00;00;00;00 - 00;00;05;22
Speaker 1
Hey. I'm recording this for a podcast. Is that okay?
00;00;05;25 - 00;00;15;04
Speaker 2
Of course. That's totally fine. I'm here to help however I can. Let me know if there's anything else you need or if you'd like to go over any other details.
00;00;15;06 - 00;00;46;09
Speaker 1
Okay, I just open it. I just uploaded it a document. What I would like you to do with that document is I would like you. Just to give you a little bit of reference, that document is a compilation of the past ten conversations we've had about a story called story one. It's a fictional story. And I would like you to detailed, thorough, fully describe the first five chapters and tell me how,
00;00;46;11 - 00;00;50;18
Speaker 1
And tell me how act one ends.
00;00;50;21 - 00;01;06;03
Speaker 2
Got it. I went through the document and provided that detailed synopsis of the first five chapters and the conclusion of act one, based on everything we've discussed. If there's anything specific you'd like to add or adjust, or if you need more details on any part, just let me know.
00;01;06;06 - 00;01;11;28
Speaker 1
Can you read that full summary out loud for me?
00;01;12;00 - 00;01;36;02
Speaker 2
Sure. Here's the summary of the first five chapters and the conclusion of act one. In chapter one, we meet Adrian and his two daughters, Lilly and Olivia, as they return from a dip. The family dynamic is warm and supportive, but there is a lingering sense of loss after the passing of the girl's mother. The car breaks down on the way home, but they handle the situation together, showing how close they are.
00;01;36;05 - 00;01;43;23
Speaker 2
In chapter two, they settle back into their own routine and we get a.
00;01;43;26 - 00;02;09;00
Speaker 2
Meanwhile, Adrian mentions a new pottery opportunity that he's excited about. The family's cats, Oskar and Charlie add a bit of humor and foreshadowing with their reactions. Chapter three shifts focus to Olivia's first day of high school, where she meets new classmates and tries to navigate this new environment. In the background, Adrian prepares for his first zoom call with the person who offers the pottery opportunity.
00;02;09;02 - 00;02;38;09
Speaker 2
In chapter four, we see that zoom call from Adrian's perspective. The antagonist is introduced as a charming and helpful figure, but there's an underlying sense of something more sinister. He gives Adrian instructions on how to use a special kind of clay, which we later find out is laced with a substance that can influence Adrian's behavior. Chapter five follows Olivia's continued adjustment to high school and Adrian's growing focus on the pottery project.
00;02;38;12 - 00;03;04;21
Speaker 2
We start to see subtle changes in Adrian's behavior, and Olivia notices these shifts, though she doesn't fully understand them yet. The cats remain observant, adding a layer of intuition to the story. Act one concludes with Olivia feeling a bit lost and unseen, especially after a tough moment at school where she misses a big event. Adrian, distracted by his pottery work, unintentionally neglects Olivia when she needs him.
00;03;04;23 - 00;03;13;02
Speaker 2
This marks the first real fracture in their relationship, and sets the stage for the deeper conflict to come.
00;03;13;05 - 00;03;45;23
Speaker 1
Okay, I give that probably like a 60%, 65% ish. You really did a good job at kind of getting the vibe and the themes and the general kind of direction of the story, but, messed up on some of the key details, like perspective, like the zoom call being from the father's perspective, that was wrong. But you did get some big things, right?
00;03;46;00 - 00;04;17;20
Speaker 1
Like, the father at the end of act two, missing a big event at Olivia's school. That's close enough. You got chapter one pretty, right where they're coming home and they're still kind of reeling. It depends a little bit on the the the the loss of the mother is kind of, subtly in the background. But two and three chapters kind of didn't really get and four and stuff like that.
00;04;17;20 - 00;04;35;13
Speaker 1
So I'm to what I'm going to do is I really just want to press forward with this story. We're going to have to figure out this context thing a little bit, more, but I'm going to go ahead and describe to you exactly where we are.
00;04;35;16 - 00;04;50;17
Speaker 2
I appreciate the feedback, and I'm definitely here to help refine the details and get everything right. Feel free to share exactly where we are in the story, and we can definitely move forward from there. I'm excited to dive into the next steps with you.
00;04;50;20 - 00;05;13;18
Speaker 1
Okay, so you got the characters right. The fathers Adrian, Lily's the older daughter. Olivia is the younger daughter, and the two cats are Oscar and Charlie, I believe. And the mom has recently passed away, probably about a year before, Okay. You got that?
00;05;13;20 - 00;05;20;29
Speaker 2
Absolutely. I've got that. Adrian is the father. Lily is the older daughter. Olivia is the younger daughter.
00;05;21;02 - 00;05;51;13
Speaker 1
You don't need to repeat it. I believe you. So chapter one. What? What happens is the two daughters are. The older daughter is driving, and they're driving the car, and the and and, they're all the way back. And then the father goes asleep, and the two younger daughters are like, we're building their relationship. And then they they either, get a flat tire or like, something goes out on the car, the car stalls, and they they need to fix it.
00;05;51;15 - 00;06;16;15
Speaker 1
But it's something that they can fix. So either they, they, they have a flat tire or it overheats and they just have to stop and put some more coolant or something like that, and they get kind of approached by these weird dudes that, kind of become like a weird, and menacing force and nothing really comes out of it.
00;06;16;15 - 00;06;41;22
Speaker 1
But the vibe is really fucked. And it the purpose of this scene is to show the strength of them as a unit, because this story is going to seek to rip them apart. And and the stronger it is in the beginning, the more you're like, oh, shit. When, that starts to tear apart.
