We had been pushing the story of a pufferfish and it's tribulations about patterns for a while but we tended to come up empty with a real structural idea. So, we scrapped that idea and went back to the basics of what we were given. - More importantly the cross-cutting with two stories going on at the same time. This was what we were mostly having issues with when it came our narrative and our ideas were only scraping the surface.
I had drawn a sketch to begin showing the environment in which the puffer-fish could live; conceptualizing the surrounding area. Environment seemed to be something we should push more-so than the character. The main idea to bring from it was creating a ceiling of sorts above the seabed. Holes would shine down the patterns. It starts to suggest unknowing above the "ceiling". (Which would be a rock form)
Fast forward past this, and to add our scrapping of the puffer-fish idea completely most of what we had already discussed became irrelevant. - But we knew what not to do. We did however keep the idea of a "ceiling with holes in" in a way to really force the idea of being trapped below and rising towards the surface for freedom. (a little more literal here..) Alan suggested using a glass bottle (or any glass object) to tempt the fish towards the surface; and we added that the environment can be physically chasing the fish from below upwards. The only issue we had with making this work was the double causative. The environment physically causing a fish to flee mixed with the bottle being a beacon was troubling. As a story by itself not only was it too linear but had no room to fit a secondary story that did somehow link to the main one.
Finally I had decided that in order for our editing style to properly fit within our narrative thinking about the relationship between the two stories seemed the best way to go first. With each of our story ideas we were leaning more and more towards environment being a bigger part than the characters. or; to signify something. The newer idea is simple but leaves a lot up to the audience whilst it may seem vague. (gotta be wary of that!) A fish swims up to the surface in search of freedom. As this happens another fish is being dragged back down from where the main fish is trying to get to. It's considerably about contrasts. They meet in the middle and at this point the secondary story absolutely foreshadows either a demise or freedom of the main character. After this the secondary story has served it's purpose and the fish is dragged aggressively to the bottom straight away by the same environment that is passively chasing the main character. There is a pause at the mid-point and the main character must decide silently if he continues upwards. He does. He goes further up but we never know if he reaches freedom or the same demise as the other fish.
Pacing and timing will be extremely crucial with this story as with the ending and fates of the fish cannot be confused as fate but as freedom. Thankfully style-wise we have a lot of freedom (ha) and can do what we choose have started thinking about differentiating colour-temperatures.