My entry was an even more last-minute, seat-of-the-pants effort than usual (even taking into account that most of my entries have only to be 75 words long), the difference in length being as big, if not a bigger, problem when it comes to counting the number of words in a 300-worder than when writing those words.
Anyway, I had, from the start, the (somewhat blindingly obvious) idea that the story would involve some type of tableau, but then nothing. Nothing. At. All.
Thus it was that, on the evening of January the 31st, I found myself sitting in a concert hall, completely story-free, having just finished listening to the (somewhat strange) Violin Concerto No.1 "Distant Light" by Péteris Vasks. As it was, by then, the interval, I thought I'd read the programme notes on the piece, whose second paragraph began, "Scored for strings, the work is cast in a single span lasting some thirty minutes and unfolds as a series of episodes, by turns contemplative and energetic...."
For some reason, both the idea of a partitioned story and (though less clear to me at that instant) the idea of different speeds somehow being involved stuck. I didn't really have much more than that with which to work. It didn't help that the concert (in a series of them that usually end at 21:30) only finished just before 22:00 (with the final piece, Shostakovich's 15th Symphony, not being one during which it's easy to invoke one's "literary" muse, if one has one at all). And then I had to drive home.
Thankfully, the mid-1980s memory of being led, as part of a tour, through a palace in Vienna** popped into my head, providing me with the apparent "geography" of the location.
One thing I did do that I've never done before was to dictate the story rather than type it. My typing is both poor and slow, and it adds far too much time to the process, even with the spellchecking switched on (although this can, at times, be more of a hindrance than a help). I did this in desperation, but dictating had the unexpected benefit that when just the right word popped into my head (and my mouth), my computer recorded it, so there was not the usual problem of trying to remember it for long enough that it was still*** there when I came to type it. All I had to do, for the first draft, was type in the punctuation as I went along. Of course, the editing had to be done by hand.
The second even more unexpected benefit (one I don't expect to appear that often) was that the story just kept popping into my head as I said it, with only very short breaks between the phrases I spoke. I'm thinking of using this process in the future with other things I write to see if this is a one-off or not.
Finally, one major point of the story, i.e that its events were to remain unexplained (so no punchline, pun or clever twist could be used), benefitted me in two ways: I didn't have to come up with a punchline, pun or twist (clever or not) to match the story (in most cases, my punchline or pun comes before writing the story) and this freed me to include a series of quite different "episodes", ones that didn't (and shouldn't) have to have much to anything to do with each other.
** - We were supposed to visit the Schönbrunn Palace, but we had a late change of hotel, and thus itinerary, and based on the plans I've seen of the place, the interior doesn't match my recollections of the palace I visited... in particularly the parallel corridor which allowed servants to, for example, add fuel to the huge ceramic(?) stoves that were placed in the corner of each of the rooms without having to enter those rooms.
*** - My typing really is that slow and, more pertinently, my short-term memory really is, and always has been, that bad... but on the other hand, the latter "superpower" does give me the "excuse" to blurt out puns when they first pop into my head. (I mean, who would want me to forget these puns before I could release them into the world...?)