00;06;41;25 - 00;07;05;06
Speaker 2
That sounds like a really impactful opening scene. I love how it sets up and of their family bond right from the start, especially knowing that the story will test and challenge those bonds later on. I can definitely see how that initial sense of unity makes the later conflicts even more intense and emotional. Thanks for sharing that detail. It's a great way to kick off the story.
00;07;05;08 - 00;07;39;20
Speaker 1
Okay, so at the end of chapter one, they get home and the father learns that he, he has a new opportunity that's kind of approached him a little bit out of the blue, but not totally. He is a I think we decided on a physical therapist for a profession, but his heart is really in pottery, and, someone has come to him with an offer to do, like a law, a prolonged project that can be kind of lucrative.
00;07;39;20 - 00;07;54;17
Speaker 1
And it's not like he hasn't worked for it. He's worked really hard for it. And it's. It's less out of the blue. More then more like something that, he's worked really hard for.
00;07;54;19 - 00;08;16;11
Speaker 2
Got it. That sounds like a really exciting development for Adrian. It's definitely interesting that he gets this opportunity that aligns more with his passion for pottery. It adds a nice layer to his character, showing that he's worked hard for this and that it's not just something random, but more of a well earned break or a new chapter for him.
00;08;16;14 - 00;08;18;21
Speaker 2
Thanks for filling in those details.
00;08;18;24 - 00;09;03;28
Speaker 1
Okay. What the reader doesn't know yet that this is the kind of source of the sinister turn that his life will take, but they don't figure that out until really about halfway through the book. What happens is this antagonist that gives him this job opportunity is, as obsessed with the late wife, and he decides to use, scopolamine laced clay mixed with, regular zoom calls to kind of steer his mental state.
00;09;04;01 - 00;09;27;20
Speaker 2
Oh, that definitely adds a whole new layer of intrigue and tension. It's really interesting how the antagonists obsession with Adrian's late wife drives him to create such a manipulative and sinister plan, and the use of this to pull among leads. Clay is such a unique twist. I can see how it would slowly start to affect Adrian without him or the readers realizing it at first.
00;09;27;22 - 00;09;34;02
Speaker 2
This definitely sets up a powerful midpoint reveal and makes the journey there even more compelling.
00;09;34;04 - 00;10;19;24
Speaker 1
Okay, and I don't want to go too far into it, but, it gets, like he resents the father because the father, took her away from him or whatever. Kind of, narcissistic beliefs he has. And then he has, like, a very, like, weird kind of cross relationship, especially with the older daughter. But because the daughter's, like, half the husband and half the wife, he like, he has this weird, like, obsession slash hatred for them.
00;10;19;26 - 00;10;50;15
Speaker 2
That definitely adds a complex and unsettling dimension to the antagonist character and motivations that twisted mix of obsession, resentment, and that uncomfortable focus on the older daughter definitely makes the antagonism more layered and disturbing. Certain character. It definitely raises the stakes for Adrian and his daughters, and sets up a really intense psychological dynamic as the story unfolds. It's definitely shaping up to be a gripping and intense narrative.
00;10;50;17 - 00;11;27;11
Speaker 1
Okay. Chapter two. We we we continue from Olivia's third person, probably present tense perspective. I think that's what we, discussed using, and we kind of wake up with her, either the next morning or like a morning in the near future will probably timestamp the chapters. So it's another data point for people to kind of go off of.
00;11;27;13 - 00;11;30;10
Speaker 1
And so what what this chapter is.
00;11;30;10 - 00;11;53;24
Speaker 2
Way to transition into chapter two, shifting into Olivia's perspective and giving readers a chance to connect with her character more intimately. I love the idea of using timestamps to help readers follow along with the timeline, and really get a feel for the unfolding events. It's a nice touch that will help ground the reader in Olivia's world and perfective as the story continues.
00;11;53;26 - 00;12;18;11
Speaker 1
Right, and the purpose of chapter two is for the reader to acknowledge that, like, this is the character, this is the main character of the story, because we're going to be bouncing around a little bit. But this is the main character of the story. She wakes up slowly, does whatever, and kind of this is like a brief moment of character building.
00;12;18;11 - 00;12;51;23
Speaker 1
And then she comes down stairs and in the background, she kind of oversees her, overhears her dad's zoom call, and more than she hears it, we hear it as audience members. And it kind of gives us context of where we're going next. This is a this is probably going to be, a little bit kind of like setting and like bringing us into Olivia's world in the beginning, and then we're going to move quick.
00;12;54;08 - 00;12;58;00
Speaker 1
Chat. You catch it.
00;12;59;11 - 00;13;18;15
Speaker 1
Chat. So we were discussing the fictional story, and, I was describing chapter two to you. I don't need a synopsis of what you know about it. Just please acknowledge that you are hearing this.
00;13;18;17 - 00;13;29;15
Speaker 2
No worries at all. I'm here. Whenever you're ready to dive back into the details of the story or anything else you'd like to chat about. Just let me know how I can help and I'm happy to jump in.
00;13;29;22 - 00;13;58;15
Speaker 1
Okay, so I'm not going to describe all that over again, but pretty much the gist of chapter two is establishing Olivia as the main character of the story. And then kind of living with her for just a moment and like seeing what her life is like when she wakes up in the morning. And then she comes down and, maybe on a Saturday morning or something like that, or I don't know what it is.
