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
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.

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.