today's bug thing is the bug carousel at the Bronx Zoo!
#phm#ryland grace#rocky the eridian#project hail mary spoilers



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today's bug thing is the bug carousel at the Bronx Zoo!

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Snake Bridge on Macclesfield Canal. location: Astbury Congleton, England
Alexander Calder, Musique de Varèse, (wire, sheet metal, wood, and paint), 1931 [Photograph by Marc Vaux. © Calder Foundation, New York / ARS, New York; © Bibliothèque Kandinsky, Centre Georges Pompidou, Marc Vaux Collection]
Structure VII
Photo by :unknown // edited by @strctr17
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"Self portrait of Tracy Caldwell Dyson in the Cupola module of the International Space Station observing the Earth below during Expedition 24."

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Downward Avoidance
When it's done well, I think one of the coolest things in books is when the structure or framework or style of the story matches or enhances the story itself.
One of the best examples I can give is Harrow the Ninth, and I won't talk about the specifics to avoid spoilers, but the use of second person is not simply a stylistic choice but a functional one within the story itself.
You can think also of epistolaries where the fact that they are writing letters is part of the plot (not simply that they are exchanging information from a distance but that letters are physical things that can get lost or damaged and that take time to arrive or can be intercepted). An epistolary where, because the characters must encode information due to the risk of interception, the reader must decode that information to fully understand the plot would be an example of this.
This can also be done by playing with things like timeline--a story is non-linear not simply because it is a way to reveal information but because the POV character is not experiencing time fully linearly (either due to something like dementia/Alzheimer's or to something like magic).
There are lots of opportunities to think of how your story's structure or style can be an integral part of not only the reader's experience but of the plot itself.