JWC Secondary World: Regional / Territorial Outline: Resources, Population, Fame: Part 1

In our last post, JWC Secondary Worlds brought oversight to the migration of life forms that survived Ankhara’s fall, and those who emerged from the dispersion of Ankhara as a magical contamination, infecting Ezeoth and all which lived on it. Rechecking the red dots placed on the planetary maps, you may follow the migration arrows and determine where the many took shelter and built a city. Having established Regions and territories through the acquisition of resources, and by way of talents and skills learned both population and fame of ability have gone forth to offer trade. 

Photo by Robert Bye on Unsplash

Trade = Civilization

There can be no surer way of measuring a civilization than by the weighing of it’s trade routes and unique commodities. Value of wealth and property gets tossed into a storm of currency and theft, outlaws and criminality, explaining to any that life and death are bought and sold for lucre or power. Trade systems begin serving the goods and services, but as time corrupts vine ripe fruit into rottenness, so too does the will for dominance bring decay to trade integrity. Those who provide wish for just compensation, but those who acquire sometimes don’t agree with what that compensation should be. 

On storm world, like many other worlds in fantasy, war is a constant threat. War is death for any market which thrives on stability of resources and trade. You cannot move goods into a war zone where currency has failed and the rule of law becomes a memory, and because capital is devalued violence becomes highest coin of the realm. High coin is normally a substance or service which is most prized, and so of immense value to the point of being fought over. Water, air, sustenance, medicines, intoxicants, and precious substances to look at or for scientific exploration, these being among some of what makes civilization civilized. 

The husbandry of true territorial ownership causes conflict, but it may also be the reason for great unity of forces. The collective will is repressed/suppressed in most beings when they are forced into artificial nearness. Comforts and traditions bring solace to what is otherwise a distortion of natural urges, and yet everything tolerated or endured may be balanced through possession. Supply and demand yield seldomly, want matches against dearth, so that materialism defines the way value is translated from generation to generation. All crisis is generational, if it is brought about through tales of the old days or promises of a new tomorrow, the gap between age groups can cause peace to fall away. This is the basis for all true strife between peoples. 

Lets go over some larger population centers, so that we may get a sense of regional culture. Then this JWC secondary world will start to come alive before our third eyes. 

Planetary Map Key: 

(1- 4 is keyed on the map) 

1: Sea of Tribulation – westernmost 

2: Southern Sea – southernmost 

3: Northern Sea – northernmost 

4: The Dreaming Sea – easternmost 

(A – K is keyed on the map) 

Western Hemisphere: 

A: Sethraka: The Land of Tribulation 

B: Mu Imorum: Land of Warwrights 

C: Da Imorum: Land of Industry 

D: Vralathium: Fog Land 

E: Thashum Islands: Land of Trade 

Eastern Hemisphere: 

F: Yirkahn: The wild nation 

G: Da Azorum: Land of Smithwrights 

H: The Free Republic of Paradon: Island Utopia 

I: The United Islands of Zorthumu: A navel superpower 

J: Evalnine: Land of Wizards 

K: GoRo: The abominable zone 

Global Key: 

1: Purple = Migration Route 

2: Yellow = Regional Delineation 

3: Tan = Trade Route 

4: Magenta = Jetstream Markout 

5: Panelemental Portal = Magical Climate 

In an attempt to bring creativity into this world-building exercise, the following outline will be used to setup territorial definition on the continents. A two-dimensional image can be augmented with geodetic information, and so be a translator for planetscaping, and this is the very heart and soul of JWC SW. Starting with post 5:, the world-building direction has moved toward civilizing the planet’s surface. 

The following section is meant to provide a cultural average by which a nation, a region, a globe might be explored, and by such measures be brought into life, enough for a foundation to be built on. Myth, history, contemporaneous, and even a future yet to be can be plotted out, allowing for a great variety of stories or further refinements. 

G: Da Azorum: Land of Smithwrights / Motherland 

Range / Type of Civilization: (Marked by *

10: Plague Stricken – the doomed 

9: Peasant – expendable 

8: Slave – disposable 

7: Tradesmen – indispensable * 

6: Landlord – overseer 

5: Low Nobility – lord 

4: High Nobility – king *

3: Pharaonic Nobility – god-king 

2: Temporal Theo – “the gods” 

1: Timeless Theo – the God 

Resources: Mineable Minerals, exotic mushrooms, mountains melons, 

Population: millions 

Fame: Known for airships, craftsmanship, flying beasts, wizards, and mushrooms. 

Motherland to the Azori, a people who are said to have come from the stars. Now, in this later day, they have a way with the world that few other Huma possess. Working with fine woods, stone, metals, glass, and even light itself. In the south there live Mountain folk living on castle eeries and hollowed pinnacles and another who lives within those upper places and down into the deepest roots of stone. Turning north all the lands are wild with weather control, being a country of wizards and talking fungus who have shaped the world by their alchemy and wizardry. Such a land serves as center for the world and has the admiration and envy of all others. 

The cities of Azori: 

The Kingdom of Farwi: (northern) aka north Da Azorum 

The High city of Astoz – west most 

Range / Type of Government: (Marked by *

5: Auto Sovereignty – tradition 

4: Popular Sovereignty – masses 

3: Political Sovereignty – connected * 

2: Legal Sovereignty – state 

1: Real Sovereignty – royal * 

Called cloud song by the wizards, Astoz is home to the wizards of Da Azorum. An academy city for Myuma and the northern Azori, the latter calling themselves Eval to distinguish themselves from those others of gold skin in the south. On every mountain their work shines or flashes, providing limitless power for those without Ankharan technologies. 

In the north, there are a species of giant rainbow eagles called by the natives Ezell, which means flight of the sun. These creatures are graced with a powerful field of Ankhara which enables them to perceive things far away, and more so, to see things beyond seeing. Many seek the Ezell but few find what it is they truly wish to find, for the Ezell do not regard Huma as worth the time. 

City Data: (*) 1-5 

Technology: ** 

One of the centers of weather control. Though they do not have mastery, these people are knowledgeable. 

Domestication: ** 

A species of giant talking birds called Ezell, in which the high city of Astoz have a partnership. 

Artizenship: ***

The mistrals of cloud song use the very wind and rain to make echoing music in the heights and Valleys. Colossal bells, chimes, watery wind instruments, and hydro fed drums fill the storm winds with song. 

Photo by Timelynx on Unsplash

The meteoropoulos of Vargmane – northmost 

Range / Type of Government: (Marked by *

5: Auto Sovereignty – tradition 

4: Popular Sovereignty – masses 

3: Political Sovereignty – connected * 

2: Legal Sovereignty – state 

1: Real Sovereignty – royal * 

Being the center of weather control tech, the city of Vargmane is called meteoropoulos. There are countless towers dotting the mountaintops and on various wind paths at varying gradations. These structures have been placed to harvest the wind, hydro, and thermal energies arising from purposeful weather manipulation. 

Ankhara weather control is half the battle. The other half is a flawless oversite concerning energetic harvest systems, otherwise known as glass mountains. 

Glass mountains, a.k.a. storm mountains, feature a sprawling infrastructure devoted to gathering weather-driven power into electrical or Ankharan utilities. Together with their neighbors in the south, cities like Vargmane, Astoz, Ergmane, the wealth of resources, technology, and ability of conditioning supplies nearly utopian prosperity for its people. Airships, storm lanes, airspace security, as well as river patrols have the skies over all of Da Azorum filled with traffic. The trade to airport, seaport facilities or river dock systems allow for smooth trade despite the weather or storm valleys where even the low lands are glassed into energy harvest zones. This power is stored in batteries or Ankharan relics and sold to waiting masses at reasonable rates, this done in the hope of a maintained peace between nations. 

City Data: (*) 1-5 

Technology: ****

The people of this land have mastery of weather control, a secret which they guard closely. It is known to have its basis in Ankhara, but the whole of weather energy harvester tech is its own industry. 

Domestication: ****

A regional species of giant butterfly lives in and around the mountains. It is said that these have unique Ankhara powers as well as other renewable resources. 

Artizenship: **

Their works of art are said to be infused with Ankhara and so bring altered states of thought leading to epiphany or ecstasy. 

The Capital fortress city of Lejaz – east most 

Range / Type of Government: (Marked by *

5: Auto Sovereignty – tradition 

4: Popular Sovereignty – masses 

3: Political Sovereignty – connected * 

2: Legal Sovereignty – state 

1: Real Sovereignty – royal * 

This fortress city represents the center of life in this region. The Kingdom of Varwi is made of migrants from the fallen theopolis and another kind of life altogether. Gold skin Azori Huma encountered a race of sentient fungus which lived in the caves of their newly occupied territories. This Myma (as opposed to Huma) is a living breathing mycelia whose clusters make the branching limbs of it’s spongy squid-like body. When they are apart there is only a friendly coexistence, but when they are together, a miraculous symbiosis is undertaken. 

Huma becomes entwined in Myma, and this process starts moving up the nose and down the throat, thereby infiltrating the host’s lungs. Once the lungs have become pregnant with the skin covering mycelia, then a garden of mushrooms transforms the lungs into a new organ made to rebirth the body. Over long seasons of growth and feeding, the Huma gradually becomes a Varwian wizard, a symbiotic union of Myma and Huma, sometimes called Myuma. These are more skilled with Ankhara than any others. 

The normally Sentient mycelia augments the Huma anatomy, transforming over time the entire organism, leading to virtual immortality. Gradually the flesh is transformed into a deathless fungus upon a full skeleton of crystallizing bones. There are suggestions that this body is merely another step down a greater evolutionary path, but so far no one has been able to substantiate this. Though there are other ways in high this fungal infiltration has been known to alter lifeforms. 