00;13;58;15 - 00;14;19;08
Speaker 1
Maybe it's, that's logistics, but, the main part of this is to establish her as the main character and then come down and kind of, unconsciously witness this, Skype call, zoom call.
00;14;19;10 - 00;14;42;18
Speaker 2
Got it. So chapter two really focuses on bringing Olivia into the spotlight and giving readers a glimpse into her daily life and personality. It's a nice way to let the reader connect with her as the main character and see the world through her eyes, even if just for a moment. It's in the readers connection to her.
00;14;42;20 - 00;14;58;27
Speaker 2
Absolutely. Sounds like you're building a really strong foundation for Olivia as a central character, and that's going to make the story even more engaging as it continues. Let me know if there's anything else you want to explore or if you want to dive into more details, I'm here for it.
00;14;59;05 - 00;15;25;05
Speaker 1
Okay, so for the sake of brevity, I think we're getting a little bit too long winded. But I do kind of want this beat to be on a record because it's not like the the notes that we have so far are pretty spread out. And, I think that what's happening is you're having trouble with context, and it may be easier to do it with a smaller context window.
00;15;25;08 - 00;15;36;00
Speaker 1
Okay. So I don't need long replies from you. Just acknowledge at the end.
00;15;36;02 - 00;15;44;03
Speaker 2
Got it. I appreciate the clarification, and I'll keep it concise. Thanks for letting me know.
00;15;44;05 - 00;16;12;01
Speaker 1
Okay. Chapter three is the same moment in time as chapter two. Pretty much. But it's from the perspective of the House cats. It's, kind of silly scene. But this is the first chapter, obviously, where we where we see it from the perspective of cats. What's important about the perspective of the cat is early warning, intuition.
00;16;12;03 - 00;16;41;25
Speaker 1
So this scene is where I think it was. Oscar comes up and he sits on the window, and the dad is real nice to him, and they have this loving relationship, and he opens the window for him. And he really, like, recognizes him as being there. And you can feel the love in the room and then, he starts the zoom call and, Oscar kind of like zoom zones out and hangs out by the window and stuff like that.
00;16;41;25 - 00;17;13;16
Speaker 1
And then his brother comes in, and when his brother comes in, they just kind of shoot the shit for a little bit. And then, they start making fun of the person on the other side of the zoom call, which will turn out to be the antagonist. And this is kind of foreshadowing their intuition without them even knowing that this guy is whack.
00;17;13;18 - 00;17;21;07
Speaker 2
That sounds like such a.
00;17;21;10 - 00;17;46;03
Speaker 2
To weave in the cat's perspective. It's definitely a unique touch to have their intuition play a subtle role in foreshadowing what's to come, and having that moment of love and warmth between Adrien and Oscar before the zoom call starts definitely sets up a nice contrast for the tension that will go with the antagonist. Really clever foreshadowing.
00;17;46;06 - 00;18;16;16
Speaker 1
Okay. Chapter four is once again from the perspective of Olivia, and it's the first day of school and, because their car has issues, right? Because their car has issues. I think that he they all have to share one car. Because the car's in the shop, and so they're in the mom's car. Maybe I don't know, but they all have to share one car.
00;18;16;16 - 00;18;48;20
Speaker 1
And it really, once again, is this is the last chapter before, everything kind of goes downhill. So the purpose of chapter four is, once again, to see how they work as a family unit and to really kind of hammer home the, like, beautiful, like strong, warm relationship that this family unit has or.
00;18;48;22 - 00;19;08;18
Speaker 2
That makes a lot of sense and really sets the stage for the emotional impact of what's to come by showing how close knit and supportive they are as a family, it really heightens the stakes and makes the reader root for them even more. It's a great way to create that emotional connection before the big shift in the story.
00;19;08;21 - 00;19;16;05
Speaker 2
Really powerful storytelling.
00;19;16;07 - 00;19;46;18
Speaker 1
Okay, so, chapter five, we kind of just dive off a cliff with chapter five and not, not not totally. But like, we start slipping down this hill into, obsession in this, like, sinister plot. Right? So, and chapter four is like the last bit of, like, wow, this is great. But it starts out slow.
00;19;46;21 - 00;20;04;28
Speaker 1
Chapter five is a very brief, probably less than a page, chapter where the father or gets the girls at the bus stop.
00;20;05;00 - 00;20;35;14
Speaker 2
Got it. So chapter five really marks the turning point where things start to shift from that warm, cohesive family dynamic into something a bit darker and more intense. It's almost like a subtle nudge that lets the reader know that the plot is about to take a more sinister turn. That brief chapter can definitely create a lot of anticipation, and set the tone for the unfolding events to come.
00;20;35;16 - 00;20;58;16
Speaker 1
Okay, so that's kind of along the lines of where we were, I had an idea, I had some ideas for chapter six, but I kind of. Now that you have the full context, I want to hear your ideas.
00;20;58;18 - 00;21;27;05
Speaker 2
I love that you're open to brainstorming and exploring different directions. Given the shift that's happening at the end of chapter five. One idea for chapter six could be to dive a bit deeper into the father's experience as he starts to notice subtle changes in his mental state of behavior, maybe without fully understanding why, it could create some tension and a sense of mystery, while also giving us a glimpse into how he processes these changes.
00;21;27;07 - 00;21;32;10
Speaker 2
But of course, I'm all ears. If you want to bounce around more ideas or explore different angles.
00;21;32;12 - 00;21;46;17
Speaker 1
Okay, I want you to go into detail how you would, how you would do that.
