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.

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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?

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The Networking of Minds:

Author’s Identity – Character’s Identity

Conscious Mind – Conscious Mind
X
Subconscious Mind – Subconscious Mind
X
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
X
Subconscious Mind – Subconscious Mind – Subconscious Mind
X
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.

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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.

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. 

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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 
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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. 

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“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. 

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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. 

Paragraphic Rift: Have You Checked Narrative Continuity?

8: Have you checked narrative Continuity?

What is narrative Continuity?

Narrative Continuity is the coherency of forms or concepts in the narrative flow. As the project is completed many updates will be registered and accounted for, and this should be done through an outlining process so that such data is organized and always at hand.

Just as a character would, an author must reckon all that has happened to them and network conscious mind to unconscious mind in order to sort out the details. A creative obsessor is always in a twilight awareness between their adaptive life and their creative obsession, doing their daily tasks with half their conscious processes engaged in the muse at hand. So an outline of muse flashes is the surest way to discover each narrative step because by such is the tale told and creative satisfaction gained by the writer.

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Muse Flash Outline / Journal 1: Example
Original inspiration – That material written by another author which fascinates and motivates creativity.

Muse Flash 1 – The first blink into unconscious creativity, being the primary interface that establishes the networking of minds, in this case, conscious and unconscious.

Muse Flash 2 – The second blink into unconscious creativity leads to the next stage of mind networking, where the awareness of the author connects to the awareness of a character. Through this contemplation, the very essence of creative obsession depending on duration and output, the situation and circumstances of the narrative are shared, and by this the conscious/unconscious minds of both are networked. So the character “comes to life” by the way its author, and eventually, its audience, are able to realize them. Places, people, concepts wait to be actualized by way of such mental networking when plugged into a Creative Workshop, where a whole room of Creative Obsessors might network collectively.

Muse Flash 3 – By this point the cycles of muse suggest a broader narrative, proposing places that the main thread might follow into a situation brought on by circumstances beyond the main character’s control. The attempt to gain control or at least reorient any disjointed lifestyles that change or crisis have brutalized.

Muse Flash 4 – So on and so forth, the unconscious continuously sends muse flashes, and if a creator gets out of their own way they might see some words on pages. A creative obsessor looks at life as a bubble of temporality which timelessness tries to penetrate, therefore any temporal (calendrical or adaptive) concerns must be completed so that nothing may distract the creative process.

The time between these flashes varies between creative types, but the more you practice/use these faculties, the more they should develop. To break block or stimulate the muse if she’s shy, utilize the following model of outlines.

Muse Flash Outline / Journal 1 is an after the fact model, seeking to outline the existent muse flashes as they have occurred, and thereby an unconscious chronology of mind networking.

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Muse Flash Outline / Journal 2: Suggestion
Original inspiration – Convey favorite authors, favorite works, favorite scenes.

Mush Flash 1 – Check origins of main character

Muse Flash 2 – Check thinking of main character

Muse Flash 3 – Workshop feelings of main character

Muse Flash 4 – Workshop deeds of a conflicted main character

Muse Flash 5 – Simulate a conversation about the main character’s reputation

Muse Flash 6 – Simulate public conscienceless of a conceptual legacy

Muse Flash Outline / Journal 2 are the kinds of outlines based less on creative obsession and more on the networking of minds. Adaptive networks outline the conscious exploration of concepts, and any muse flashes that occur arise from meditation on already known conditions in the project, or the muse flashes of others during that conscious to unconscious network.

Muse Flash Outline / Journal 3: Suggestion
Original inspiration – Convey favorite concepts from scenes/settings you admire.

Muse Flash 1 – Nicknames = familiarity and so a sense of time spent together as if the reader has grown up with them as a distant relative.

Muse Flash 2 – Industrial terminology = at least three names for everything, commercial, scientific, industrial.

Muse Flash 3 – Goals, dreams, wishes, aspirations, so that we have pieces of the characters/concepts deep philosophy, and heart space.

Muse Flash Outline / Journal 3 is an outline that seeks to define familiarity or intimacy, and so draws readers into concepts, providing a personal closeness that helps to network minds and swap awarenesses. Interspersing such concepts within an outline structure to then be worked into a text helps to thicken the narrative stew.

Narrative Continuity is of vast importance, and of such a priority to the text that it cannot be overstated. An Author must be absolutely certain that dump shock (counter immersion) due to discontinuity does not corrupt the narrative, and so ruin the muse, mood, and moment of creativity’s obsession. This must be avoided at all costs.