The breeding program: 

When a female Eval mates with a male Huma nothing comes of the seed. When a Male Eval mates with a Huma female, however, a child is conceived, and furthermore the womb of the mother is changed forever. Her first child is a Huma with a mixture of Eval, this union made possible by Ankhara, and it is for this reason that the womb is altered. 

Any child that is born to that anointed womb thereafter will be touched with both the genes of the Eval, but more so the Ankhara power. The firstborn Eval Huma hybrid becomes the wizard brother, the elder sage who is to guide their training and shape the Ankhara powers. This has been done for generations over the eastern realms of Ezeoth, specifically the faction of Evali Huma in the northern region of The United Islands of Zorthumu, yet almost from the founding of The High city of Astoz the breeding program had been running. 

Those Huma of dark golden skin tended to be trade workers, while those of the dark silver skin tended to be hunters and warriors. Even so, there were always exceptions, and beyond that, the Ankhara in an anointed womb was known to imbue traits to both that transcended either. A great armory of Evalhuma with Ankhara fully activated is said to guard The High city of Astoz. 

City-Data: (*) 1-5 

Technology: *****

The knowledge of bio-industrial genetics is second to none. 

Domestication: * 

There are no notable achievements in this field. 

Artizenship: ****

Because of the controlled evolution and selective breeding at own in this populous, the craftsmanship is often times the work of genius. 

The High city of Ergmane – south most 

Range / Type of Government: (Marked by *

5: Auto Sovereignty – tradition 

4: Popular Sovereignty – masses 

3: Political Sovereignty – connected * 

2: Legal Sovereignty – state 

1: Real Sovereignty – royal * 

Though still considered well into the northern boundary, this high city shares a common industry with the southern realm. Airships and floater craft are designed and assembled here, but this sort of engineering takes luxury and elder day technology to the next level. Instead of appropriating Ankharan technology, the academy at Ergmane seeks to reengineer it from scratch. Some of their projects are common knowledge, but it is their secret tech departments which have street rumor and made the weary seek deeper truths. 

Besides an airship/floater factory, the high city is also known for the crafting of war mechs and battle suits capable of incredible functions. These battle suits are extremely costly war systems and come with custom airship deployment craft. Nobility, mech knights, and a whole construction core make up a verity of possible applications of these units for others nations able to afford the infrastructure. 

City-Data: (*) 1-5 

Technology: ****

Airships, War Mechs, Battle Suits. This besides a range of computers and some of the first signs of AI outside of hostile territory. 

Domestication: * 

There are no notable achievements in this field. 

Artizenship: *****

As can be imagined, the technology and reaction engineering suggest the finest sort of precision engineering. Architecture, mechanical, and civil engineering should be state of the art and pushing even a little beyond. 

The Port City of Esterpor – west most 

Range / Type of Government: (Marked by *

5: Auto Sovereignty – tradition *

4: Popular Sovereignty – masses 

3: Political Sovereignty – connected * 

2: Legal Sovereignty – state 

1: Real Sovereignty – royal 

The port city of Esterpor is shrouded in the mysterious, being flanked by the anomalous misted jungle mountain lands to the south, as well as being confronted by the enigmatic Fog Lands which lay several days sail off of their shores. Rumors abound about this city, so much so that other peoples in the land have tended to shun the place. Talk of freakish experiments with Aline fungus not connected with the sentient mycelia typical to the land is too loudly mentioned to be ignored. 

As if this wasn’t odd enough, it is said that the Esterporians have established deeper relations with denizens of the fog lands and the drones which come from there. Some say that a way has been opened between the west coast of Da Azorum and the fog covered region beyond the sea, claiming that an unholy union is being forged between Huma and Exa, theoretical beings from another world. Several investigations have been launched into this with no real proof of the rumors surfacing. 

City-Data: (*) 1-5 

Technology: ***

Esterpor has its own inferior suit manufacture which rivals its southern neighbor but does not yet come close to duplicating it. This does not however stop them from. Competing in the biosuit market, where they also enjoy a flow of wealth and prestige. 

Domestication: * 

There are no notable achievements in this field. 

Artizenship: ***

Though no one can say what the subject is, the artists of Esterpor draw, paint, and sculpt forms that seem to be from another world. Images in galleries are viewed with amazement by all tourists, and those which can be bought are sold for fantastic sums of wealth. 

The Mountain City of Ignsok – east most – jungle alchemists 

Range / Type of Government: (Marked by *

5: Auto Sovereignty – tradition 

4: Popular Sovereignty – masses 

3: Political Sovereignty – connected * 

2: Legal Sovereignty – state 

1: Real Sovereignty – royal * 

These lands begin to get strange as they drop off to near sea level elevations, along with the equatorial line this makes for rather extreme tropical conditions. Besides this, a weird sort of mist comes down out of the upper mountains, and this vapor causes a dream to come upon all who are in the rainforest when it descends. Many who go in during this event to pick roots or gather the jungles ample crops never return. Thusly the Ignsoki biosuit was developed, the most sophisticated outerwear for entering toxic zones. 

Ignsoki biowear allows for survival even during deep exposure to the mountain mists, and between this and other subsystems, an herb hunter is able to defeat what word otherwise be certain death. There is a race of talking dragons which some people have reports seeing from time to time, but no scientific effort has ever recovered the smallest evidence of their existence. Some people think that they are a chemical hallucination arising from exposure to the various compounds, but no one can say for sure. 

City-Data: (*) 1-5 

Technology: ****

Ignsoki biosuits are prized throughout Ezeoth where their fame has preceded them. They are considered to be worth a king’s ransom. 

Domestication: * 

These phantasmal dragons which some exist and some say do not are beyond domestication, as is most of the jungle life of this region. 

Artizenship: **

Those creative people who seek the jungle dragons are said to gain incredible access to the unconscious processes of creativity, and so their art tends to be radicle and inspirational. More so than other cities, to the point of being tied bot to the phantom dragon culture and the biochemical rituals surrounding it. 

The hollow mountain city of Kainarren – west most 

Range / Type of Government: (Marked by *

5: Auto Sovereignty – tradition 

4: Popular Sovereignty – masses 

3: Political Sovereignty – connected * 

2: Legal Sovereignty – state 

1: Real Sovereignty – royal * 

There has never been a time since the cities founding when they did not have dealings with the Kainturnu, a race of Ankharan life that dominates that area of the mountains. First and foremost, the hollow mountain city of Kainarren gets its name for a very obvious reason. That being a race of flying beasts called the Kainturnu who dwell within its vast inner regions. 

Kainturnu possesses a body likened unto a bat squid, having a canine head with a shark’s mouth and eyes, yet furry overall. The large bat wings beat and allow for upthrusts and gliding flight so that they might flap above a target or swoop swiftly away. Instead of clawed legs, there are eight partially retractable tentacles that can fold into a spiraling loop or flow behind the creature whilst it is in flight. Though these limbs are extremely thin, when outstretched they are monstrously strong, capable of snapping quickness, and tipped with a hissing lamprey mouth filled with snapping metalized teeth. A ninth pseudo tail tentacle has no mouth but acts as a kind of spring which the creature uses to leap. 

Most of the time Kainturnu travels in flight, but otherwise, it yanks itself forward on many questing limbs, flowing over lofty rocky places in the mountainous regions of its spawning. Since the founding of the city, the Huma have conditioned and domesticated the Kainturnu for labor and war. They are trained to throw rocks, wield spears, haul barbed cages with sharp plows, or to drop giant barbed caltrops onto targets. In later days they have been made into dive bombers, using a variety of alchemical weapons systems during battle. Kainturnu have alchemy of their own as well. 

As a species, they have a misting ink like organ which stores a healthy payload to be used during hunting and or battle. The kind of ink and its apparent uses may be discerned at glance, considering that there are three main types of Kainturnu which may be spotted by their fur and flesh tone. 

Black fur to blue flesh – (nauseating ink) 

Purple fur to red flesh – camo ink (color shifting) 

White fur to yellow flesh – phantasmal ink (hallucinations) 

Exposure to this ink in battle causes the resulting effects, and the riders of these beasts have developed certain immunities to these effects. The riders are called Kainturians, and they have a martial prowess and grace which far exceeds other militant groups of the region. These form a bond with their mounts and through teleankhara, these bonds become nonlocal. The wills of mount and rider may merge during conflicts and cause intentions to fuse, bringing on a fear aura and or psychic plow which can be used as shepherding or warlike behavior. 

City-Data: (*) 1-5 

Technology: * 

There are no notable achievements in this field. 

Domestication: **** 

Kainturnu domestication is mastered by these people. 

Artizenship: ***

The inks derived from the Kainturnu are industrialized and sold as fine dyes, paints, and alchemical ingredients all over Ezeoth. 

Cultural Average: 

The wizards in the far north have dealings with the gold-skinned Huma in the south, and they trade alchemy from the west, airships from the south, and trade from all over the world from the east. Rainbow eagles called Ezell, giant butterflies, Kainturnu, and airships fill the skies. Riverboats are ceaseless in their shuttling from port to port. Imagine what this means for law and order, culture, and counterculture. 

JWC Secondary World: Origin / Migration Outline: Shelter, City, Nation

Using the shoreline between G and I on the map provided below, as well as the radiating purple arrows, an orientation can be established. That was where the city fell, where myth met matter, and prehistory met historical record. If there were survivors of the theopolis’s ruin, they would have needed shelter in the mountainous jungle environment, this as well as resources to ensure the needs of an expanding populace. 

Photo by Mareks Steins on Unsplash

Over the ages, natives sought out those resources, exploring and experimenting with all manner of substances, and seeking the aid of beasts. Technology from Ankhara is also greatly prized, and whole orders are established to procure such articles from wherever they might be retrieved. 