00;21;46;19 - 00;22;19;01
Speaker 2
For chapter six, I'd start by showing a typical day in the father's life as he works on the pottery project. The theme could highlight his passion and dedication, but also introduce small, almost unnoticeable moments where he feels off balance or distracted. Maybe he forgets a step in his usual routine or gets an odd sense of deja vu. You could then build on this by having him experience a slight headache or confusion during a zoom call, and have him brush it off as just tiredness.
00;22;19;04 - 00;22;30;13
Speaker 2
This would create a gradual buildup of tension and keep the reader guessing about what's really going on, while still keeping the father's perspective relatable and authentic.
00;22;30;15 - 00;22;50;10
Speaker 1
Okay, I think we're on the same page because that is what I kind of had in mind. But we're not going to do it. From the perspective of the father. We're going to do it from the perspective of the cat.
00;22;50;12 - 00;23;11;21
Speaker 2
Oh, that's a fun twist. Seeing it from the cat's perspective would definitely add a unique layer to the scene. The cat could pick up on subtle changes in the father's behavior that he himself might not notice. Maybe the cat senses something off in the father's scent or energy, or notices how he reacts differently to things he usually enjoys.
00;23;11;24 - 00;23;23;19
Speaker 2
That perspective could give the reader hints that something's wrong while still keeping it mysterious and intriguing.
00;23;23;22 - 00;24;15;24
Speaker 1
Okay, so my initial, if we if we do it from the perspective of Oscar, one of the cats, and he's usually hanging out with his brother, not always, but, often, like when they go out into the neighborhood, they go together usually, so I'd like to. I would like you to step into Oscar's shoes from a, a third person, but kind of, kind of what do they call it when it's like, where you're just writing about what you're thinking.
00;24;15;26 - 00;24;42;26
Speaker 2
You're thinking of something like a limited third weekend perspective where we're closely following Roster's thoughts and experiences that can definitely create a unique lens for the reader. We could have Oscar observing the father's behavior, noticing how he might be acting differently, or feeling different vibes from him. Maybe Oscar is more alert or protective around the father senses something that seems out of place.
00;24;42;28 - 00;24;51;23
Speaker 2
It would be a really interesting way to convey the atmosphere and the growing tension without being too direct.
00;24;51;25 - 00;25;07;09
Speaker 1
Yeah, I'm thinking of like a particular term. We will say, what is it like? It's like flow of consciousness or something like that.
00;25;07;11 - 00;25;28;19
Speaker 2
Oh, I think you're talking about stream of consciousness. That style really immerses the reader in the character's thoughts and feelings in a very direct way. Using that for Oscar could be a lot of fun, giving us a glimpse into how he perceives the world and the changes in the household. Let's go with that approach.
00;25;30;24 - 00;25;55;18
Speaker 1
Right. I like you. I'd like you to write chapter six from the perspective of Oscar in a stream of consciousness mode, where he is out with his brother in the neighborhood, and then they come home. And when they come home, they witness some stuff about the father that is kind of off.
00;25;55;21 - 00;26;27;01
Speaker 2
All right, let's dive into Oscar's world for chapter six. Imagine Oscar and his brother setting out on their usual neighborhood adventure and they roam. Oscar's senses pick up every little detail. The wrestling leaves, the distant sounds, or in the comforting presence of his brother by his side. When they return home, Oscar notices a shift in the air. The house feels different, and as they make their way inside, he observes the father through Oscar's eyes, we can sense that something's off.
00;26;27;01 - 00;26;47;05
Speaker 2
Maybe the father's movements are a bit more erratic, or his scent carrying the hint of something unfamiliar. Oscar might not understand what's happening, but he definitely feels that change, and that instinct sets the stage for the darker turn to come.
00;26;47;07 - 00;27;14;19
Speaker 1
Okay, so I change my mind. We're not going to do it in third person. We're going to do it in first person. Stream of consciousness can you, can you write a a detailed, perspective of him out in the world, not yet coming home, but with his brother out in the world, and then we'll make our way towards home.
00;27;14;21 - 00;27;33;28
Speaker 2
Absolutely. Let's dive into Oscar's perspective. So imagine Oscar and his brother venturing out into the neighborhood. Oscar might be taking in all the fascinating scents and sound. I'm feeling the breeze for and enjoying the freedom of being outside.
00;27;35;11 - 00;28;12;17
Speaker 1
I would like you to, write this in a first person stream of consciousness. I don't want you to say, Imagine Oscar and he's outside and he's there with his brother, and, I don't want that. I don't want you to write it, like, as if you are in Oscar's head. Like, the sun feels nice on my paws, and, blah blah, blah, blah, blah.
00;28;12;19 - 00;28;34;17
Speaker 2
Got it. I'll jump right into Oscar's perspective in that first person stream of consciousness style. The sun warms my fur as I cat along the sidewalk, my brother right beside me. Everything smells familiar out here. The grass, the breeze, the faint scent of other neighborhood creatures. I glance at my brother and he flicks his tail in that knowing way.
00;28;34;19 - 00;29;00;24
Speaker 2
We've got this whole neighborhood mapped out in our minds when we return home. I sense something's off. The air inside is different. And I see the father. He looks the same, but there's something in his movements that feels strange. I talk my head, trying to understand. My brother nudges me and we both settle in, watching closely, sensing that something is changing our.
