Beginning in 2009 I began a series of Book Works (of which the Francois Sagan Series is a part), applying rules to existing texts to transform them into new texts and new books. They were studies in deconstruction and reconstruction. What happens if I to strip a text back to one fundamental element? What function does that element perform within the narrative? Like a physicist in a search of fundamental particles I was smashing narratives to bits to see what the parts do. The first of these Book Works was The Bell Jar, a remaking of Sylvia Plath's novel of that name, using only the first and last lines of each chapter. In this work I was asking the question: how little information do you need in order to maintain a coherent narrative? I was surprised to find that, even though the vast majority of information had been removed, the reader still had a clear sense of the story.