Paragraphic Rift: Have you Weaponized the Core?

6: Have you Weaponized the Core?

What is the Core? 

The Core is value. Taking stock of what you have and remembering bereavements. It is defying the threat of preservation against opposition if it be by destiny, foes, or legal decree so that a narrative is humanized, or brought to a dehumanized state. Concepts like extinction, annihilation, devolution, damnation, etc, may be used as a proper crisis to test the core. The stakes must be raised in order to sync core values and elevate dramatic themes. 
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Weaponize the Core 

In sci-fi like Star Trek, when the antimatter core is ready to go up, the mission is put on hold until the situation is resolved. Or… they have to abandon ship. There are even times when the ship’s core may be weaponized, and the order given for ramming speed or warp jump into a target. It’s all or nothing, do AND die, this done to pay a debt or buy time for a desperate plan. 

Such dire conditions bring dense gravity to the narrative and a sense of unexpectedness, which sometimes passes for surprise, but in either case, does not dump shock the reader. It is critical that the reader is drawn in by what is done to the core because it is their own core that is of chief concern. 

Empathy is needed in order for the flavor of hero, antihero, villain, etc to drive home what is at stake and so what may be lost. Like when a muse flash is obliterated due to a lack of paper or time. When we focus on forever in a departed now, what might be lost in a moment becomes precious. 
Weaponize to emphasize 

There is another core, one of liberty, morality, principles, and justice. If you see someone suffering, the instant reaction is to wonder why. Some have it coming for misdeeds wrought or crimes against the just and innocent, but “why” isn’t the point we are making here. The point is what abuse, punishments, torture, and incarceration do to both writer and reader. 
Empathic Index: 
  • broken anatomy – outer vulnerability  

  • parading anatomy – external vulnerability  

  • visceral anatomy – internal vulnerability 

  • diseased anatomy – inner vulnerability 

  • abominable anatomy – cosmic vulnerability 

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Such vulnerability should move an audience emotionally, or harden their hearts.  

Important Questions: Do we care about what’s happening? If not, why not? Do they, the victim, have it coming? 

According to each person’s deeds and intentions, that is how people should be treated, and when that treatment is deformed, distorted, or warped by agenda or hatefulness, a character (or culture) may be traumatized by abuse or violated through an unjust ruling. Out of suffering comes great measures of behavioral accentuation, for good or evil, and so one of a kind characters, nations, or situations may emerge. 
  • Trauma as (is) teacher 
  • What is a sacrifice? 
  • How best to assign value to blood? 
  • Violence, violation, deprivation, intimidation 

When writing fiction, you cannot get away from themes of violence, sex, and conquest. The body is THE common ground, for embodiment of spirit is synonymous with being alive. Many such themes have suggestions, implications, and out and out consequences for characters and plot so that the narrative gains mass. 

The artful wielding of trauma, or an escape from its possibility, brings a lot to the table for readers. Losing a hand, an eye, a child, a kingdom, a planet, a parent, a bride, can make all the difference in a character’s life, altering them in ways that otherwise would never have been possible.  After all… Do any of us truly know what we have until it’s gone? 

This Trauma as (is) teacher thing sounds cruel or demented from the outside, or at the very least a bit overboard. However, when it comes to myth and that which is mythic, there is no such thing as overboard. All the fables, myths, legends, and fairy tales are blood-soaked and reaching into incubus. Are we not to learn from and build on these elder Texts, just as our famed literary masters have done? 

No author mindful of cultural backlash is trying to trigger someone, yet the form of myth compels said author to explore beyond the expectations set by creative yesterday. That is why genre and demographic funnel audiences the way they do. No one wants to ruin someone’s day, yet all the greatest tales in mankind’s library touch us so because they are at least brutal, and at worst traumatizing so as to be remembered always… The collective core having been weaponized against an engaged audience for their entertainment and inspiration.

Paragraphic Rift: Have You Polished Your Text?

4: What is Creative Polish?

Creative Polish is an analysis of one’s literary voice for optimization. Not for grammar as much as for poetic elevations and mythic tone. This radical method suggests that one should overwrite, to go beyond systemized reductionism in order to transcend the language of the day. Editors trim for clarity or to emphasize proper grammar, which is their job, but some would delete glory because to them, it’s all been done before. Might as well tell the sun not to rise while we’re at it… 

A good creative polish seeks to challenge the readership rather than bring everything down to the fourth-grade level. It’s more for creative obsessors than hobbyists. Having read much and been greatly inspired, and having a regular muse flash leading unto creative obsession, you will want to obsess over the words already written. 