That is the thing about such a landscape, anything could be waiting in cave or on cliffside, and out of the many types of incredible relics or beings, perhaps the gods themselves are at play in some background beyond mortal sense of mind. The mystery of a mythical planet lays waiting to be colored in and explored. A place where creative obsession alongside the networking of minds can bring a secondary world to life. 

Planetary Map Key: 

(1- 4 is keyed on the map) 

1: Sea of Tribulation – westernmost 

2: Southern Sea – southernmost 

3: Northern Sea – northernmost 

4: The Dreaming Sea – easternmost 

(A – K is keyed on the map) 

Western Hemisphere: 

A: Sethraka: The Land of Tribulation 

B: Mu Imorum: Land of Warwrights 

C: Da Imorum: Land of Industry 

D: Vralathium: Fog Land 

E: Thashum Islands: Land of Trade 

Eastern Hemisphere: 

F: Yirkahn: The wild nation 

G: Da Azorum: Land of Smithwrights 

H: The Free Republic of Paradon: Island Utopia 

I: The United Islands of Zorthumu: A navel superpower 

J: Evalnine: Land of Wizards 

K: GoRo: The abominable zone 

Global Key: 

1: Purple = Migration Route 

2: Yellow = Regional Delineation 

3: Tan = Trade Route 

4: Magenta = Jetstream Markout 

5: Panelemental Portal = Magical Climate 

*note – The Global Key has been added in order to provide global data concerning planetology. This section concerns the purple arrows, with subsequent colors to be used in later posts. 

Origin Outline:

Past – theopolis fell 

Present – survivors survived 

Future – survive prosperity 

Motherland to the Azori, a people who are said to have come from the stars. Now, in this later day, they have many great cities leading from where the mythical city is said to have crashed. 

Using the planetary map and global key above, the global data concerning prehistory and migrations can be coordinated. In this case 1: on the global key as represented by purple arrows which show the origination point and spreading migration from that point. 

Purple Arrow Oversite:

Imor – warriors – westwardly – silver skin tone 

Azor – crafters – northwardly – lighter golden skin stone 

Zorthu – Sailers – eastwardly – darker golden skin tone 

Yirka – wild outlaws – exiled southwardly – violet skin tone 

Following the gradual migration of long ages, and the occasional mass exodus from disaster or war. Either way, the arrows lead to cities that are represented on the planetary map by small red dots. Trace these out and comparing them to the list of cities in the next section. This post is meant for getting a lay of the fictious land, preparing the mind for its interface/exploration with Ezeoth’s biosphere. 

*note – larger cities (of consequence) are marked on the planetary map by red dots 

*note – the migration outline will be gone over at greater lengths in the next post 

Migration Outline:

G: Da Azorum: Land of Smithwrights / Motherland 

City / Industry Outline: 

4 up north

The High city of Astoz – west most 

The meteoropoulos of Vargmane – northmost 

The Capital fortress city of Lejaz – east most 

The High city of Ergmane – south most 

2 in the west

The Port City of Esterpor – west most 

The Mountain City of Ignsok – east most – jungle alchemists 

2 in the south

Overwatch city of Gernswade – a beacon/lighthouse fortress on a mountain 

Closed port city of Arnswade – they export to no one but allow all to dock and shop 

4 in the east

The hollow mountain city of Kainarren – west most – flying beasts 

The under kingdom of (mines) Norcelleon – subterranean 

Capital city of Obthamon – midland 

Eastern port city of Zorthamon – east most 

I: The United Islands of Zorthumu: A navel superpower 

City / Industry Outline:

The capital city Oxeok – west most 

J: Evalnine: Land of Wizards 

City / Industry Outline:

Port city of Uyilos – west most 

Port city of Kyilos – south most 

Mountain city of Ehnsrah – north most 

K: GoRo: The abominable zone 

City / Industry Outline:

cities – unknown 

H: The Free Republic of Paradon: Island Utopia 

City / Industry Outline:

The capital city of Aliahnshur – market paradise 

F: Yirkahn: The wild nation 

City / Industry Outline:

The port city of Angast – north most

The frozen port of Belgast – south most 

The port city of Helmpot – exile city – west most 

D: Vralathium: Fog Land 

City / Industry Outline:

cities – unknown 

C: Da Imorum: Land of Industry 

City / Industry Outline:

The port city of Beliahnshur – east most 

The mountain city of Dejezul – west most 

Oceanic City of Oglandum – on the water 

B: Mu Imorum: Land of Warwrights 

City / Industry Outline:

The port city of Krahstomi – east most 

The mountain city of Xecmor – south most 

The Foundry City of Drahg – at the foot of 

The port city of Olnahee – west most 

E: Thashum Islands: Land of Trade 

City / Industry Outline:

The great city of Ilsahneece 

Assigning a Regional Expansion:

Knowledge of geodetic cartography and environmental engineering can illuminate much and be used as a marvelous tool for data storage, and to those who know-how, it may be used to unlock whole words of vital ecology. Using the obsessive imagination and creative workshopping, and letting the unconscious mind access Geology and oceanology, the whole thing interfacing with biochemistry and climatology in order to bring about a planetscape to be explored. 

This is the very essence of the JWC SW exercise and how it can bring your story setting to vibrancy and fullness. Use this to weave the tale of legendary journeys for your sentient organisms (races, species, models) to their landmark settlements, those well-established cities where civilization took root. 

In this example, these cities can be found by zooming in and coordinating all red dots with the boundary description. When you orient by continent, region, city, and the landscape of mountains, rivers, and shorelines, it is easy to see the world start to come to life. 

Seek as much “world” as you need to accomplish the tale, without fear of overwriting, while at the same time seeking clarity of awareness and mystery of consciousness. It is better to have a whole planet turning in your unconscious than just a solitary region bordered by the oblivion of incompletion.


Photo by Niklas Weiss on Unsplash

Each red dot is a city, a place along an ancient migratory route. A city can be the heart of a people, and through this a collective race can be pieced together. In all these cities live millions of people, since they represent the most populated zones. It is assumed that the land is filled with lesser dwelling places and peoples, and these are prosperous and yet less able to weather crises. 

(Ezeoth is called storm world for a reason, the weather and climate being wild like it is. Meteorology will be gone over in a subsequent post, because its impact to story setting and narrative is profound.)

When a community is challenged by adverse conditions brought on by disaster, catastrophe, or war, they must set aside pride and discontent to survive. A nation or region can be reckoned the same way, able to rise and fall based on disunities, or the leadership of a few distinct individuals. Upon these special citizens falls the fated names and places that make a past, present, and future in which your tale unfolds. 

As you build the secondary world a realm of orignition and ceaseless marveling blooms like a flower in the dawn. Let this exercise define and redefine your own personal secondary world, a place where your creative obsession takes you, that pure thoughtspace of mind theater apart from all adaptive concerns. There your sacred tales may be properly framed. 

JWC Secondary Worlds: Mythic / Temporal Outline, Prehistoric to Historic

From the creation, or establishment, of a universal existence or world to the point of self-reference by a culture to that event is marked by a very sharp line. The line of historic vs prehistoric, or mythic times. Mythologist and historians walk that line and have contests playing on both sides. The evidence is one thing, but the implications of what is known about the earliest historic accounts tell an amazing story. Some people care/believe, some don’t, but for a writer, it is the mystery that needs plumbing. 

Photo by Joe on Unsplash

The Bottleneck Reckoning of Time:

Infinity – yawning before 

Prehistory – mysterious before 

History – interpreted before 

Contemporary Record – empirical before 

Going back to alpha singularity, the universe is setting to our bodies, but the evidence of being is interpreted in various lights. 

Photo by K. Mitch Hodge on Unsplash

Four “Takes” on Prehistory: 

Telephone Game – Whatever story has been retold unfaithfully and so lacks integrity 

Planetary Trauma – A record of cataclysm that survives climatological upheaval 

Genetic Trauma – A dream or night terror which portents mysterious significance 

Everything is Savage Rubbish – A hard de-emphasis of any “primitive” records 

This debate revolves around the notion of an absolute, and also monopolistically owned, version of the truth by which all else may be rendered academically heretical. Even the lightest touch is tyrannical if it serves to close minds, and this goes triple for the writer of fiction. It is better to say I’m not sure, but my belief is that… This keeps minds open to an endless world-building, a reconstruction of reconstructions, as well as epochal designs, which otherwise might have been left unconsidered. A wiser man than me once said… It’s all about the process. 

Secondary worlds need time to formulate for certain, but the starting line is known history, just as it would be for the star map’s known universe. History is basically a sales record or balance statements penned in blood, cut into flesh, measured by brick and bone. Myth is measureless, to some it seems to be worthless, while to others priceless, and of either no true value is actually assigned. Great mythologists and archeologists have found oaths in the stone, and paths into our myths and back farther into a utopian golden age when the masters served the servants. That kind age speaks of dreamscape or rapturous elsewhere, like a fairy mirror where our reflections see no shadow. 

A perfection fading into imperfection is the typical formula, but if it be completion and not hyper-dimensional ecstasy non need to say. If your stars are merely an incomprehensible explosion that just happened to cause everything including this text, then that’s cool and well done. No one needs to micromanage cosmology, right? However, if one wanted to play with physics and ascribe attributes to existence that was not there, it would be best to set it up at the top. Prime Genesis. That place before everything where all is set spinning, and from which nothing can return once ejected. 

This is the way of all seasons, from birth to name, from name to rename, from rename to death stone. Temples to gods, crypts to mortals, the world to its remote creator. One marks the other as if to say, My time is a shadow falling and soon that shade will pass over you. All you think is solid is already wind-blown ashes, washed away by tyranny, anarchy, and entropy. Impermanence is not a concept empires tend to love, nor intellectuals for that matter, but for the writer of fantasy it is the weathering of all thought in the rains time. A certain transformer of data and energy, to be marveled and studied. Study myths of earth, and see if your unconscious is not moved. Muse flashes come from mythological archetypes, processed by conscious data from an active relative obsession. The following is an example myth. 

