Russian Political Story (Book)(One of the 16)

## Disambiguation

This is a concept for one of the 16 in the series, probably focusing on the character with the ISFJ trait, and will take place in 1970's Russia. It will deal with the revelation of the Silent, specifically the Dreamers, in a lovecraftian style revelation of an underground monster that feeds on "trust" in an effort to destroy systems and groups to stay alive. It will [possibly] have political undertones reflecting the state of the USSR.

## Story

The story focuses on Svetlana (lana for short) and her cousin, both of whom have separate careers that converge; she works as a homemaker and her cousin works as a professional fisherman. The story has a focus on Svetlana's family in their various careers as the all converge upon suggestible happenings that reveal strange things happening in the underground. The plot twist is that Svetlana's nuclear family is one of the things that the creature is attempting to break apart.

Alternatively, it may also be [possible] that Svetlana works for criminal investigation and her cousin works for another field and the story is more like a buddy crime drama in the same Russian setting, with the same plot.

In this case: Svetlana is a down to earth criminal investigator. The big creature sleeping under the city doesn't have a form, but can be seen in certain ways depending on the person. Her cousin works in a law enforcement agency, and their paths often cross. Several others of her family are introduced, as well as her boyfriend. The dynamics of their family is explored and has some connection to the story. The main antagonist, the monster, seeks to break apart their family, to weaken some story structure. The creature doesn't target Svetlana's family specifically; it attaches itself to other families in close proximity, as well as large systems (like the government) .

The story starts with Lana being demoted to a position below someone she thinks doesn't deserve the position. Her goal isn't to get the position but to understand why she didn't get it and then appeal it to her boss. She does this by engaging her brother Dima who is a criminal investigator; Lana is a forensic scientist. Dima uses his skill to backtrack the process of how she was fired, at first using his connections, and then telling Lana that this is how far he can go and is willing to go.

### Flashback in *Silence*

In the planned book *Silence,* the government is tracking down the baby that has manifested the Fire of God trait; this power is associated with the ENTJ personality type, and according to what they know, there is a baby that was this power. In reality, the person that develops this power is Ava Sanchez, and the reason she develops it is because, in order for this power to manifest, it has to be brought about by the nurture of an individual that has already manifested their powers.

In the case of Ava, Stacey was a bigger sister to her when Rose died, and she starts manifesting the power around the time the *Silence* begins. In Svetlana's case, her baby is also someone who has the Fire of God trait, but as with everyone in this story, there is a latent trait that can be uncovered in certain circumstances. Since Svetlana has the Humility or Ground of God trait, she fits the bill, and her son turns out to manifest some of his traits, although not completely. Her son is, in fact, Commander Cheveuyuk from the Second Cold War in *Day.*

In a potential flashback in *Silence,* Sventlana is seen taking care of Cheveyuk. When he goes in the crib, something will happen like his eyes will light up to show he has the power; the realization for the reader is exactly how the Fire of God trait works. Approximately fifty years in the future, Ava will start to manifest these traits, but to a greater degree. It is possible that an old and frailing Svetlana will clue some of the characters in on information she knows.

The idea surrounding this is that Ava is a potential threat. For more information see *Silence.*

## Prose Cinematography

Although it's set as a novel, the idea behind the visual set ups for the story will follow the style of patternistic, and bright-on-grey color schemes in certain scenes to reflect the feeling of the USSR setting, the and the initial mundaneness of the setting. It may be that the schemes will become more colorful as the story progresses, or simply that the color schemes and special patterns will be reflected in specific scenes rather than the entire story.

I'm not sure how this will translate to narrative, as I imagine scenes as if they were filmed.

## Character Arc in the Narrative

The character of Svetlana is very down to earth and detail oriented. If the character is made to fit the ISFJ type, then she will be feeling sensitive, rather than more rational; however she may be an istj. I like the idea of the story being reflected in the character's sensitivity, and the character tackling challenges on that level; and further, for the story to reflect the sensitivities of the family dynamic from an isfj point of view rather than an istj point of view. The obvious difference here is that if the main charcter reflects an istj, many of the dialogue and focus on Svetlana will reflect reasoning and rationale--basically, I think this will make this character a more steryotypical crime show character. However, if the character is isfj, and further if the narrative reflects this by focusing on family dynamics, etc., there may be a different angle to the story.

Imagine this synopsis: Svetlana and her cousin Dima work for the USSR (or just as a personal career) and discover a threat to civillian life under the city.

If the main character is rationally leaning (t), they will seek a different resolution to challenges, versus if they are feeling leaning (f). One of the main focuses of the story is the dissolution of family ties in Svetlana's extended family. This doesn't need any specific person to be put in this situation, however, the arc of Svetlana may go from over sensitive others to more independent thinking...versus if she starts as an istj, her arc may involve considering others' more feeling-oriented viewpoints in her reasoning or something.

## Story Draft (Concept)

*The following is a very succinct draft showing the start of the story:*

Lana threw the ball to Dima and he threw it back. They always threw it over the driveway; she at the end, he at the other end. It was a clear goal, the driveway,

“You’re supposed to throw it over your head–” Dima motioned with his arms.

Lana followed in obedience.

“You’re both wrong. ‘sposed to underhand it,” Pops words poked out through the smoke from his drag.

“Papa.”

He took another drag.

“Your pops never knew how to play ball, you can throw it however you want. Just don’t do it like him,” Grandpop took a sip of water and licked his upper lip.

“Oh really old man.”

“Oh yeah bro I never saw you touch a ball unless it was hanging from a crotch.”

“Fuck you.”

“Fucks you!” replied Dima spitting.

“Ay, that’s a no word,” Grandpop replied, but Lana was already motioning for the ball. Dima threw it back over the driveway and Lana caught it.

Off to the side mom was giggling. “Don’t you men have anything better to do than watch your kids play,” Aunt Rena asked, took a drag, and went over to pop’s side to put out the cigarette.

Grandmom brought out cookies. Dima and Lana were at her side almost as quick as the (types of dogs).

"Did you all hear about the guy down the street who nearly lost his hand in that accident."

"Sure."

"You heard it?"

"Well can't be different from all the other incidents."

"Hm," Pop smoked again.

"I know his dad, you mean Mike Kyvanich? It wasn't his fault, they didn't train him well on the machines."