Asunder stories are geographically dispersed. This means the audience must travel to different locations to experience the entire story. 

To put it another way, the beacon locations literally become different settings of your story. This structure might seem limiting, but then again, so is a sonnet or a haiku. It is the author’s job when writing for Asunder to recognize and play with these structural limits.

Because of the fixed delivery system, your Asunder story should be concerned about not only the various settings, but how close or far the settings are from one another. How do these locations and the distances between them inform the story you are telling? What do they mean to the audience? 

Still feeling confined? Consider using the gaps between the beacons. Music is about the notes. But it's equally about the silences in between the notes. Your stories for Asunder can do the same. You might think about how comics play with this storytelling idea:

Comics is a kind of call and response in which the artist gives you something to see within the panels, and then gives you something to imagine between the panels.
— Scott McCloud

For some examples, you might use the gaps as a border crossing between warring factions of a city. Or represent the time your characters spend sleeping, or some other time gap. Or perhaps the gaps represent whole different eras. A frontiersman from the 1834 is going to have a vastly different perspective than his great-great-great grandson in the modern age. Experiment with these gaps when writing your story to see what works!