have poem, will travel

so you posed ::

> ———— Original Message ————
> Subject: Shadowshifting
> From: Randal Trimmer
> Date: Fri, March 4, 2005 5:31 am
> While Corwin describes shadowshifting as adding and subtracting things
> until they get it right, that isn’t what he actually does.
> Lorraine to the Namib beaches or most any of the other shadowwalks loop
> way out instead to weird-ass, totally unrelated terrain and then work
> back to more normal surroundings.
> Why? Because it was a lot more fun for the poet-at-heart Mr. Z to
> describe it that way, most likely.
> My take on how to justify it:
> It takes a certain amount of shadowshifting to develop sufficient
> ‘momentum’ or ‘intent’ to find (or create, or manifest as Real out of
> the Virtual of unvisited Shadow) a new shadow that fits all of the
> desired parameters. Finding an established shadow /is/ more nearly
> straightforward, unless you’re trying to get there by an unpredictable
> route — like Earth to Amber in NPiA.
> RT

Nice observation.
In another way, you could say Corwin/Zelazny ‘adds’ enough odd things to his current location to know he has ‘left’ it behind clearly, so he can ‘subtract’ things and tweak for his normal destination.
The chance of allowing a symbology blend between (current location) Normal A and (desired location) Normal B is quite great. IMC, holding three things in mind that make the shadow unique is the general standard of getting where you are going. In actuality, three conscious things signify a whole plethora of unconscious things associated with those ‘three keys’ in the amberite’s mind.
Immortal accumulation of associations keeps sending you back to the ‘same old’ haunts. This is something we see in canon—and it also equates to the dramatic threshold I describe of “stepping away” from the old in order to have better chance of reaching the “new shadow” instead of the blend of “old tweaked new” that is more likely to result.
As always, the perceptions of the traveler determine the limits of the ability.