Photo by Jake Weirick on Unsplash

Of the Tower of Ages and the departure of the gods:

Scriptures of Ankhara by Efestolies the poet 


At the origin two prima gods danced in and out of being, traveling in the divide between eternity and infinity. 

These two are called Ebardib, he who is Ever, and his consort Moliaesh, she who is Now. They are the portioners of existence. 

The spawn of these prime, those who were born between the deep seasons of wakefulness, grew into power during the slumber of their cosmic parentage. 

So they assembled in the stellar places, taking up a dance, spinning to the music of vast sleeping breath which sends cycles and seasons. 

There was contrived a throne from which all authority fell, if it were for survival or extinction, and this was reserved for the first son of Ebardib and Moliaesh. 

The prime had many sons and daughters, and in legion they whispered as the elders dreamt. Whispered of their own dominions in visionary aplomb. 

Brightest of all was Ezzel who is Life as well as light, and at his side stood darkness, Ezundro, he who wore Death for a cloak. 

Where long Ezun lit that way comes always to doom. Yet not so for Ezeoth, Mother of all, with her daughters born to Ezzel. 

Ayeoth the forest sister, and Zureoth the ocean sister ever dance round their mother’s swimming course, satellite faces made bright by a loving father’s eye. 

To safeguard the realm and all its treasures, there came Ezsentri the Hunter, he who feared not Ezundro nor any doom which fell from Ezzel’s awesome throne. 

A city called Ankhara formed around the throne, and this was a dwelling for gods and arose from a dream of dreaming parents who stirred in deep sleep. 

Upon a time Ezundro’s power flared brightly and burned in him, to be shed and cast far away into stellar paths, so that a mystery bloomed before all the gods. 

In a moment Ezzel felt the revelation of Zozish’s termination, ever after known as the god of those Slain, a victim of sacrificial slaughter at the hand of Gondrox, the Wandering Destroyer. 

During that evil moment, Nahmahnei, The Glittering One cavorted with Gestriss the Protector, and they failed to safeguard Ezzel’s realm. 

So war came to the city, and all the shining sons of Ebardib and vital daughters of Moliaesh fell upon each other in fury and violence. 

Then Moliaesh spoke in sleep from the depths of her dreaming, and her power became dominant so that Now strove to dominate Ever. 

So while in battle and slaying each other, the gods fell one by one into deepest sleep. Passing away from Everness into Now, the gods woke into cosmos. 


Of the Waking of Ankhara: 

Ezzel and all his court woke to the dreams of gods, which are as the lives of mortal Huma which dwell upon the mother world. 

Ankhara hung above all the world, and in council were Five Sages bearing the five staffs of discipline, and so all wisdom. 

Around these were formed the Five Schools of Ankhara, that which the base call magic. Magic, a force emanating from the god’s deepest dreams. 

Three staffs for the High Ankhara disciplines, Pan-ele is Elemental, Pan-meta is Meta-mental, and Pan-stella is stella-mental. 

Two staffs for the Low Ankhara disciplines, that of Smithwrights and all that they might craft, and the Warwrights, those who praise destruction. 

Each was able to shape the elder’s dream by effecting the divine dream they were a part of, so when the stroke fell cosmic excellence became ruination. 

Gondrox, the Wandering Destroyer, smote Ankhara as he made way around Ezzel’s realm, and the sun set over the mother world. 

Ankhara plunged downward in fire and smoke, white-hot as stellar rock, into the sea it came to rest, sending earth, wind, fire, and water skyward. 


Tower of Ages: rebirth of the gods 

After the city fell into the sea, the gods were without form and moved about as disembodiments of their former wakefulness. 

The city’s destruction released Ankhara, so that all the mother world became tainted, and all that creation was become trapped in Ankhara’s storm. 

So what remained of the gods sought forms made of Ankhara, and they became flesh, and metal, and upper winds, and lower waters. 

They became themes of thought and measures of will, and each heartbeat devoted to them became eternal. 

Reborn gods of Ankhara:

Onorguthum – god of Nature –  moves through the seasons, speaks through beasts 

Awndrawl – god of Mystery – enigmatic force of haunting strangeness 

Drau’iesh – god of Clarity – seen in mirrors and still pools 

Mysquandi – god of Art – glorious goddess of shadow and color. 

Undrune – god of Conquest – he appears in fire and blood 

The only trove of theopolis Ankhara which survived undamaged were the five sage staffs, and these each held tremendous power of Ankhara and were said to be haunted by one of the newly reborn gods. Where the staffs go the gods are said to follow, and fate ripples in the wake of their passage, though unseen by mortal eyes unless revealed. 

In Ezeoth the gods are potent but low-key elements in the story, especially when contrasted by my other work. I’m going for the background deific force as opposed to clash of the titans-esq free for all that is my usual yield. 

JWC Secondary Worlds: Cosmic Map

This exercise seems over the top, but for a fantasy writer, it is extremely important to explore unknown possibilities. “Universe” has a scientific context that is well known, but this is not it’s only use in fantasy language. Universe is but one kind of “Verse,” otherwise known as plane, dimension, or existence, and verses can be made up of several of these stacked in layers or envelopes. Valhalla / Midgard / Hel, Heaven / Earth / Inferno. I’m sure you get the idea, but the various cosmologies of earth’s myths and religions have many models to study and be inspired by. 

Photo by David Monje on Unsplash

Universes in universes is a thing, and so there can be objects or places that have Demi Verses in or around them. 

3: Cosmic Map: How many Universes?  

Magic itself is a kind of universal force, in some ways apart of nature in some ways not, in some ways a part of thought while being somewhat thoughtless in itself. There are many magical themes/guidelines and rules of spellcraft or priestcraft through which the concept of magic can flow, each with its rules and limitations as well as its eternal cost and implications for both wielders and affected. 

Most fantasy settings have a low level of magic, being only slightly elevated above our own mundane world which has only its own sleeping sort of magic. You should explore magic in poetry, myth, song, and fantasy novels, especially the ones which inspire fantasy RPGs. Those who game should read, those who read should game, or so it has been put to me. 

Dreams, gods, magic. The twilight of rationality where matter and energy become one simultaneous emergence out of glorious precision. Books do not write themselves (especially mine) and no story tells itself, so it stands to reason that a mythic creation should have mythic inspiration and a mythic author, with an audience of embodiment to hear the lay of it told. 

If you have no use for gods or hard magic in your secondary world, then read on nevertheless, so that you can get the “believers take” on what religions teach. A world without faith and religion can exist, but it’s hard to imagine since wonderings about our origins do indeed seem to be hard-wired into developmental consciousness. If this is so for humans then why would it not be so for whatever it is lives in your story setting? 

Here is an example. 

Hyper / Multi / Exra dimensional crossover: 

Pt A: The Gods – the outer shore 

♾: Ankhara – the infinite sea 

Pt B: The Mortals – the inner shore 

What is the outer and inner shore? Between Infinity and Eternity, there is a diamond called awareness. The power of being is that you are, but being and not being are counted in that between. This concept of Now vs. Ever will be amplified in the next post, but for now take it as primordial mind which designed all, vs. being designed and compressed out of infinite/eternal vastness into a singleness of spacetime, a.k.a. Consciousness in now. 

Ankhara is the “magick” of this Ezeoth storm world setting, and so represents a theoretical metaphysical super force with laws and means of applying them to will. Though the stellar bodies have an astrotheological connection with prehistoric myth (to follow in the next post) the gods listed in this post represent “new gods.” Entities that arose from the fallen theopolis called Ankhara, the older gods being thought to have perished or otherwise been deemphasized. The city of the gods, Ankhara, is where the force of magic gets its name. 

Ankhara has several varieties, being symbolized and embodied by Five Sage staffs of discipline, representing Five Schools of Ankhara. 

Pan-ele is Elemental (earth, wind, fire, water) – god of Power

Pan-meta is Meta-mental (telepathy) – god of Wakefulness

Pan-stella is stella-mental (heavenly names) – god of Mystery

Pan-crea is creative design (inspiration) – god of Art

Pan-exci is destructive design (domination) – god of Territory

Dreams and Dream Logic: 

Magic is one thing, but being magical is very much another. Relics, items, and even people or places can become enchanted/ensorcelled, and such things are both natural and supernatural, displaying physical and non-physical attributes. The place that this kind of entity belongs is in a dream of deep sleep, one where universal imagery and developmental power is manifest in the unconscious. 

Fantasy magic is the ultimate extension of dreamscape into landscape, transforming common matter into marvelous extensions of spirit and agony for the third eye to behold. Imagination is the throne of consciousness, the way that fantasizing is seat for unconsciousness. 

The Spirit World: 

Sometimes when a thing is dreamt and then comes to be, or even in some ways comes true, there is a mark on conscience and consciousness. Those who find themselves touched by superstitious omens or hard spirituality seek to have the sign read by one who knows the gods, the stars, the dreams, and so the way into the spirit world. That place in dreams where the dead are alive and those living transcend form. 

It is form (embodiment) that we seek to define here, and where all form came from. It is not necessary for this section to be intricate, but it helps to have a well fleshed out cosmology/origin myth because of how people interpret prehistory. If literally than tending toward dogmatism, if figuratively, then tending toward spiritualism, if academically, then tending toward scholarship and so exploring the MonoMyth.  

Theist, atheist, or agnostic, the way a world, culture, person sees it’s genesis helps to shape that world in powerful and mysterious ways. This exercise will thicken the psychic atmosphere of your world, imposing a dreamscape of myth and magic over a landscape of hard matter. Those who were gods look down, and those who think they are like the gods look up, and from such things do legendary dreams/ages blossom. 

