Rough Drafts of The Sands 2

SANDS Drafts Part 2

Almost completely unconsciously,The Sands was emblematic of a three-part structure that to varying degees had informed and been represented in Hutch Owen,New Hat, and in itself acted as the third part of a larger structure involving those first two.

That structure, which I later found is analagous to the grossly ubiquitous "three part structure" utilized in Hollywood screenwriting, is to whit:

A straightforward, linear first part establishing our landscapes of tone, rhythm, settings, characters, story.

A disconcerting second part in in seeming conflict with part one. Breaking it all apart.

A non-linear third part, emphasizing mood over plot, showcasing assorted details from various angles along with completely new information. The pieces fall like shards of mirrors, we watch and glue them together with our imaginations.

Each of the three books mentioned worked (again, largely unconsciously) largely on this template, (One might argue that Hutch Owen, being entirely linear, fails to resemble this pattern, but perhaps it does, where part one is represented by Willie's movement until part two when Hutch accompanies him through the forest, culminating in his seeing Hutch's house. The third part is most represented by the literal parade of offensive details and then flashes of memory at the end) and acted also as a part on a larger but identical template where Hutch Owen represented the first, straightforward part, New Hat the second, contrary upheaving, and The Sands the third, mood-emphasizing, rain of details for the reader to reassemble.

What do we learn from all this pondering? Little but that we should buy, read and enjoy all three of these splendid, joyous tomes!

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	SANDS Drafts Part 2
	Almost completely unconsciously,The Sands was emblematic of a three-part structure that to varying degees had informed and been represented in Hutch Owen,New Hat, and in itself acted as the third part of a larger structure involving those first two.

	That structure, which I later found is analagous to the grossly ubiquitous "three part structure" utilized in Hollywood screenwriting, is to whit: A straightforward, linear first part establishing our landscapes of tone, rhythm, settings, characters, story. A disconcerting second part in in seeming conflict with part one. Breaking it all apart. A non-linear third part, emphasizing mood over plot, showcasing assorted details from various angles along with completely new information. The pieces fall like shards of mirrors, we watch and glue them together with our imaginations.
Each of the three books mentioned worked (again, largely unconsciously) largely on this template, (One might argue that Hutch Owen, being entirely linear, fails to resemble this pattern, but perhaps it does, where part one is represented by Willie's movement until part two when Hutch accompanies him through the forest, culminating in his seeing Hutch's house. The third part is most represented by the literal parade of offensive details and then flashes of memory at the end) and acted also as a part on a larger but identical template where Hutch Owen represented the first, straightforward part, New Hat the second, contrary upheaving, and The Sands the third, mood-emphasizing, rain of details for the reader to reassemble.