So… Having written in bliss from out of a bright muse flash nagging you sweetly all day, you return to the text the next chance you get to creatively polish the work. 

Creative Polish Guidelines: 

1: remember the chapter (section) you are polishing, because themes and scenarios should shape language and Inspire voice. (action pace, creepy pace, dialogue, etc) 

2: when you read any sentence, look for the poem that could be there. No matter what the subject, no matter what the demographic, just remember eternity and forget now. Write to be rediscovered on post-apocalyptic bookshelves centuries from now after WW7, fearing no contemporary naysay or caution. 

3: when you encounter the turning of a phrase, take care not to disturb its textual ecstasy. Butterflies are better with wings ON them… 

4: vocabulary must challenge in order to compliment the reader’s intelligence. Be courageous with both existing terms and fictitious wordsmithing, from which all linguistic enchantment derives its fantastical delirium. Example: time machine 
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Let your obsession reach for perfection, but don’t embrace perfectionism. 

Believe in what the muse brought to mind. 

It is necessary to self-edit, self workshop, self-optimize. 
It is unnecessary to be your own worst critic. 

Some words will stay, some shall be rewritten, others deleted. The ones that remain from out of the original muse flash must quiver with mythic resonance, each sentence a poem, each phrase a mystery. Even if you were writing about mundane concepts, your voice should still be beaming bright so that the muse may be honored. 

Adore the process, love the satisfaction, seek more from the muse, give praise to what you revere. You know what you like and dislike, and this polarity helps focus your voice. Your voice is emergent from creative obsession, is harmonized into oneness by reading well and writing lots, and so is both consciousness and unconscious in nature. Unconsciousness is limitless, and the words of muse and voice can transcend amazing thresholds of beauty and ugliness, profoundly touching both heart and soul. 
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Well, creative obsessors, we are back at the halfway point. 5: Creative Workshopping. 

Some people start from the beginning, 1: What Is Your Inspiration; some from the middle, 5: Creative Workshopping; and some from the end, 10: Adaptive Bookcraft. No matter what stage you are in or what direction the development takes, JWC Paragraphic Rift has a way for you to dial in and access the creative edit. 

Let’s see if we can learn from each other’s dreams and grow as writers together.

Paragraphic Rift: Have You Imposed Narrative Timelessness?

We have touched on the muse and how it comes from a timeless place beyond our temporal world. So the essence of timelessness speaks out in a singular moment, an absolute place in memory, brought on by coincidence, synchronicity, and a great many other mysteries spun into the narrative tapestry. 

It is the mysterious that concerns us with 3: Narrative Timelessness, enough where we should want to plan out moments of timelessness in our text so that a sense of the random or of “fate” feels manifest. How else do we lay self-fulfilling prophecies, destinations of doom, pronouncement of curses, or signs of prophecy, at the feet of our heroes and villains? 

States of Timelessness: The Four Fors 

Foreshadowing: Often times a circumstance fails to convince a character of any danger. Doubt, disbelief, disorientation, or apathy may come along with stress and worry. This may grant nebulous tension for the audience, or provide a remorseful rearview mirror on the narrative’s road. A single thing, unknowable, unseeable, and beyond mere mundane life, can be used to unmake someone’s world. 

Forbidding: Taking the forbidden fruit, exploring the haunted house, kissing a betrothed princess, sneaking around a dragon’s den. These are some things which smack of the forbidden and may demand a hideous penalty for their transgression. Actions, reactions, and consequences, these bring strain and tension out of the forbidden drama with a general warning or the threat of being caught made threatening clear. 

Foreboding: Like Foreshadowing, a foreboding theme offers a veiled suggestion of wrongness or danger, but it is far more present in the narrative and likely is part of the environment. The phrase: “if only we…”  may be involved, like, if we had this, or if we only did that, and regret or guilt may be woven into a wrong turn ahead in the narrative road. 