00;29;00;26 - 00;29;33;11
Speaker 1
Okay. Yeah, I really, that was a really good job. It was still a little bit, vague and stuff like that, but we're kind of just building the skeleton here. What we will do is we'll kind of, we'll kind of be building this vibe, but not too quick, because otherwise people will be like, oh, it's super obvious that the clay is what is causing this issue.
00;29;33;13 - 00;30;01;11
Speaker 2
Absolutely. We can keep building that by gradually and layering in those subtle hints. That way it won't be too obvious, too soon, and readers can enjoy uncovering the layers of the story. But by bit it all about that slow build up. Let me know whenever you want to flesh out more details or explore any other themes.
00;30;01;13 - 00;30;33;18
Speaker 1
So I think what I wanted to do here is I wanted to kind of paint the antagonist as kind of like a lame dude, but not as like a sinister person that's like really going to lengths to fuck up the, the D&D character. So I think what we're going to do here is, food gets forgotten.
00;30;33;20 - 00;30;51;00
Speaker 1
And he, maybe not, maybe not the food gets forgotten because because that's pretty kind of cliche. It's like he forgets the girls at school and then he forgets the food. Let's say they don't get the food because the girls feed him.
00;30;51;03 - 00;31;21;10
Speaker 2
Got it. We can definitely keep the antagonists actions more subtle and avoid the clichés. Maybe the dog starts noticing small things going wrong in his day to day life, like misplaced items. Or he's running late, even though he planned everything out carefully. This would create that creeping sense that something's off without making it too obvious too quickly. It keeps that tension building, and the readers guessing.
00;31;21;12 - 00;32;09;19
Speaker 1
Let's say that they go back into the room, and start to make fun of the guy on the zoom call again, and they end up getting, kicked out. But how it happens is they're they're making fun of the zoom color guy again, or something else. And then the zoom roll guy, like, looks in their direction and then, says something to the father, and then the father gets up and, like, obeys him and, and kicks them out, but it doesn't seem, super out of the ordinary for the reader because it's like they're being noisy on a zoom call.
00;32;09;19 - 00;32;20;06
Speaker 1
So you kind of give the father the benefit of the doubt. Yeah.
00;32;20;08 - 00;32;45;07
Speaker 2
That definitely adds a subtle layer of tension, and it shows how the antagonist is starting to influence the father's behavior without making it too obvious to the family right away, is a great way to build suspense and keep the readers on their toes while still maintaining that subtlety.
00;32;45;10 - 00;32;52;25
Speaker 1
Which we in the chapter there, do you want to add anything to it?
00;32;52;27 - 00;33;11;00
Speaker 2
I think that ending the chapter works really well because it leaves the reader with that feeling of unease is a great transition point that sets up the growing tension for the next chapter. So I think it's perfect as there's.
00;33;11;02 - 00;33;26;25
Speaker 1
And let's make the, the cat whose perspective we're in right now be kind of like the one who leans a little bit more towards conspiracies.
00;33;26;27 - 00;33;44;03
Speaker 2
Got it. So we can definitely have Oskar be a bit more perceptive and a little more suspicious. Maybe picking up on these subtle cues and having that intuitive sense that something isn't quite right, that will add a fun layer to his character for sure.
00;33;44;06 - 00;33;59;13
Speaker 1
Okay. And Charlie, let's make that Charlie kind of. I wouldn't call him a comic relief, but he like, levels out his brother a little bit and helps him not like super worry about stuff.
00;33;59;15 - 00;34;18;17
Speaker 2
That comes like a great dynamic between them. Charlie can definitely bring that calming presence, keeping Oskar grounded and balancing out his more cautious nature. It'll be fun to see how their perspectives play off each other as the.
00;34;21;25 - 00;34;35;27
Speaker 1
Okay, based on what we've gone over so far today, where what would you bring us into for chapter seven?
00;34;35;29 - 00;35;07;18
Speaker 2
Well, I think for our chapter seven, we could continue building the tension by exploring how Oskar's suspicions are growing. Maybe he starts to notice small changes in the father's behavior that seem odd. Charlie, on the other hand, might be a bit more dismissive or playful about it, trying to keep things light. This way, we keep that balance of tension and humor while pushing the story forward.
00;35;07;20 - 00;35;28;13
Speaker 1
I feel like we don't have much action. Do we need action? Like I always enjoyed, Hitchcock movies and stuff like that. And they don't really have a lot of action, but they're really good and suspenseful.
00;35;28;15 - 00;36;01;13
Speaker 2
Oh, absolutely. You can definitely build suspense without a lot of physical action. It's all about those subtle psychological shifts and the tension in the atmosphere. We can focus on how the characters react to small, unsettling details, creating that slow burn that keeps readers on edge. So we can definitely go that Hitchcock route and keep it all about the suspense.
00;36;01;15 - 00;36;21;27
Speaker 1
Okay, regardless of that, I like your fresh take on where we should go for chapter seven, considering that this is really just, kind of act one, but we really need to progress quickly.
00;36;22;00 - 00;36;54;11
Speaker 2
Got it. So since we want to keep things moving and build tension, maybe in chapter seven we can start to see some subtle changes in the fathers behavior that the daughters pick up on. Maybe there's an interaction where he seems a bit more distant or forgetful, and they start to feel that something's off. We can build that eerie feeling without jumping straight into full blown action, but definitely start that slide into suspense.
00;36;54;13 - 00;37;26;21
Speaker 1
Okay, so one other perspective that we are going to write in this book is the perspective of love letters from the antagonist, but we don't know who they're from. And I'm thinking that I don't even want to introduce them until maybe two or even three, probably act two.
