outline: chapter 1

chapter 1, dragoncon 1, the vision.

gifts, lessons, obligation

first you see it.

the vision is from their shared point of view. they don’t understand the angel’s motivation. they play like a demo, with crosstalk about the effects. they know it’s a game, they already want to recreate it themselves. the boy thinks he can program it based on something he did almost a decade ago. aren’t your skills a bit outdated? they’re very clear about the quantum lessons, the idea that we’re all one, and enthusiastic about spreading it.

once upon a time…there lived a boy and a girl who partied a little too much at the dragoncon ball, and went up on the roof of their hotel to look for stars and wait for the good drugs to kick in. the boy and girl party too hard at dragoncon1 and pass out on the roof, where they have a vision. rooftop party. pass out/vision. learning to fly. going to garden of eden, they visit the garden of eden, located under the ice of antarctica, learn how to manifest, play with toys and freeload. kicked out, steal sord and fthr. and are sent on a quest by a fiery angel. they play a vividly real civilization-building game in antarctica without ice. it’s the best game they’ve ever played, and they are dismayed to reach the end. make things grow and build shelter, invent transportation, build towns, organize groups, move over the earth, build cities, build empire, fight each other, stop. learn lesson. once they fulfill the angel’s quest, they wake up in the stairwell of their dragoncon hotel, where the girl gets a text message from the angel with a new quest. wake in stairwell, text message, feather

the vision is done three times. the first time is the dreamiest, the most vague. it’s all very significant but they don’t remember anything specific. vast powers, wrongly used, lots of running around doing things, and lot of white buildings near water, a city on a hill, highways, a station. then the next day in the retelling of it, they gradually come clearer on the message, the quest. no, that’s the third time, when they get it right. the second time it’s all about their powers, the plus. with the quest comes what can go wrong, the preview of the rings, only the point of the rings is shown, the meaning hidden in plain sight. when is this, the third time gong thru the vision? chapter 3 w/kurt, or 4 designing or 6 creating? of 13 w/exkurt on cloud level at final testing.


dragoncon parade over the shoulders of the boy and girl, with ptree st bldgs in back. packed and dynamic, as many different characters as possible. where’s waldo, from high in the marriott atrium looking down on a hugely intricate crowd scene. captions point out a small group of people on the lower right, with security cameras, snake, and kurt in different locations. jostled by the crowd, the boy, the girl, fairy, and several others hold their programs and point off in different directions like a crazy signpost, indicating where they’re going next. the programs showing different tracks. atlanta at night, centered on a dragoncon hotel roof with 2 small figures lounging on top…boy and girl admiring view. dragoncon. atlanta is overrun by fans…anything is possible. the late-night revelry of 10,000 partiers 45 floors below can be felt and heard on the roof, but a couple of stars are visible, the wind is cool, and the boy and girl are alone, relaxing and talking casually before the large quantities of various recreational substances they ingest kick in…boy and girl as they slump into a vision together:

the couple asleep on the rooftop. a wireframe hand with fairy wings (monty python joke) comes out of a tiny cloud and sprinkles the boy and girl with fairy dust (peter pan joke). groggy but not surprised, they wake as the hand (khalil gibran joke) points them toward the second star on the right (peter pan joke). “straight on till antarctica.” boy and girl look at each other, appalled by the joke references.

at dragoncon, a boy and girl sneak up onto the roof and ingest large quantities of various substances. together they have a vision of being sprinkled with fairy dust and being sent to the second star on the left.

1. ABSENTATION: A member of a family leaves the security of the home environment. This may be the hero or some other member of the family that the hero will later need to rescue. This division of the cohesive family injects initial tension into the storyline. The hero may also be introduced here, often being shown as an ordinary person. – on the rooftop”

learning to fly:

they learn to fly.  they’re up on the roof sleeping it off, and the angel comes along, pokes them, sprinkles fairy dust on them, and directs them to the second star on the right, then decides to go down off the roof and join the party.  their first flight takes them as far as the next skyscraper, where they leave a mark that they’d been there, and take a picture with the girl’s phone.  their next flight is smoother, and by the time they get to morning they’re expert beginning fliers, tho she has trouble staying aloft.  they approach a planet, that turns into a moon as they get closer, then an island, a lake, a pond, a pool, a plate, a reflection in a bubble, a molecule, an atom.  that’s too far, so they back up until it’s an island again, and park themselves on a cloud, where the angel joins them.

at first it’s very hard to do. you have to run and then jump, and it’s hard to get up the speed. it helps if you run downhill, or cast yourself off of something that’s not too high, just in case. at first it’s all arms and legs, swimming thru the air, constantly fighting to overcome gravity and weight. as you get the hang of it, the process changes, takes less effort. it gets to where you can give a little half skip and you’re off, climbing into the air with your arms and legs. and then, when you get good at it, you just think of where you want to go, desire it, will it, and then go there. just leap up into the sky and go whizzing off as fast as you like. the power comes from your chest, your solar plexus, your gut. you don’t have to use your arms and legs any more, you can feel the physical will of your desire to fly.

they get this on their own, the boy and girl, in the vision that the first chapter tells about. the angel sprinkles them with fairy dust and sends them off, and they figure out how to fly. and it’s a real learning curve. but by the time they get to the cloud where they meet up with the angel, they’re good beginning fliers. yay.

boy and girl discover they can fly…stumble once…and flutter feebly into the sky..monochrome image riffing off john and michael combined with ET over the moon. flying thru space approaching star.