Forgone: Something terrible regarding Foreshadowed, Forbidden, or Foreboding themes may provide a crisis. A crisis of such dreadfulness that character needs to get it “over with.” The timelessness pertaining to what is forgone issues a temporal doom, a sort of deed or mission that needs to be accomplished else someone (or many) must suffer. Success brings a haunting relief. Failure brings remorse and or guilt for all that is lost. Usually forgone means over, but the nightmare of its possibility is a sharp tool. 
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In order to bring emphasis to any moment in the text/narrative, a sense of past must reach, either subtly or abruptly, into the now, and hopefully double down on an uncertain future. So we may bring drama to a text that may not have been there otherwise, or perhaps allow for a breath of mercy once the climax of the story comes to be. 

Signs and Wonders: Is the Universe Alive? 

As had been suggested, when there are signs in the elements or symbolic consciousness, a sense of the timeless or even spaceless envelopes the concepts concerned. The structure of such messages seem to suggest personification or at the very least, some sort of intelligence. 

Archetypal Omens: 

Elemental Omens – an interpretation of a sign in the world 

Thematic Omens – an interpretation of a sign in relevant iconography 

Somnific Omens – an interpretation of a sign in a dream 

Oracular Omens – an interpretation of a sign in divination 

Photo by Nikhil Mitra on Unsplash

An omen may be wielded as a communication from God, karma, or even fate, but it is always an emanation of timelessness from the unconscious. Regardless of the reality of any concept in the narrative confines, consciousness (known) and unconsciousness (unknown) are bridged by awareness (sensorium).

Combined with the four fors of timelessness, omens can be used to impose dramatic priority concerning “the big picture,” not to mention pacing for the outline process to liven what already works for a mythic or epic tale! 

If you have a constant flow of omens, they will diminish themselves, so when it comes to timelessness, a little goes a long way. Try it out and see for yourself.

Paragraphic Rift: How Loyal Are You To Your Muse?

Now that we have been over 1 (What is your Inspiration?), 5 (Creative Workshopping), and 10 (Adaptive Bookcraft) you may proceed to the next level of JWC Paragraphic Rift, which begins to unlock our method for creative editing and analysis of voice. 

2: How loyal are you to your Muse? 

What is your muse? A Muse (in as far as we are concerned) is a continuous (reoccurring) source of inspiration if it be about a character, a theme, or even an entire secondary world.*

You must honor the muse of your first inspiration in order to explore its potential. 

Honor the first draft inspiration, then honor the muse flash from which it arises. 

But first… you have to acquire a creative obsession. And before you can gain a creative obsession, you must first find what you want to write and a vision/dream to work toward. 

We’ve already asked the questions: 

– Dream / Write What? 

– Are you adapting something that is? 

– Or are you creating something new and continuous, a foundation for a creative obsession? 

Inspiration becomes muse becomes vision. The vision tells the creative obsessor what they will be willing to do, and how far the vision reaches. This is the difference between a goal and a dream. Goals are for every day, but the dream is timeless, with the vision encompassing both. The muse is derived from the connectivity between goals and visions, temporality and timelessness, and of course consciousness and unconsciousness. 

Consciousness is knowable whereas unconsciousness is unknowable; that is to say, known and unknown come distinct through what we experience consciously. 

Inspiration is born of what we know, and so is derived from preexisting forms, but a muse flash arises from the mutation of forms into something other than. Otherness is prime. Other than what we read or watch, so that it seems new in some way, even though its formula is tried and true. 

It is not newness but rather timelessness that is perceived, which is either converted into “newness” and or nostalgia vibes. A mixture of rose-colored past and a timeless now leads to this precious otherness and so a place among the others who are valued by the many. 

Here’s the thing… the networking of minds is key, especially between your conscious mind and unconscious mind, with the muse being a network route interfacing between the two, and so much more. 
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Conscious thought is an island. 

Unconscious thought is a boiling sea. 

Subconscious processes come from both, but don’t factor into this directly. 

Creative Obsessor 1:    Creative Obsessor 2: 

Temporality = Consciousness = Adaptivity 

Conscious Thought      X   Conscious Thought 

X   Escape into Bliss / Creative Obsession   X = Muse Flash

Unconscious Thought   X   Unconscious Thought 

Timelessness = Unconsciousness = Creativity 

What is a Muse Flash?

Definition: A point during creative meditation when the compulsion to capture an update of the muse takes hold of consciousness, having arisen from the unconscious or timeless mode. 

What happens next? That is the subconscious question being asked, by the reader, by the narrative, by the debt between the two. They have a networking with the author through the text, and so the conscious/unconscious must be bridged in that way also. What is revealed and what is obscured, mystification hiding explanation, verses what is known through the details of revelation. The guessing game is phenomenal! 

