MOLECULAR STORYTELLING

S02E24. Dramatic structure in atomic form.

Luisa Fici

Mar 01, 2026

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PREVIOUSLY — BBH writes a long and chaotic email to Empress, author of the writing manual Better Than Luck, starting from the idea that all great stories share a single soul and trying, with self-irony, to include her own small private tale within that grand canon. But beneath the lively, digressive tone, the real purpose of the message emerges: to invite her to the Blue But Happy performance and, above all, to obtain her validation. Between project updates, friends’ gossip, and endless detours, the email revealed itself less as communication than as a symptom of insecurity. The episode closed on a doubt: is BBH truly moving through a cycle of life, death, and rebirth — or simply continuing to drift away from the novel HAPPY DREAM?

A small digression.
Don’t hate me.

This week I wrote a lot. So here I am — exhausted.

All that punctuation to negotiate.

All those pauses.

All those word choices.
What did I write, you’re probably wondering.
Or maybe you’re not. Not even a little.

Anyway.
Who isn’t overwhelmed by their own potential, perfectly counterbalanced by an equal and opposite inadequacy?

I wrote what I wrote.
The meaning? Well — imagine minimal units of language.
Threshold words.
Micro-relational dramas.
Implicit conversations.
Emotional rhythms.
Aesthetic poetry.

OUTRAGE — This would be the moment to protest. Everyone fails a commitment now and then, strays from the path — but then gets back on track. But BBH has been kidnapped by the show and, once again, has lost her bearings for HAPPY DREAM. Why not admit it? Why try to sell us the comforting little fiction that a single word can contain the potential of a story?

Here are this week’s writings.
Taken together, I’m thinking of calling them Molecular Storytelling.

As I said: don’t hate me.
And read them out loud.

Witch found them (her adjectives, I swear):
Exciting
Astonishing
Essential
Hysterical
Phenomenal
Brutal
Harsh
Sharp
Obsessive
Unassailable

We’ll place them under glass — part of the show-performance.
My artist-character will justify them as: a dramatic structure in atomic form.
But also as acting texts.

ACTING TEXTS? — Yes, exactly that: acting texts. An ambiguous mess somewhere between poetry, dialogue, thought, and conflict. Are we inside a system of deviations?

There it is again — I can’t shake off my stage deformation.
Perhaps we’ll turn them into a book.
According to Witch, an implausibly essential book.

Follow me — there is a logic:

“But” = conflict
“Maybe” = ambivalence
“No” = refusal
“Yes” = decision
“So?” = consequence
“How?” = crisis
“And?” = continuation

It works, doesn’t it?

TO BE FAIR — BBH really believes in this: using words as objects feels to her like an honest form of writing, not an elegant way of not-writing. And yet there she is, avoiding it — fragmenting language into ever smaller units so she won’t have to face the novel. What if HAPPY DREAM never comes, because BBH keeps finding smaller, safer forms she can control?

Well?
Do you hate them? Love them?
Remember to read them out loud.

Better Than Luck makes a big deal about character. And I assure you, character takes your soul. See for yourselves — here and now. Look at me: all promises of leading you to HAPPY DREAM, while keeping you captive in my small stumbles, my attempts, my detours.