JWC Secondary Worlds: Star Map

Normally this exercise would be extended only to sci-fi writers who set their narratives in space, but the genre of cosmic fantasy may take place just as heavily in the stars as it would planetside. Space operas can also be composed likewise, and it is something on JWC’s agenda for a later time, so, for now, we will just have at it. 

Photo by Ardi Evans on Unsplash

If you don’t wish to focus on this side of world-building or you feel no need for it’s complexity in the story you’re trying to tell, then delete or otherwise omit, but don’t put it completely out of mind. Joe’s Writer’s Club has plans for these exercises, so you may wish to return to this part another time. 

2: Star Map: Crafting a Secondary Sun / Stars

If you do want a solar system map/chart, it will do no harm, and may even furnish some details that a global planetary map does not address. Imposing stellar calendars, astrotheology, ground to sky stellar geodetic alignments of structures or light, and of course the layout of temple compounds based on rare events occurring annually or once every century/millennia,. The sky and bodies therein are the only limit. 

Using the JWC SS Template (placing the primary star at the center intersection line) Set up your inner/outer/exo along with an orbit of livable habitation. (goldilocks zone) Once you have these pieces of data, design your system, and make sure that it has regularity and irregularity in its cycles. Stable orbits must dominate, with the occasional wolf body or cyclical visitor, as well as a measurable duration between visits. Here are some example solar systems for the purposes of inspiration… 

EX1: The Solar Verge system: 

The story setting for Malathoria vol 1 by Richard Andrew Olkusz and David Michael Lockwood, Jr. 

The Sol star is a typical yellow sun, with some slight versions to its outer system. The Sol Verge system gets its name from the verge phenomenon which is represented by that set of lines at the graphic’s edge. They are a field of enchanted partials which blocks all scans within the star system, and so make an energetic barrier against probes. You have to pass through the verge in order to get readings within. 

This makes for a very specific kind of star system with a preexisting condition revolving around detection. At first glance the scans of the outside of the verge read like a very unstable nebula, but if you scan closer with a veritable field the differences emerge. Few who are not looking for this system will find it, because it is itself surrounded by other gas clouds of varying compositions. Such factors make this star extremely dicey from the outside, so much so that even most explorers would need to access it. 

At the outskirts of the system just before the cloud space of the verge crushes in, there sits non-planetary station 5. Number 5 represented the Dead Fleet, a grouping of starships which is de-energized and floating free. It is speculated that the dead fleet was the accompaniment of the Zoetic terraforming machine and that whatever crashed the flagship caused the group to become de-powered. So you see, that with just the slightest bit of stellar mystery, a whole aspect of a story setting or a mythic origin can be suggested, and later such may be explored by the writer. 

EX2: Kyrim6 – sentient planet (moving from star system to star system in order to feed.)

Chronicles of Kyrim by Richard Andrew Olkusz & Noah R. Assad, a future Blovel project. 

Kyrim6 is a living planet who apparently had six siblings, and is populated by a race of surface-dwelling organisms. They have a constantly shifting sun because Kyrim6 is want to wander and feast on various stars. Its appetites draw it to and fro throughout the universe of its origins. Using its feed energy Kyrim6 initiates a wormhole event through which it passes, thereby going from star to star along its ceaseless journey. So it’s sunlight shifts from day to day, and there is a “wormhole night,” causing the surface world to see great extremes of temperature and radiation. This has caused all life on Kyrim6’s surface to be just as extreme, exhibiting strong survivalism as well as several potent design / evolutionary features. 

It can not be said that Kyrim6 does not have sufficient atmosphere and or magnetosphere to shield its own surface, and in fact, it has very powerful planetology all around, though it is not strictly speaking in the habit of worrying for its Kyroges. Having created them to be tough, and being linked with them on a telepathic level, the Kyroges of Kyrim6 are always informed of what sort of day or night they will be facing. Stellar weather and climate are ever-shifting, yet the high energy diet of Kyrim6 serves to provide for itself and what Kyroges need for the most part. There is an abundance of vegetation and animal life, enough where despite all potential volatility does little to bring extinction. 

EX3: Primary – The system – Ezzel – bright yellow sun 

A future blovel project by Richard Andrew Olkusz.


The Ezzel / Ozzel system is a binary star system whose primary and secondary suns orbit each other and interpose their orbital planes into common space during rare conjunctions and or cycles of planetary catastrophe. There are many factors that might give rise to such events, and they should be measured and meditated on so that the deep time of your own parallel setting can be reckoned. 

The Three Solar Zones: 

Inner = closest orbit relative to the sun 

Outer = farthest orbit relative to the sun 

Exo = having no orbital relation 

Orbital Types: 

Circular Orbit on ecliptic plane 

Elliptical Orbit off ecliptic plane 

List of planets and stellar bodies: 

Star Map Outline: 

(1- 9 is keyed on the map) 

Designation / Range of Solar Zone 


1: Ezzel – Primary Sun – axis 

2: Ezundro – Dead Planet – Inner / 

3: Ezeoth – Planet – “Mother World” 

Sat1 – Ayeoth – forest moon 

Sat2 – Zureoth – ocean moon 


4: Ezsentri – Outer Planet 

5: Zozish Belt – Asteroid Belt 

6: Nahmanee – Planetary Comet – its dull glittering is occasionally seen through the belt 

7: Gestriss – Gas Giant – protector 


8: Gondrox – Planet “The Wanderer” elliptical orbit – destroyer 

9: Ozzel – Secondary Sun – binary orbital axis to Ezzel 

Stellar / Cosmic Catastrophe Generator: 

Using geology and planetology, as well as the Star Map outline, the muse will help you to establish if or not the secondary world in question has had cataclysm or any extraneous conditions imposed by stellar bodies in motion. This will help to shape a planetary deep time, enough to shape the surface and ages of ecology and biology. 

Epochal / Deep Time Outline: 

How many “ages” or eons of time, and how are they reckoned with any historic record? 

Are there comets or wandering bodies that enter the system? If so, what is the duration and or flight path of said bodies? 

Ezeoth has two moons. For story purposes, what are the cycles of eclipse? 

The gravitation mass of two moons would contribute to a wild tidal cycle. Not mentioning the Panelemental Ankhara, this would amplify the storminess of Ezeoth: Storm World. So even this detail adds to the flavor of planetology nicely. 

The primary bodies are simply named after gods of your home world’s myth. Other exo systems (constellations) may be plotted for those on the ground level, and these should be considered by the wise men, used to predict or formulate an age, and or employed as a ground to sky GPS. (Remember the megaliths of earth and how they were aligned of old to the zodiac, and by these, the sky and earth were connected, as above so below…) 

The way a person can use the stars to navigate the sea, these may also be used to locate temples in cities, and so may serve to facilitate seasonal tribute, census, or even as a means of coordinating atmospheric flight plans. Air traffic is a thing for dragons, vimana pilots, or wizards transformed into winged horrors, so don’t forget to ornament your ancient world with such places laid out with geodetic precision, so that your contemporary story setting can be crusted with haunted ruins ready to be shunned or explored. 

With such knowledge comes envy or fear, and so many wonders come and go under the fire of reaver or annihilator, otherwise known as those who seek to cleanse the way for their own version of history to dominate. When the truth of cosmic dimensions is learned, such knowledge alters consciousness, imposing the stars as brother-sister lanterns amid the vast night of stellar expanse unending. To those who master such things is granted the gateway to the gods, and to perhaps one day ascend to join them. 

Establishing the Known Universe: Core to Frontier 


Planets – A homeworld? 

Stars – A home system? 

Parsec zones – how many charted stars? 

Galactic zones – how many charted quadrants? 

Trans-Galactic zones – how many perceivable galaxies? 


All this data may seem heavy duty, but there is method to the madness as always. This exercise will bear fruit not long from now when the next phase, JWC Secondary Sun, will have us leave the confines of one world for the endless starfield. Each secondary world might be used to stage a multi-world setting (if the planetary crafter has provided for that and wishes it) where space operas and cosmic fantasies can be interwoven, so our entire JWC online community might collaborate in a grand tale, and so network the minds of all the primary world! (Earth) More details on this to follow. 

Please do give this exercise a try and see if it doesn’t stoke your muse’s fire. Tell stories involving as many planets or stars as you can factor in, and by so doing you will thicken the overall setting for the rest of us creative obsessors to read and write for. Stay tuned for the JWC secondary galaxy contest… 

JWC Secondary Worlds: Planetary Map

I doubled down on my dreams after some years of darkness and uncertainty, and out of this friendships, partnerships, and new realms of the muse opened up to me. I got into Podcasting heavy-duty, creating an experimental network (Olk n’ Us Network) in order to explore what could be done. Since boyhood I was fond of making radio shows on cassette tape, having the most fun fooling around with friends making dramas or time capsules. 

That secluded prototype network developed some fun content, but never went public. My channels were cool and of a wide demographic variety, even so, they were test programs seeking a certain result. Then came the result, and gradually it evolved into the Joe’s Writers Club Podcast of today, for which I am extremely grateful. 

To take a step back… One of the channels on Olk n’ Us Network was called Elucidation of Creative Baptism, and this content was at the very heart of my contribution to our club through the JWC XYZ Writer’s Accelerator. 

Check out JWC Secondary World, the next phase of our Writer’s Accelerator wherein is showcased a reworked version of the original E.O.C.B., our method for creating a layout for a secondary world. 

Photo by Daniel Olah on Unsplash

JWC Secondary World 

1: Planetary Map: Crafting a Secondary World 

2: Star Map: Crafting a Secondary Sun / Stars 

3: Cosmic Map: How many Universes?  