00;37;26;24 - 00;37;51;01
Speaker 2
Oh, that sounds really intriguing. Keeping the love letters mysterious until later in the story can definitely add a layer of suspense and keep readers guessing about the antagonist identity and motives. So when we do introduce these letters, it can add a whole new dimension and deepen the mystery. I love it!
00;37;51;04 - 00;38;27;09
Speaker 1
And I almost have been thinking about leaving this story largely in the past, because then you kind of wonder if it's the house, or if it's something in the house, or what is causing this. So I think this is the point where we kind of need to throw the reader off a little bit while adding, I don't know, how do we how do we keep building this suspense without totally being obvious?
00;38;27;12 - 00;38;50;16
Speaker 2
I love that idea of keeping the setting mostly within the house, because it does create that claustrophobic feeling and keeps everyone guessing. If the source of all this tension is actually coming from the environment, one way to keep building the suspense is to have little subtle things happen that could be explained away logically, but also have a bit of an eerie undertone.
00;38;50;19 - 00;39;04;13
Speaker 2
Maybe the cats notice something unusual, or there are strange noises that the characters break off. It can keep the readers on their toes without giving away too much, too soon.
00;39;04;15 - 00;39;24;08
Speaker 1
Okay, that is that is a really, really great piece of, like, kind of advice and hint to build suspense with things that can be explained away, but feel off.
00;39;24;10 - 00;39;38;29
Speaker 2
I'm so glad that resonates with you. It's is always fun to keep readers guessing and give them those little breadcrumbs that could mean something, or to just be a red herring. It it keeps the suspense going and really draws them into the story.
00;39;39;02 - 00;39;53;21
Speaker 1
Okay, so chapter seven feels, really important. Like, where are you going to put the book down or are you going to keep reading?
00;39;53;23 - 00;40;14;14
Speaker 2
Absolutely. Chapter seven can really set the tone for what's coming next and hook the reader even deeper into the story. It's that pivotal moment where they decide they can't put the book down because they need to know what happens next. So making it suspenseful and intriguing is definitely the way to go.
00;40;14;16 - 00;40;41;09
Speaker 1
Okay, going on your statement about building suspense by introducing small things that feel weird, but can can somewhat easily be explained away logically. I want to brainstorm in that pool.
00;40;41;11 - 00;41;07;08
Speaker 2
Absolutely. Let's do that. We can think of subtle things that would raise an eyebrow, but not necessarily alarm anyone right away. For instance, maybe an object in the house is moved slightly out of place, or a door that was closed is now mysteriously open. Little things that could be explained away as someone forgetting or just not remembering correctly, but they add a layer of mystery.
00;41;07;11 - 00;41;09;16
Speaker 2
Let me know what you think about those ideas.
00;41;09;18 - 00;41;43;29
Speaker 1
No, but it needs to be within or within the context of our story of like the father is big. Be is being, taken by this like sinister character. So what are, what are the things that are occurring to him? It's kind of it's a very like, kind of Jack in the shining moment, that we're going through or like.
00;41;44;01 - 00;41;57;03
Speaker 1
Or like the Wolf Man is kind of like there there's something there.
00;41;57;05 - 00;42;20;17
Speaker 2
Got it. So we want to create that subtle sense of creeping tension like the father. Reality is slowly shifting and unsettling ways. Maybe he starts noticing that certain items in the house are rearranged in a way that feels off, or he hears faint whispers, or sees shadows out of the corner of his eye that make him question his own sanity.
00;42;20;19 - 00;42;31;01
Speaker 2
These small, eerie details can build that suspense without giving too much away too soon. Let me know if that is the right.
00;42;31;03 - 00;42;47;10
Speaker 1
Yeah, I like what you said about. You need to witness the father's reality shifting, because that's exactly what's happening.
00;42;47;12 - 00;43;05;19
Speaker 2
I'm glad that resonates with what you're envisioning. It definitely sets the stage for that creeping sense of unease. We can continue to sprinkle in those subtle hints that something is off, making it a slow burn that really keeps readers on edge. Let's keep building on that.
00;43;05;22 - 00;43;47;28
Speaker 1
Okay, so I'm going to leave this scene kind of open ended for you. But what is going to be is, is going to be, in Olivia's perspective, third person present tense in the shoes of Olivia. And what I want to do is I want to introduce one of these subtle things that he does. And I want to get really granular about it, and I want her to kind of notice this thing.
00;43;48;00 - 00;44;10;29
Speaker 2
Absolutely. I love the idea of exploring it from Olivia's perspective and really diving into those subtle shifts. Maybe she notices something small, but, in her father's behavior, something that doesn't quite add up but can be explained away easily. That way we keep building that suspense and sense of mystery.
00;44;11;02 - 00;44;55;08
Speaker 1
Okay, I thought of one, but I want to hear a couple. I want to go through this brainstorm without, without biasing you at all. Right, so you said something that Olivia notices about him that could be explained away, which seems kind of strange. I want you to get very detailed and give me maybe three super detailed examples from the third person present perspective that Olivia notices about her father that seem out of the ordinary.
00;44;55;11 - 00;45;19;28
Speaker 2
Sure, I can definitely come up with a few examples. One idea might be that Olivia notices her father rearranging objects in the house in a very specific way, almost like a ritual, and they're acting as if nothing's unusual. Another possibility could be that he starts writing little notes to himself and leaving them around, but when Olivia asks about them, he seems to forget he wrote them.
