Story Song Structure (Coda)

I'm done for now with the main story song structure discussion. All of these songs were a list I put together just listening one long night. Not every song grabbed me, just these, and I made notes as I went along. So mostly what you got was exactly what I put down, I just cleaned my thoughts up and added links.

Having done that, at least a couple ideas about framing in novels came to me. Mostly, about the hidden frame, or, at least, when the frame becomes the story.

Shirley Jackson, Hill House is one. In both literal and figurative sense, Shirley embeds us in it. Even, especially, where the house itself isn't (or is it?) doing anything in particular?

More active is the Overlook Hotel in The Shining. Certainly in the novel, where Stephen burns the damned thing down at the end. Kubrick's movie has a different approach, as it usually does, but I take the movie as its own thing. In that case, I think Kubrick wanted his ambiguity complete; blowing up the Overlook would have let Kubrick's Jack off the hook just a little too easily.

Stephen King returns to the frame several times. Derry, Castle Rock, The Dark Tower, all are dynamic (active, passive, both) frames, only one of which survives the experience. (Remember, Stephen makes it explicit in It that Derry may not have asked for It to come, but the town at the minimum turned a blind eye to It's machinations for centuries; in some cases, Derry collectively did more than that(e.g. The Black Spot fire).)

Just about any comic book series has its framing device, certainly the major labels use their universes even if only to tell us when we're standing outside them.

I could go on for days. So could you. I think I'll just stop here for now, it's enough to say that I got my thoughts down from where I stand at the moment.