4: Mythic / Temporal Outline: Prehistoric to Historic 

5: Origin / Migration Outline: Shelter, City, Nation 

6: Regional / Territorial Outline: Resources, Population, Fame 

7: Cultural / Economic Outline: Goods, Services, Prosperity 

8: Tribal / Guild Outline: Trades, Traders, Trading Routes 

9: Muse / Thread Outline: A-? Narrative Layout 

10: Thread / Chapter Outline: 1-? Narrative Layout 

Using this 1-5-10 list (like the Paragraphic Rift section), it is possible to layout whole planets for the secondary world exercise, and by so doing add data to an already vibrant fantasy world’s muse. 

Secondary Worlds = A Refined Story Setting 

Follow our instructions and use the template to make your own. Follow the posts thereafter to read my blovel. Then, JWC Paragraphic Convergence updates will be posted. Follow the “Blissful Blovelist” as he outlines, writes, and edits his first blovel. 

Hereafter is the first entry on that list. 

1: Planetary Map: Crafting a Secondary World 

Each time you pick up a book or watch a film a sense of otherworldly travel should commence, and in proportion with that feeling of timeless/spaceless a transference of experience. That’s how it is for me anyway… The more you journey the more a map grows, and when the destination is not to be found on a map from our world a new map must be plotted out. 

The Planetary map section laid out here inevitably leads to “out of this world” questions. Sometimes they are “like in our world” answers, offering clear explanations derived from scientific observations of earth. However, as sci-fi and fantasy have always openly suggested, other worlds, planets, or continuums where things operate differently, or at least dissimilar enough to require explaining, would almost certainly exist in a vast space such as a universe evidently contains. 

Infinity + Eternity X Potentiality = Endless Cosmic Variety 

Here is the JWC Secondary World Template. Feel free to use it to make your own secondary world. Consult the following examples and use the 1-5-10 list to refine your maps. 

The goal behind this experiment is to take an already vibrant world written on the page and help to fully define it by imposing a global horizon (Planetary conditions in spacetime).

Be sure to align the polar and equatorial regions before drawing the continental/oceanic delineations, so that geology/oceanology has a deep time access point. You need to establish the planetary surface conditions and overall climate for each region to ensure that the story you wish to tell can take place there, and this is done by following the template. 

(I would recommend studying our own world and the worlds of other great authors who mastered planetology in their work, such as Dune and the Dune Encyclopedia by Frank Herbert.)

Once you have your secondary world drawn and its lands and seas have been passed over in spirit, then the goal is to populate that world with ages of time and locations of mythic peoples to live and die in. 

These tales can be backdrop legends for your narrative’s contemplative characters to have knowledge of. In this way many minds may be networked into one, and comparisons between worlds may continue. 

If you already have a fictitious world in which you write, bring what data you have to your own example. Don’t have a fictions world yet? 

Here are a few examples of JWC’s Secondary World exercise. 

Have fun exploring the limitless possibilities… 

EX1: Planet Malathoria: a.k.a. Disaster world, the story setting for Malathoria vol 1 by Richard Andrew Olkusz and David Michael Lockwood, Jr.

As you zoom in to check out the planetology, the virtual world space should offer inspirational flames to your already flickering creative expression. That’s the first fruits of such an exercise, a look into another secondary world drawing your muse into those details about your own established project. If you have maps and other logistical data about a story setting, then this task will be easier, but just as important to take your fantasy, sci-fi, space opera, or inter-dimensional story to the beast level of immersive interactivity. Is it necessary? One would think that necessity lays an endless refinement of the creative process, to it’s furthering and greatness, so that a muse and project may be properly honored. Malathoria is a troubled planet, the result of a catastrophe concerning the Zoetic terraforming device that crashed upon its surface. This is evidenced on the map by the large sprawl of blue crystal. (resembling glaciers but at the equator) Please check out the book and use the above map to orient yourself with its characters as they travel during the story. This should also stimulate your muse and or inspiration, allowing for the leap into secondary world simulation and so a rising need to entertain the exercise. EX2: Chronicles of Kyrim, by Richard Andrew Olkusz & Noah R. Assad, a future blovel project.

Kyrim6 is a sentient planet with a populous of created organisms which help to do it’s will and police it’s surface. Acting as part of the planetary immune system as well as providing its central intelligence with data recon of surface functions, these “Kyroges” revere their creator/sustainer as an ecological deification. The planet’s “Core” is alive and speaks with its Kyroges, a multi-limbed race with which it holds a special communion. With conditions like this, it is possible to tell a dual story featuring the whole world’s perspective running parallel with the viewpoint of the Kyroges. I plan on exploring this unique storytelling in the future Blovel project of the same name. 

Hereafter is the Primary example for this 1-5-10 exercise and will be carried through all 10 steps. Use the fullness of the following posts to transpose imaginings of Malathoria and Kyrim6, and by this desire for your own Secondary World build should be already on the move in your unconscious processes. Give it a try and see if this JWC Secondary World experiment doesn’t up your conceptual game. 

EX3: Planet Ezeoth: a.k.a. Storm world. A future blovel project written for Blissful Blovelist by Richard Andrew Olkusz

The Three Planetary Zones:

PZ = Polar Zone – long winter, short summer (Marked N S) TEZ = Temperate Zone – normalized seasonal cycle TRZ = Tropical Zone – long summer, sort winter (relative to equator) Planetary Map Key: List of seas and oceans: (1- 4 is keyed on the map) Designation / Orientation / Range of Planetary Zone (as noted above) 1: Sea of Tribulation – westernmost – PZ, TEZ, TRZ 2: Southern Sea – northernmost – PZ, TEZ, TRZ 3: Northern Sea – southernmost – PZ, TEZ 4: The Dreaming Sea – easternmost – PZ, TEZ, TRZ List of continents and landmasses: (A – K is keyed on the map) Designation / Range of Planetary Zone Western Hemisphere: A: Sethraka: – PZ, TEZ B: Mu Imorum: Continent of Imorum – PZ, TEZ C: Da Imorum: Continent of Imorum – TEZ, TRZ D: Vralathium: – TEZ, TRZ E: Thashum Islands: – TEZ Eastern Hemisphere: F: Yirkahn: – PZ, TEZ G: Da Azorum: – TEZ, TRZ H: Paradon: – TEZ I: Zorthumu: Islands – TEZ, TRZ J: Evalnine: – PZ, TEZ K: GoRo: – PZ, TEZ When you study the above map of Planet Ezeoth, you will notice some cartographic features such as the Three Planetary Zones (Climate chart) and a planetary map key. Use these to study the map for information during the blovel’s reading as well as to prepare yourself for the unfolding secondary world exercise. Nature and supernature behave in certain ways, and by those ways, many factors are established automatically. Science informs through physics the way myth informs through metaphysics, and the author and muse will network together to add or delete features as needed. Relative legends make for cultural comparisons so that a world “feels” real enough when compared to our own. Layers of history become culture. Layers of culture become ways of life. This establishment of layers is crucial for the secondary world and the simulated people within it to come true for readers. How does one write “realistic characters?” By building a “realistic world.” Some say realistic, but I prefer believable because reality is warped by fantastical factors and or unique conditions in whatever part of the universe the planet’s Star moves through. No matter how odd the world and its native starlight, it’s horizons become a marvelous frontier worth further contemplation, and the more contemplations of said world the deeper it’s believability. Workshop your secondary world with other creatives as soon as you are finished with it, regardless of how much of it is actually written already. Consult texts which inspire you, seek your own circle of fiction writers who you may trust or groups such as Joe’s writers Club. Our JWC forums have plenty of resources to optimize the secondary world you are generating, but nothing shortcuts good old fashion creative obsession. Allow your muse to “inhabit” the secondary world so that she lives there and you live on earth. There is a consensus that states that you can only be one place at a time, but they never said that you couldn’t network minds with the unconscious. In that other place, anything is possible. Try our template out and see if you can’t have fun generating a secondary world.

Paragraphic Rift: Paragraphic Nexus

Now that you have been through JWC Paragraphic Rifts steps 1 through 10, which seeks to examine points of clarity and or obscurity in a text, JWC Paragraphic Nexus looks to focus on those points concerning characters and concepts. This is all building up to something, so bear with all this overview. ; )

At the core of our subject’s cosmic duality lay that which is creative, and that which is adaptive. In the symmetry between these hides various patterns, some camouflaged by mystery, and others so elegant and beautifying that one can scarcely forget them, even if such were desired. Falling from heaven is the muse, the bright cyclical flashing of which leads to a creative obsession. Yet certain things tend to obstruct this process.

Stress is the enemy of creativity and leads to writer’s block, reader’s block, and misdirection in any project that is not due to inexperience, incapacity, or ineptitude. Some factors can be corrected through practice, while others are just drops of the dice. (If you believe in luck) Stress comes from emotionality and manipulation. The many are trying to control the few, or the few seek to lead the many, so that a vision of some sort may be realized for a supposed good.

Instead of submitting to (or tolerating) the primary world’s conditions and seeking a secondary world to simulate and or originate inspirational change, some people wish to weave degrees of control over others.

Photo by Cole Keister on Unsplash

Spiders catch flies, and flies get to swing. Feelings are not equal to logic in regard to planning, but oftentimes the former shapes the latter to a damaging degree. Some emotions are profitable in certain situations, but unchecked emotion no matter how seemingly in the right, has its price.

Desire leads to emotionality. Desires unfulfilled lead to hysteria, the rush for moral/principled correction tending toward overreaction. Sometimes violence occurs or personal rights get violated for nothing but a momentary psychosis, rising from an urge to “set things right.”

Freedom and Justice are emotional states of being, not to be bottled or sold, and so long as two people have differing interests in a subject, emotions will run strong with some. The difference between a character’s disposition contrasted by the crisis in their life (or world) can define them, especially when measured by the others rising and falling around them.

