate them. Thus the story is full of sensory, exploratory, free-flowing fun.
Something Old, Something New)
And to be true to that sense of children working out all the new things that interest them, I had the children make references to real-world media and history. It just wouldn’t have felt authentic to me if the shows and games they were experiencing weren’t bleeding into their playing pretend.
I explained that I didn’t want to overdo the real-world media references, though. Just a quick comment about Star Trek, a quote from Star Wars, and the opening premise of The Journeyman Project. I didn’t want this story to be a vehicle for homages to media, I wanted the references to only be a garnish to the more original narrative I had to tell.
But more prominent than these media references have been the historical ones. For example I have made Blackbeard a central character, a true-to-life pirate that we can read history books about. But I actually made a conscious decision to not go and look up details from the actual history of Edward Teach (Blackbeard’s real name), because I wanted him to be a work of childlike imagination. He’s larger than life, the way a child thinks a pirate should be. The children know absolutely nothing about what he actually was or when and how he died. All they really know is his name and career choice, and the rest for them is pure imagination. I wanted the story to reflect that same blissful ignorance.
A Rush of Ideas)
I also mentioned how these real-world references were part of how I made different worlds overlap in my story. There is the world of the children, their world of pretend, and the worlds of the historical and media figures they reference. Part of the reason for having so many intersecting realms goes back to that notion of children trying to make sense of their reality and playfully combining them to explore their full implications. I wanted the story to show that the children had a lot of different things on their mind. They are thinking about things that interest them, they are trying to explore relationships, they are trying to find an adventure in life that is exciting. All of those themes come out in the things they give voice to while at play.
But naturally this led to a deluge of different elements, and I was anxious about it becoming overwhelming. I wanted it to be indulgent, but not to the point of excess. My hope is that audiences will be able to flow along with the rapid-fire conversations in the same way that one does when having a conversation with a friend. You shift from one topic to another effortlessly, shifting from work to family to personal interests on a whim. It may be chaotic and all-over-the-place, but you still leave feeling satisfied. Because you and your friend weren’t worried about turning your conversation into a three-act story, you were just trying to get a sense of yourselves across.
In my story I want it to be the same. Yes there is some character development, such as with Blackbeard’s change of heart, but mostly I just wanted to have a conversation with you about these kids and try to give you a sense of them through it.
Last of all I spoke about stories where the hero needs to surmount the villain, but also needs to retain their honor to the end. I put the children in a compromising situation, one where they had an unacceptable deal setup with Blackbeard. But I couldn’t just have them break their promise or else they would lose their dignity. Therefore it was important to have Blackbeard break the terms first so that they children could be released from their end of the bargain as well.
And originally my intent was for the children to now trick Blackbeard into his own demise, but I realized that that would still feel dishonorable. So instead I allowed Blackbeard to see the error of his ways and genuinely join the children’s cause. This should allow us to enter the conclusion with an air of positivity where everyone’s honor has been preserved.
Now all that remains is to finish the thing! Come back on Thursday as we’ll do exactly that, after which we’ll be on to something different.