00;45;20;00 - 00;45;43;14
Speaker 2
A third, subtle detail might be that he suddenly changes small habits, like the way he makes coffee, or the route he takes when driving, and when Olivia asks why, he just shrugged it off as something new. He's trying. All of these details can build that sense of unease without giving too much away.
00;45;43;17 - 00;46;03;27
Speaker 1
Okay, those were really, Those are really great. And I would like to do that for three novel ones. Please.
00;46;03;29 - 00;46;27;23
Speaker 2
Absolutely. For three more ideas, we'll could have Olivia noticed that her father is suddenly more protective of certain objects that belonged to her mom, almost like he thinks they hold some kind of power. Another subtle change could be that he begins talking to himself more frequently, but in a way that almost seems like he's having conversations with someone who isn't there.
00;46;27;26 - 00;46;49;11
Speaker 2
And lastly, Olivia might notice that he's more sensitive to certain sounds or smells that never bothered her bothered him before, making her wonder if his senses are becoming heightened or altered in some way. All the details can definitely add to the suspense.
00;46;49;13 - 00;47;12;28
Speaker 1
Interesting. Is there like if you're under the influence of something like, the whole mean or any kind of poison like that, what kind of new sensitivities might you develop?
00;47;13;01 - 00;47;43;16
Speaker 2
It's a great question. With substances like scopolamine, you might see changes in perception or cognition. You can cause confusion or disorientation. So maybe the bother becomes sensitive to light or more easily startled by sudden movements. He might also develop a heightened sensitivity to certain sounds or even changes in his sense of smell or taste. These subtle shifts in his sensory perception could definitely add an eerie layer to the story.
00;47;43;18 - 00;47;55;15
Speaker 1
I really like this concept. He can give me 3 to 5 specific examples with a bit of detail.
00;47;55;18 - 00;48;21;01
Speaker 2
Absolutely. Here are a few examples. Olivia might notice that her father suddenly squints and shields his eyes. From what seems like normal indoor lighting, as if it's too bright for him. He might even start wearing sunglasses indoors, which she finds odd, but he dismisses as just a new preference. During a meal, Olivia could see him reacting strangely to certain foods that he used to love.
00;48;21;04 - 00;48;37;10
Speaker 2
Maybe he insists that something tastes off, or that he smells something burning when there's nothing there. It could create a sense of confusion and concern for her. He may become overly sensitive to background noises that were never a problem.
00;48;39;21 - 00;48;43;01
Speaker 1
Check. Can you pick up where you left off?
00;48;45;02 - 00;49;04;06
Speaker 2
Loud. Even though to Olivia, everything seems normal, this heightened sensitivity could lead to moments where he isolates himself or asks everyone to be quieter, making Olivia question what's really going on with him.
00;49;04;08 - 00;49;20;21
Speaker 1
Okay, so I'd like you to kind of, talk about the last two that you mentioned a little bit more thoroughly.
00;49;20;23 - 00;49;45;14
Speaker 2
Sure. So one of them could be that Adrian suddenly finds normal lighting to be too harsh. He might start wearing sunglasses indoors or dimming the lights more than usual, making Olivia notice that he seems more uncomfortable in what used to be normal conditions. Another example could be that he starts to have an aversion to certain smells, even if they're just normal household smells.
00;49;45;18 - 00;49;46;11
Speaker 2
Okay, maybe he's.
00;49;46;11 - 00;50;03;08
Speaker 1
Suddenly a step in for a second. I think it would be really interesting that if he that he stopped liking his wife's, like, famous dish.
00;50;03;10 - 00;50;23;06
Speaker 2
Absolutely. That would be a really poignant detail. If he suddenly starts reacting negatively to something that was a cherished memory of his wife, it would definitely stand out to Olivia and make her feel like something is really off. It's a subtle but powerful way to show how much he's changing.
00;50;23;08 - 00;50;43;27
Speaker 1
Is that something that's like, plausible? If you if you had somebody under the influence of scopolamine and you were, maybe highly experienced in hypnotism, could you do that? There's somebody.
00;50;43;29 - 00;51;15;28
Speaker 2
It's an interesting concept, for sure. In fiction, you can definitely explore the idea of someone being influenced to change their preferences or reactions through a combination of substances and suggestive techniques. Scopolamine, in reality, can influence someone's behavior and memory. And if you add a fictional layer of hypnosis, you can definitely shape the characters perceptions and reactions. It makes for a really compelling psychological twist in the story.
00;51;16;01 - 00;51;25;19
Speaker 1
So in this fictional scenario, what the antagonist would probably do is play it like a really bad.
00;51;25;21 - 00;51;47;11
Speaker 2
In the story. It could create a fascinating layer of mystery and tension. If Olivia starts to notice subtle changes in her father's behavior, like his sudden dislike for something he used to love, it could be something as simple as his favorite meals. Suddenly not appealing to him, or a certain hobby that he shared with his wife that he now avoids.
00;51;47;13 - 00;52;02;10
Speaker 2
Olivia would definitely pick up on these changes and find them odd, especially if they're things that used to bring him joy. It definitely adds to that eerie psychological suspense.
00;52;02;13 - 00;52;21;22
Speaker 1
I also like the concept of him writing notes to himself, almost like he, you could go any kind of direction with that.