Conscious thoughts, which could be figured out during a workshop dialogue with a fellow creative, are adaptively debated, but then a muse flash strikes and something unforeseen occurs. You find yourself impressed with the inspiration of inspired work, a muse, not just fan fiction or a wild what if, but a true continuity into your own creative obsession! Inspiration is one thing, sometimes the first thing, but a muse flows cyclically in flashes and foundationally, becoming a continuous project, defining itself and seeking to finalize all expression, making a bond with one’s creative obsession. 

Your muse brings bliss and satisfaction to the project that you are constantly thinking about / working on. Creative obsession is built from a muse that literally won’t leave you alone. There is a persistent need to work on certain ideas, and during the day when you are dealing with adaptive work (your job or any other obligation) these concepts will appear in your third eye (imagination) offering you the creative obsessor, an escape from temporality. 

Timelessness is the goal. Temporality is what our clocks measure. Timelessness is made of limitless moments, and in these spurts of anti-time, the muse comes. Inspiration comes from this source, especially after wandering through a well-loved reread of a favorite book or some top five movie watched until quotes are memorized.  (and friends tire of the endless references made to certain scenes) 

Just like muse flashes, the intellectual shift into inspiration seems to come from seemingly out of nowhere. The nowhere it emerges from is unconsciousness, or rather the result of consciousness being added up over long years of life, research, and or creative obsession. Like the otherworldly threshold between wakefulness and dreaming sleep, this place holds nearly limitless potential. 
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Fathomless Dimensions of the Muse

As the muse flows we find ourselves and otherness. An artist seeks to dimensionalize the known and unknown, and the fantasy artist must describe that which is not. To sketch a field of flowers is different from a flight of dragons since we can have a broad contrast of flower fields, but we don’t have very many examples of dragons. 

It is the same thing with cyborgs, or fairies, or a sentient nebula, are an artificial intelligence because to imagine or see is not to experience. To witness is not to be witnessed, and the experience of another is half of why we escape into both our own muse or the muse of others. 

One must set aside adaptive (necessary) or temporal (scheduled) by completing said tasks; then, they may address the creative (satisfying) or timeless (unburdened) mode. Creative obsessions are made in the balance of these two modes, and the states of being between them. 

The Muse = Timelessness 

It is timelessness that a writer seeks, that a creative obsession provides, and if they get out of the muse’s way they shall have it. Give yourself a moment of creative meditation alone each day, and in that solitude see if you don’t find profound satisfaction!

*Coming soon:
JWC Secondary World & Tree and Leaf: J R R Tolkien – On Fairy-Stories – essays

Paragraphic Rift: Adaptive Bookcraft

The first First on the list was 1: Inspiration. And you will notice some similar factors addressed here but from a slightly different point of view. 


Though the last First on the list, 10: Have you imposed Adaptive Bookcraft criteria?, factors first in some peoples thoughts on whether or not to write. What product am I making? How can I get my creative obsession’s fruits to my audience? 

Some people don’t even think about the industry until they have most of a book, letting the art take them away into creative bliss, and there is nothing wrong with that, but if a project’s demographic control is a meaningful factor… then this next part is for you. 

10: Have you imposed Adaptive Bookcraft criteria? 

What is Adaptive Bookcraft criteria?
Creative workshopping is as important to writing, as adaptive bookcraft is to publishing. There comes a time in a young writer’s life when a private hobby turns to public association, and from this comes a title. 

Are you a poet? Do you still write, or is that something you did? You got anything new? How many poems do you have? Such questions seek to define one’s title. 

I used to think I was a poet, years and years ago my mind was made up. Such a hill to die on… Nowadays my bliss is cosmic fantasy novels, but when I first started out my skills were few. Poesy taught me how to write sentences that mattered, and between that and the reading of great prose masters, it is clear that every bit of prose should have a drop of poetics imbued within. If you want to write stereo instructions, then be my guest, I just can’t bear to reduce wonder and horror or slay the soul into demographic pigeon holes. Word problems are not my idea of rapture… 

Now… That was the pure muse of a poet talking, so you shouldn’t take those passionate thoughts so seriously. In fact, they should be shelved with the words of all poets, they must not be in charge but should be in the thought space in order to temper the industrial hive mind. 

It must be made clear that poetry taught me much, yet in this day and age (and not since the golden days of.court poets) poets seldom lead financially profitable lives. 