What Is Hysteria Culture? = An Emotional Infrastructure

Herd Determined Logic = The Mob

Hysteria is an emotional force born of the need for control, not of one’s own body or deeds but of the body, deeds, mind, and ultimately the spirit of others, this to satisfy a need for vengeful correction. Negativity and apathy tend to warp people a certain way, but not always into abusive or otherwise dominating behavior. Manipulation of space and time marks the hysteric, and pushes others to conform without knowing them personally,

Self Determined Logic = Personal Identity

Zeal is an emotional force born of the need for rightness. Zeal and sacrifice may inspire others to self-correct souls and spirits, and so personal change for the positive or at least to be less negative. Hysteria polarizes people by striking at (or bending) the (will) vital forces in life, while zeal wishes for change benignly but does not demand or rely on tyranny and coercion. Obsessive containment of urges and deeds is the result of discipline or counter discipline, yet restraint or conditioning is seldom enough to endure extreme levels of persecution against one’s identity. Dogmatic Indoctrination or mortal threat can be hard to overcome.

What is Obsession Containment? = An Unemotional Infrastructure

Coping with the zeal and hysteria of others often leads one to either explore the nature of these emotional states in life or to retreat into another life beyond one’s native culture.

Design and evolution factor in this willpower against obsessive containment, as to if or whether the exploration and or retreat is external or internal. Some people embrace the cosmic duality structure while others cast it aside.

If you face hard times or adversity, a crisis will arise and challenge your identity. That is the common ground between fictitious minds and living ones, the notion, and limits of identity clashing in the storm of mortal seasons and eternal destinies. Each person weathers the elements and fights to survive, and so flesh and blood, misery and torment, and the agony of birth, life, death is symmetrical and so able to be recognized.

How much is any character like an author who writes them?

Do they embrace, retreat, or cope with being obsessively contained?

Photo by 🇨🇭 Claudio Schwarz | @purzlbaum on Unsplash

The Networking of Minds:

Author’s Identity – Character’s Identity

Conscious Mind – Conscious Mind
Subconscious Mind – Subconscious Mind
Unconscious Mind – Unconscious Mind

When the weight of the world comes down on your main character’s shoulders, or the child loses a father, a family homestead burns down, a lifestyle is destroyed, and through all of this obsession containment that the story is told. Setbacks, sidetracks, misadventures, and failures might be relatable, just as would triumphs, elevations, or accolades, so long as the reader and writer see the same person in themselves.

As the narrative unfolds the characters unfold, the world blossoms as if springtime comes in time-lapse offering flashes of sunlight, moonlight, and storm. Senses perceive mentalities are linked, awareness is focused, consciousness is explored, all this through the networking of minds.

The Networking of Fictitious Minds:

Author’s Identity – Character’s Identity – Readers Identity

Conscious Mind – Conscious Mind – Conscious Mind
Subconscious Mind – Subconscious Mind – Subconscious Mind
Unconscious Mind – Unconscious Mind – Unconscious Mind

The networking of fictitious minds IS character development. To simulate character is the goal of every writer of fiction, and someplace more effort or emphasis behind such simulations than others. During a lifetime the reader encounters all sorts of people, some liked, some ignored, but at least a few of these “characters” make a mark of influence on said lifetime. It’s a whirlwind of influence, non-influence, and the subtle twilight of apathy. Caring is the source of honor, the core within every honorable person shines brightly like a noondays sun. Regardless of honor, dishonor, or loyalty, any strong-willed person wishes to feel freedom along with some sense of justice, to follow their bliss, and to have self-determination in accord with a dream they wish to fulfill.

Simulated World = Simulated People

When you enjoy the Intellectual Property of other authors, it is normally because of the world it offers (the fantasy setting) or the various characters. (the fantasy persona) The places and people who are most authentic tend to provide the most relatable characteristics. Those concepts who subtly reveal their ways offer a pace matching “real” encounters, the sort of thing likely or unlikely that might happen.

The fictitious situation being written could be totally fantastical, the setting as far removed from commonplace as an amusement park, and the characters completely alien in form and function, yet if these experiences are properly simulated the spirit or nature of them climbs into the text and completes what the muse started. Creative Obsessers are always interested in going to new places or meeting new people because the raw data arising from the networking of minds needs to happen in order for the collective awareness/consciousness to perfect itself in any work of creative obsession.

There are great shoulders to stand on, so seek formulas for sensual Immersiveness or unique perspective. Such formulas wait to be discovered in all the great works of literature, offering many experiences of being surrounded by intense revelations, if they be jump scares, injections of the chaotic random, or the stalking dread of exploring a harrowing elsewhere. Experience is the key to it all, and represents the very heart of the matter, an infinite door opening or shutting on elsewhere.

Revelations beyond common experiences, and moreover beyond human or earthly experience, focus the way a character copes with themselves under stress. Character is the style of emphasis, so what does the character focus on? In that focus waits the knowns and unknowns and the relatable thoughts, feelings, and reasons behind how a character behaves.

Photo by Sara Cottle on Unsplash

Levels of Emerson: Knowns and Unknowns

1: Environmental Index: exposure vs. shelter

Elemental = storm, inferno, deluge, quake

What are the Knowns and unknowns in the story’s setting?

2: Reality Index: immersion vs. dump shock

Sensorium = sights, tastes, stinks, noise, textures, oblivion

What are the Knowns and unknowns in the character’s mind?

3: Vibrational Index: static vs. fluid

Vibe = blissful, dreamy, empty, spooky, creepy, incubus

What are the Knowns and unknowns in the character’s heart?

4: Mentality Index: glass full vs. glass empty

Cultural = life, death, charity, atrocity, money, no money

What are the Knowns and unknowns in the character’s attitude?

5: Regional Index: sympathy vs. apathy

Origins = Xenophobe / Xenophile

What are the Knowns and unknowns in the character’s territory?

6: Terminal Index: living vs. dying

Religion = God / no God

What are the Knowns and unknowns in the character’s soul?

7: Crisis Index: leading vs. following

Command = obey / defy

What are the Knowns and unknowns in the character’s spirit?

To network the minds of readers, writers, and characters with the environment in thought space, an intermix of power and powerlessness must be calculated. When such is achieved, the force behind power and powerlessness clashing causes pages to turn and return year after year, offering the audience a grasp at unknowable dreams, nightmares, and transcendence, not to mention access to a parallel of common themes that can accentuate or otherwise verify immersion of the knowable.

Writer’s Note: My stories do not emphasize characters as much as relationships, nor do they dwell on mind space, but rather seek to express heart space. Thoughts are more obvious than emotions, and one is subtext to the other. There are certain characters that are of such a vibrational charisma, of such excellence or monstrosity, that they are only somewhat comprehensible to the average mind. Such characters are touched by what nearly everyone else around them feels very strongly about but called by destiny to be able to shape things differently. Just as many people may bring change or take power when they gather together. (As we went over above)

Also… It is far better to import a timeless character archetype into a well-fleshed world, as opposed to basing a whole world around one character’s establishment. JWC will be going over this concept further in the posts following this one.

The Birth of “Corporate Gothic”

Life had been bleak for a while, and as always a way into light was provided. Gratitude for that way and for the stars to be so aligned, my creative obsession somehow turned to podcasting. To catch us up… 

I was all about making radio shows on tape as a boy, and for many years my heart wished for a career in radio. I listened avidly to the airwaves since the nineties, not just songs but to talk radio as well as spoken word, getting political while learning words and phrases. A dream of hosting my own talk show, or even just voice-over work, traveled with me during my surveying career. The years went by and podcasting waited just outside of my own personal awareness. 

My health took a downturn and so fieldwork days came to an end. Working from home granted more time for writing, or at least a schedule more accommodating to a creative writer’s life. My thoughts also branched out into other muses, other platforms, and finally podcasting. 

I was running a writer’s club, Joe’s Writers’ Club, and after a few months of observations and planning, the time came to record it and add its flavor to my experimental network. This was a magical time for me, finding regular attendees and friends while rocking the portable setup, making a studio of whatever space would allow us to record. It felt adventurous to me, but maybe I’m just a goose. One thing not to be silly about is the hardcore talent that can be discovered just hanging around somewhere. 

My friend Joe took a break to reinvent himself and the club chapter he gave me slowly transformed into a fantastic podcast, and as we met week after week our creative obsessions were laid out. Tom T had short stories for miles and a magnificent epic hovering in the stratosphere, just waiting to become a bolt of creative lightning out of Valhalla’s azure sky. Julie read from her inspirational works and aided in the batting around of several project ideas. The one that stuck out was a side step phrase she said. 

Something like: “My husband said gothic corporate, but I don’t know. What do you think?” 

I said, “How about Corporate Gothic? How does that sound?” 

Tom said, “That sounds great…” 

The whole thing was framed by the phrase “haunted workspaces,” and when Julie said something like, “Yeah… and a corporate haunting with some sort of karmic justice.” 

As soon as we workshopped that mythic brainstorm session, the inspiration started to flow. When next we met, Tom had stories ready to sling in the form of corporate gothic, enough where my own muse flashed bright. As to that, in another point of clarity, I had never written a short story that was any good, and resorted to the abandonment of short story writing and the childish destruction of those horrid works, committing them to the abyss for Chronos to gloss over in his lamenting boredom. 

My newly acquired inspiration came forth and a whole new muse burned in the winds of my creative obsession. From podcasting to short story writing, such bizarre trends are their own wonder, but what satisfied me most was how it all came together. 

Tom, Julie, and Ben were the originals, being the first of our club’s regular attendees. Corporate Gothic burst forth from its own coffin during a time when I was leaning into paranormal research, a thing that Tom and I had in common. He knew many angles of parapsychology and the supernatural, as well as a cross-section of ghost stories, cryptid tales, and zones of mythic haunting where almost anyone is supposed to be able to see a spirit at the right time of night. We would finish each other’s creepy sentences, and I considered trying to get him on my paranormal podcast. 