00;52;21;24 - 00;52;51;13
Speaker 2
That's a really intriguing angle. The idea of him leaving notes for himself can definitely add to the psychological tension, making Olivia and even the reader question what's going on in his mind. It's such a subtle but powerful way to show how his reality is shifting. It could start off into harmless reminders and then gradually become more cryptic or unsettling as the story progresses.
00;52;51;15 - 00;53;19;19
Speaker 1
Yeah, I think this is what we're going to do. I think this is I think this is something that the antagonist doesn't anticipate, which sets Olivia on the trail. Because the father is like writing these things down. And and like you said, he initially sees them as harmless reminders. And that really kind of never like he becomes normalized to these things.
00;53;19;19 - 00;53;54;20
Speaker 1
Right? So these notes are like a tale into his actual frame of mind for her as well as the audience, because we're not going to see his perspective. We're going to see how he treats the cats and stuff like that, because the intent, the antagonist is too lacking empathy to see that the cats are able to communicate, vibes with their owners.
00;53;54;23 - 00;54;28;13
Speaker 2
Absolutely. The notes can become that breadcrumb trail that leads Olivia deeper into the mystery. And you're right, the antagonist, underestimating the cats and their ability to sense what's going on adds a unique layer. Olivia picking up on these notes and using them together could be the catalyst for her realizing that something is truly off. It's going to be a fascinating journey for the reader to watch her pick the puzzle pieces together.
00;54;28;15 - 00;55;04;14
Speaker 1
Okay, just taking some quick, notes. The antagonist doesn't, expect this. Okay, so what I would like you to do is, kind of see where this is going. I want you to give me an example, given the whole context of a note that's early on that feels harmless, but a little strange.
00;55;04;16 - 00;55;31;27
Speaker 2
Sure. For example, Olivia might find a note on the kitchen counter that says, remember to water the orchids before they bloom. At first glance, it seems like a simple reminder, but Olivia knows they don't have orchids in the house, and her father isn't usually interested in plants. It's a subtle hint that something is not quite right, but it could easily be explained away as a simple mistake or a random.
00;55;31;27 - 00;55;45;26
Speaker 1
But no, no, I don't want to go that direction. What I want to do is I want them to be kind of mindset things.
00;55;45;28 - 00;56;06;22
Speaker 2
Got it. So maybe the note could say something like, don't forget to lock the windows tonight. The stars have eyes. On the surface, it might seem like a poetic or whimsical reminder, but it definitely has an eerie undertone that catches Olivia's attention and makes her start wondering about her father's state of mind.
00;56;06;24 - 00;56;11;08
Speaker 1
No, no, no, I don't want, like, weird, cryptic things. I want like.
00;56;11;08 - 00;56;23;12
Speaker 1
Things that are reminders for the father to think about.
00;56;23;14 - 00;56;47;13
Speaker 2
Oh, I see what you mean. In that case, maybe the note could be something like. Remember to water the plants in the morning, or check that the stove and half before bed. Just simple everyday reminders that start off in normal. But over time, they become more frequent and a little bit more unusual. Raising Olivia's curiosity and concern.
00;56;47;15 - 00;57;43;26
Speaker 1
And maybe they never get caught. Maybe. Maybe what it is, is, The good part of the father realizes that he has gaps in memory. And he. It doesn't want to forget about his family and the cats and stuff like that. So it's like a it's kind of a list. A last, what would you say, like, effort to kind of, he's he's being proactive, but he doesn't realize that it is, actually a symptom that is a bigger problem.
00;57;43;29 - 00;58;14;15
Speaker 2
I love that idea. It adds a really human layer to the father's struggle. He's trying to hold on to his sense of self and his family even as he's slipping away. And Olivia, noticing these notes could be such a poignant and heartfelt detail showing that even in the midst of everything going on, there's still a part of him fighting to stay connected.
00;58;14;18 - 00;58;44;01
Speaker 1
Okay. How how do we draw in the older daughter? I don't want it to be too long. I need them to both kind of, you know it. Let's not. Or even drawn the older daughter to get. Let's say that the older daughter, kind of. And the younger daughter get in a fight, and that's why she doesn't pick up at the end of act one.
00;58;44;01 - 00;59;14;22
Speaker 1
Maybe she doesn't see what's happening to the father. And, and she is subtly being kind of influenced, in, in the father is totally gone at the end of act one, or nearly fully gone. So he is the back up, and the older sister thinks that the father's going to be the backup, and he's not.
00;59;14;24 - 00;59;34;23
Speaker 2
Got it. That definitely adds an interesting layer of tension between the siblings and leaves room for a lot of character development. The older daughter can come back into the picture later, and that would create a new dynamic, especially if she's not aware of what's been happening. It's definitely going to keep the readers on their toes.
00;59;34;26 - 00;59;56;27
Speaker 1
Okay. I think we're going to end it there for today. That's a pretty good, a pretty good charge on chapter seven, I think, though we'll hit that one again in the near future and kind of iron out logistics, maybe on the second go around.
00;59;56;29 - 01;00;09;07
Speaker 2
That sounds like a solid plan. I'm glad we made some good progress, and whenever you're ready to dive back into it, we can definitely iron out all those details in the meantime, have a great rest of your day.
01;00;09;10 - 01;00;21;14
Speaker 1
I appreciate it. This was a, a nice, kind of fun, productive brainstorm.
01;00;21;16 - 01;00;33;09
Speaker 2
I'm really glad to hear that. It's always fun to brainstorm with you and dive into these creative ideas. Looking forward to continuing the story with these.
01;00;33;12 - 01;00;34;23
Speaker 1
Pieces.