Poe died hated and impoverished. Blake died penniless. Ginsberg had it pretty good, Bukowski made it in the end… yet these are all poets and few are as renowned as a well-sold novelist. Also… There is no dishonor or disparagement in writing books like the great Tolkien, Herbert, Rice, Martin, ETC 

So… I was a poet, and still am sorta, but now I write novels and short stories too. 
Photo by Matthew LeJune on Unsplash
Adapt your muse… Overcome industrial limbo. 

What are you? You probably already know, but just in case we have some industrial models for you to see. 

Industrial Model
Here are some models of industrial comparisons to categorize what kind of project you are trying to undertake. 

Poetry Model – pamphlets, books, a series of books 
Function – to sketch / study situations, scenarios, moments 

Prose Model – short stories, novels, a series of novels 
Function – to articulate/explore narratives, worlds, characters 

Drama Model – Theater, Cinema, TV, Video Games, Comic Book  
Function – to experiment / redefine images, possibilities, archetypes 

Online Model – Forums, Blogs, Podcasts, Videos
Function – to exchange/absorb themes, limitations, audiences 

Several of these points overlap and a little bit of each pertains to them all, but for the most part, this model layout maps a spectrum of potential places to obtain a title. 

I hear you are a creative person… What do you do? Title: Poetic Soul 

If it’s prose, short stories, pamphlets of poetry, comic book scripts, or a nature blog, what your talent does will eventually find a title/place to industrialize. The Creatively Obsessed will do this all on their own… 

So… you have been working on projects and have enough done to know the industrial “what” you are writing, your title. This is satisfying and rewarding all on its own, but until you have walked the path you can smell neither rose nor peach of such blissful sublimity. 

Go out and write your dreams. Become a title… embrace the creative / adaptive 

Adapting one’s life into Creativity leading to Creative Obsession can be an extremely rewarding process, offering self-expression, the possibility of making friends, and of course the ability to make money off of what you have created. But first, maybe you’d like to learn about some Adaptive Models. 
Commercial Adaptivity – : p seeking to rework a pre-existent concept or property  
Projects such as screen adaptations, book to movie / to TV / to theater 

As silly as it sounds, this reworking of a concept, if it be transcription, reimagining, or transferring a novel to a play, a movie, or a musical, is a very light stroll through creative/adaptive processes. You’ll need the licensing and or other rights to exercise this type. 

Collaborative Adaptivity – seeking to work in a group on one common project 
Projects with more than one muse/creator/voice 

Taking Adaptivity into a group setting can be both fun and challenging. The collaborative model is similar to what we do on the Joe’s Writers Club Podcast, where we subject our creative obsessions to a read out loud / group analysis. The difference being that the individual’s muse remains intact and is not subject to the ultimate say so of the group. 

Generative Adaptivity – seeking to emulate pre-existing models 
Projects which bend to a certain theme/trope/genre 

Stepping into an already established kind of anything is the mildest of all adaptation because there is far less networking of minds. In the first model, you must network with the author or originator, and in the second it is the group that must network. With the third model it is more about the inspiration, and so a conscious mind to unconscious mind networking, but this still needs a creative workshopping at some point. 

Original Adaptivity – seeking to break through into originality 
Projects which transcend existing models, seeking ultimate originality 

This seems like a technicality, but there is a way to position your adaptive efforts in such a way where you read, watch, write, only one sort of thing, in order to transcend beyond Adaptivity into a pure Creative mindset. Genius is possible in this mode when enough time is spent adapting the creative process. 

Although less straightforward than the first list, these models help to orient one outside of titles or industrial “whats.” My friends and I would always talk about what we would do, or write, or invent, and some did while others did not. Some are inspired, some are not… 
Photo by Julian Hochgesand on Unsplash
Works of creativity that are made dear by long obsession need to be expressed to the masses and given the credit and compensation they rightfully deserve. 

On episodes of Joe’s Writers’ Club Podcast club members often go over Adaptive Bookcraft, seeking to positively contribute to other club members’ projects. 

“What are you trying to write here? Oh, cool. That sounds awesome. This could be a whole series of books…” 

Ultimately the creator/author networks with their muse and comes to these determinations on their own, but sometimes a vision can be made broader with some back and forth in a creative network. (See 5: Have you done any Creative Workshopping? for a backtrack into the networking of minds.)

What is adaptive bookcraft? It’s an outline/vision for a place in some industry. 