Once TC joined our ranks for regular meetings during the library days, we found ourselves with several stories and a whole lot of confidence in our project’s muse. What happened next changed the game, for me and for Joe’s Writers’ Club. 

My muse for “The Eminent Domain” came online… 

Known as a storm watcher, Xando went to the cliffside to brave a wash as he usually did. Lightning strikes in webbed networks traced the sky, never hitting the same spot twice. As Xando watched, a strange light burned away the storm clouds and made a cavern-like hole in the overcast. There was a loud boom and a flash as bright as daylight and startled by it all, Xando beheld an object crash into the chop on the shoreline. 

In the waves, a drama of steam and hissing of wind appeared. To his shock, Brother Xando beheld a person fighting to swim in the stormy water. Whoever it was, it must have been connected to the crash, and so, with great haste, Xando made his way through the overgrowth and to the waves moved by a fear that whoever it was may drown. 

The sight that greeted Xando was from another world, and with religious fear, his heart palpitated as he crossed himself. A being lay face down on the sand, it’s body limp and cold. It wore a shimmering silver robe. Lightning danced in the vestment like a biblical visitation, and as he grew closer, he saw that this person had no hair atop an enormous head. A heavy odor from sea or storm lay in that place, but still, Xando picked up the prone person and slung him up over his shoulder. 

Photo by Jon Flobrant on Unsplash

Soon after a stalled muse “Songs of Agharti” blazed forth likewise. 

Steve felt spellbound just as the night before. He made a connection between the Bogniki legend and the Sumerian goddess Lilitu, who was also featured in Jewish Midrash as Lilith, a spirit who slays babies in their cribs. Everyone seemingly noticed nightfall at the same time, and soon they sought to change the subject. Being well fed and needing questions answered, they turned to Steve, who through Elzbeita, gave them such information as he felt was appropriate. 

Details were kept to a minimum, but otherwise he explained what their goals were and why he wished to explore the mine. He told them of his authorship, and the book he intended to write once this trip was completed. They nodded knowingly to certain points, and having been required to sign NDAs, did not wonder very much beyond what they already knew. Most were satisfied by the answers he gave and admired his desire to honor great grandfather Ziggy’s legacy. Steve mentioned nothing about the treasure. The team retired early, and being well walked and fed, most of them slept deeply. 

In the middle of the night a shrill scream woke everybody up from out of dreaming slumber. Thinking someone had just been murdered, the men emerged from their tents to investigate. Everyone was out of their tents, everyone but Ivona. Her tent remained sealed. They unzipped the flap and found Ivona staring vacantly, scared into silence by something. When she finally spoke it was in a near whisper, with eyes wild and knuckles white from fear. Elzbeita’s intonations matched Ivona’s involuntarily because of her own rising concerns.  

“I had a horrific nightmare… A large fire at night with skulls in the coals… And human torches walking, screaming… all under an umbral moon.” 


Photo by Ricardo Gomez Angel on Unsplash

I can’t tell you how satisfying it all has been, how grateful I am for all that I have learned from it, and just what a cool thing it is to have a club with talented, creatively obsessed dreamers who see the path ahead. I was poet, novelist, and now short story writer and blogger, and my club has helped me and each other breathtakingly along the way. 

Corporate Gothic is our first and will always be special for me, but I look forward to many years going forward and many more projects working with these fine people, and hopefully many others. Our goals will bring this podcast’s vibe to the world, with Corporate Gothic being it’s own loud bump in the night-black office of creative horror. The club’s moods are elevated and we can’t wait to bring this muse to a waiting audience.

I invite you to check out Joe’s Writers’ Club Corporate Gothic project. Enjoy! 

Paragraphic Rift: Have You Checked For Redundancy In Your Text?

9: Have you checked for redundancy in your text? 

What is Textual Redundancy? 

Redundancy is the poetic variety and the targeting of repeated words/phrases. 

Systemically, redundancy in a text is often attributed to insufficient literary influence. In other words, a writer hasn’t read enough, hasn’t reread to study, hasn’t typed up preexisting manuscripts, hasn’t played stenographer, and certainly does need to make some adjustments or else face the editor’s solemn wrath. 

Refrain is repetition with purpose, normally attributed to lyrics, poesy, or dramatic flair, and is, outside of classical or formalist writing, considered to be fit only for song. It used to be that someone could triple repeat a statement and from this, some sort of emphasis could be commanded, or that a focus might be adjusted. The same effect might come from yelling or whispering in a hush. In any case, repetition for empowerment is one thing, but repeated words outside of this can crush the pace and disinterest the reader, not to mention mucking up what the muse and voice are trying to achieve together. 

*There are tools and techniques in certain software packages that can count specific words and so aid in anti-redundancy micromanagement. Seeking these can help fix what’s already there, but using the following JWC tools can help to correct these tendencies, and so transform/manage your voice. 

Photo by Mark Harpur on Unsplash

When you write a page/paragraph that satisfies both muse and voice and has been overseen and observed by a creative workshop, then use the following exercise. 

Guidelines to Variety of Phraseology: Mythic Containment 

How many Vehicle words? + or – = 
The, with, was, etc 

How many Flower words? + or – = 
High caliber words 
EX: gorgeous 

How many Power words? + or – = 
Hysteria words 
EX: dismemberment 

How many Elevation words? + or – = 
Those immersive into bliss so that the reader can climb into the infinite 
EX: scintillation 

How many Descending words? + or – = 
Those immersive into terror so that danger can capture the reader 
EX: hideous 

How many Nonsense words? + or – = 
Diversions into humor or absurdism in order to cut tension 
EX: flatulence 

How many Mythic words? + or – = 
The phrasing of concept so that it may not easily be forgotten. 
EX: quest 

Wordsmithing? + or – = 
The generation of terminology so that the reader “learns” with the characters 
EX: cleromancer 
Photo by Sandra Ahn Mode on Unsplash
Using the Guidelines to Variety of Phraseology: Mythic Containment, you can modify how many words more or less for each variety, so that voice dial-ins and or modifications can be explored. By this an off text or over polished work can be adjusted to the taste of what is called for, or be further perfected and/or studied so that every criteria is met.

Paragraphic Rift: Have you imposed narrative Temporality?

7: Have you imposed narrative Temporality? 

What is narrative Temporality? 

Temporality and impermanence go together, for such is measured by the ticking clock, the circling shadow, the palpitating heart, or a single tear streaking down a lovelorn face. Sometimes a single moment can weigh more than the world. 

Into everyone’s life, a little rain must fall, yet rain is also needed in order to preserve life. Vitality spills from the elements and is tried by them, and then passes back into them, energy dancing in and out of existence’s frame. A mere blink and being comes and goes, with each unit following the prefabricated biological action. Such is maturation, it happens to everything before entropy hastens decline. This universal occurrence defines matter, but spirit is external, invisible, and marks the transitions as they click by. Like a cosmic hologram playing out timelessly again and again. 

Photo by Suzanne D. Williams on Unsplash

“The Hologram” 

Wise old timers see a rhythm or pattern in the lives they learn about so that at the end many say that life feels like a story, with chapters, dramatic themes, ups and downs, twists, and a hero’s journey in it for the bargain. Certain days meet certain nights, in an age of development, in a generation of particular bliss or tribulation, and the many are changed by another season turning in an uncertain world. Generation gap (external trial) or generational crisis (internal trial) bring hive-minded conformers or nonconformists who think free of the mind cage

Individualism is the prize of freedom, justice, and prosperity, and yet some people or concepts go far to set themselves apart from the many, under any circumstances or trials. These are influential characters: protagonists, antagonists, hero, antihero, villain, thrall, etc. 

Photo by Mak on Unsplash

Seasons in life: 

1st model: 
  • Birth / Life / Death = existence 

  • Beginning / Middle / End = a story 

2nd model: 
  • Nut, germination, sprout, sapling, tree, nut = a forest 

  • Information, Transformation, Replication, Termination = life cycle 

A tree bears fruit of its own kind, and by such is it known. The soil in which its seed was planted suffered it’s germination, but how spitefully? How rich is the soil? How much rain found it? What of storms, frosts, fires, or plucking fingers? These factors shape the hologram of any growing thing, evidencing the holographic all. Adversity challenges through extremes and is marked by a seasonal yield. Crops are generations, and a generational account is a harvest tally. 

Seasonal Development of a subject 
  • Outer / Calendrical Time: important dates / durations 

  • Inner / Emotional Time: important moments / events 

Seasons of development illustrate generational/narrative Temporality, that which marks any progress of forms and or character/style. These things may offer generational bridges to be crossed, and on the echoing green there are no gaps or delineations. 

And so it is important to take youths and elders back to moments of temporal shift, so that generations have a common reference point, and a character may be humanized and relatable. A first drive/ride, a walk under summer’s moonlight, the heart shape encased initials carved into trees by youthful kissers, the field where a boy saw his first dead body, where a girl found her maidenhood, where the orphan childhood ended, or the dawning of war. 

That where is a when, and can be flashed back to or dreamscaped into developmental seasons/episodes whereby characters or concepts may be continually shaped. A scar. A favor. A smile. A good beating. How the growth weathers it’s environment reveals much about it’s nature/character. 

Development is disposition. Are they weathered, delicate, perfect, deficient? This suffering or treatment of growth and developmental concepts visits the heart space the way that timelessness does, but instead of coming from out of cosmic nowhere these factors are the product of a systemic wheel of seasons, and that difference is as important as it is opposite to Temporality. 

Natural themes predominate temporal matters, as opposed to supernatural or ethereal influences. We must simulate life experiences and so social development (or lack thereof) in our characters and or world, so that a sense of narrative progress and evolution may be shared with the reader. This is how living things in the text come to life, and how that character’s life is touched by temporality.