Become a title, make your myth, sell your dream. 

How else can it get out there and possibly come true? 

Paragraphic Rift: Creative Workshopping

Last time we went over number 1: on our JWC XYZ Writer’s Accelerator, and so between 1 and 10 is 5. Inspiration is first, industry is last. The middle is a great place to start when you have been from the beginning to the end seeking creative obsession, for those who have been writing and need community for their work to be seen. Check out the “next beginning” of this analysis and have fun. 

5: Have you done any Creative Workshopping? 

What is creative workshopping? Joe’s Writers Club, LLC / Joe’s Writers Club Podcast is all about this stage of creative writing. Once you have a creative obsession, your voice needs to find other creatively obsessed people and be subjected to creative workshopping. If your work is still raw, that is to say unfinished or otherwise incomplete, you should still consider finding someone to share it with. 

Photo by Sincerely Media on Unsplash
Ultimately you and your muse are the final say, but another creative person’s muse can work wonders on your own, both to inspire others and to be inspired. And also, to grow as creative writers it is important to take risky explorations and find out what room for improvement there may be for your work. If you’re not ready you’re not ready, but it is important for healthy goals to let you know some sense of progress, or even to just believe in one’s work a little harder. 

The networking of minds IS Creative Workshopping. 

Once you have one or more people of such a persuasion, then gather together for the purposes of reading aloud. At a diner, at a library, even in each other’s cars or homes, but just so long as it is done in seriousness and with positive vibes. Enjoy the process and help to increase enjoyment and inspiration in others, this is done to keep a creative network going. Emphasize the positive in another person’s creative obsession, while also suggesting what more might be done to see it optimized. This conductivity keeps things honest without judgmental discouragement or backhanded “constructive” criticism that might dissuade a fragile ego (or maybe issued by one). 

The networking of minds is the key to success. Similar minds tend to see things in a similar way, but even those minds who are shaded slightly differently will see a thing in some other light and so bring a fresh perspective. Perspective is truth for the creative writer, and the more so for those who are creatively obsessed. Perspective comes from observations, both self-examined and derived from mental networking. This networking happens in the workshop, then everyone retreats back into solitude to redraft a work based on a trusted writer’s circle observations. This is how one mind becomes many, and how many minds might unify to become one. 

The consciousness of a conscious mind must network with the unconscious mind, and so gain inspiration and a muse flash to continue the work of any lengthy project. This is solitary, internalized networking between two facets of intellect and vital to creativity, but is only the first half of a creative process. Workshopping is the other, and the benefits of such gatherings are countless. 

Photo by XPS on Unsplash
Studying consciousness as I have, I know that the conscious networking is one thing, but the unconscious networking is something else altogether. Inspirational muse flashes networked between several creatively obsessed people may yield a mega dump (muse fallout) of timeless data. Collaborative inspiration or collective muse flashes in sequence help everyone conceptualize better, bringing enough harmony into a group to see it prosper as a whole. 

If you read a million words, wrote a million words, then you have consciously assimilated much, and so have much to share. If another has done the same, it is a creative multiplier, or a bright network, filled with both conscious and unconscious data which can be used during the creative workshop. This is how best to serve your own creative obsession and the creative obsessions of others.  

Regardless of how much read or written, the formula is simple. 
When you read aloud to other creative thinkers, you learn confidence, courage, and practice presenting as if before potential publishers. This should be done with honest encouragement in a round table meeting where positive feedback inspires. Do this until both you and the group see improvement in the text and or your overall voice. 

It is also necessary for you to hear others read, and then to engage in the same activity with them. Share your impressions, and by drawing from both sides of this collective experience many otherwise closed paths into creative obsession will be opened to you. Ask after the sensitive areas of a text and compare how a fellow workshop member would write it if it were his/her own. All the great writers did this: Shelley and Byron, Tolkien and Lewis, and of course, the entire Beat Generation read in public places for the sake of beauty and excellence in words. 

If you look around you can find creators, but those who are open-minded and or ego less may not grow on trees. Even so, the hunt for a creatively obsessed person is a worthy pursuit. If you find one, maybe they have a friend who is plugged into the creative life, and if not you can search together. 

One of our goals at Joe’s Writers’ Club is to aid in these collectives coming together, so that such Creative Workshops may be optimized and profitable. Check out Joe’s Writers’ Club Podcast for examples of this. See how much there is to learn and how much fun it is to explore creativity together.