11. DEPARTURE: Hero leaves home;”

angel’s gifts:

star resolves into a ball with a fractal-looking outline on it, resembling a logo. closer still, it becomes a white planet with colored stripes, the details obscured by clouds. even closer, and they can see islands and a small continent. the colored stripes suggest the figure of a person.

they land on a cloud. above the garden of eden/antarctica, the boy and girl looking in awe, a fiery angel (with a wireframe hand) descending to the cloud. the angel gives them powers just like his, powers of an expanded will. they don’t feel any different. lounging in the garden of eden.

the boy and girl arrive together in the garden of eden. a fiery angel greets them and shows them around. it’s a mmorpg. he shows them antarctica. he shows them both sides of the amusement park. he shows them the clouds where things are created. he shows them the horizontal level and the struggle for antarctica. he shows them seven levels and seven rings. he teaches them seven quantum skills. he teaches them all the hacks.

i’m not clear on this part yet, but the angel gives, shows, or teaches them a bunch of powers to make, name, create, speak into being.  the angel shows them, gives them, awakens them to other powers. he shows them how to create things. how to do magic. the angel tells them all they see is theirs to do with what they wish, and then goes off somewhere while they do what they wish with the place. 

so the angel teaches them their powers. it starts by focusing on an invisible ball of energy between your hands. there’s that pull in your stomach. there’s a thrumming. there’s heat coming out of your feet and that weird sensation at the top of your head, and tension in the back of your neck and shoulders. and a loosening in your gut. then a sort of internal click, conscious but completely inaudible.

the angel ‘tunes’ the land below – it has already gone from being a distant star to being a planet, then a moon, then an ocean, then a continent, then a lake, then an island, then a pond, then a plate, then a bubble, then an atom. they were standing around on a cloud above the continent, but the angel tunes it so they’re floating above a valley, and drops the boy and girl off there, telling them to go do things with their powers.

9. “Friend” is usually a mysterious creature or character who gives the protagonist gifts (often x 3; often magical agents) – angel
11. Protagonist is endowed with gifts – quantum powers
2. INTERDICTION: An interdiction is addressed to the hero (‘don’t go there’, ‘don’t do this’). The hero is warned against some action (given an ‘interdiction’). – angel warning time
3. VIOLATION of INTERDICTION. The interdiction is violated (villain enters the tale). This generally proves to be a bad move and the villain enters the story, although not necessarily confronting the hero. Perhaps they are just a lurking presence or perhaps they attack the family whilst the hero is away. – wasting time w/videogames
4. RECONNAISSANCE: The villain makes an attempt at reconnaissance (either villain tries to find the children/jewels etc.; or intended victim questions the villain). The villain (often in disguise) makes an active attempt at seeking information, for example searching for something valuable or trying to actively capture someone. They may speak with a member of the family who innocently divulges information. They may also seek to meet the hero, perhaps knowing already the hero is special in some way. – angel watches them
12. FIRST FUNCTION OF THE DONOR: Hero is tested, interrogated, attacked etc., preparing the way for his/her receiving magical agent or helper (donor);”

had enough:

the angel watches in dismay as multiple versions of the boy and girl spend all their time playing games with multiple universes they have created. the angel turns off their games and multiples, tells them that they’ve got better things to do with their powers, and promises they can have the key to the garden if they can answer a simple question… the angel. “what is the essence of the game?”… they look at him and say, “huh?” and offer a shallow response…. “to win,” says the boy… to learn practical strategies. “to learn,” says the girl… to practice being human, to share, to communicate. the angel clarifies, “what is behind that curtain?” they look at each other this time. “what?”… the angel tries to be more specific. “answer yes or no.” they are baffled. “huh?” the angel loses his temper …and kicks them out of the garden with his fiery sword. at the gates of the garden of eden. the boy looks back to see the angel quenching the fiery sword in a rock, the girl notices a feather dropping from the angel’s wings. they steal back to get them.

once they master all these things, the angel looks on in dismay as they spend all their time creating universes and playing games on the horizontal level. he steps in and turns off their games, tells them that he’s kicking them out, that they’ve got better things to do with their powers, and that he’ll give them the deed to the garden if they can bring him the answer to a simple question – “what is the essence of the game? (what is behind that curtain? [everything/nothing/me/god/])” the fiery angel kicks them out of the garden. the boy looks back and sees the angel putting the fiery sword into a rock, and the girl sees a feather drop from the angel’s wings, and they go back to get them.

the angel realizes they’re narcissistic and decides to kick them out for their own good, if i don’t enable them they’ll have to do it on their own, tries nagging, imposing schedules and routines and reports but they ignore them or pay lip service and there’s always an excuse why not and a crisis that prevents them. god says tell them they owe me rent, angel acts like indulgent mom exasperated.

when the angel returns, who knows from where, it’s instantly apparent that everything’s wrong. all the animals of the valley are cowering in a corner and being threatened by dinosaurs with ugly teeth. the other end of the valley is blackened and smoldering. the angel finds the boy and girl in a clearing they’d materialized, sitting on a couch they’d conjured, focused on a plasma tv they created, and playing videogames they dreamed up using their godlike powers.

the angel throws a fit. look what you’ve, i turn my back for, i can’t believe you’d. do you know what you’ve done? do you realize what you’re doing? do you know why i brought you here? do you know what all this is for? the two of them just look at the angel. dude, you brought us here, the boy says. we’re kind of waiting for you to tell us, the girl explains.

the angel throws them out, uses the fiery sword to throw up a wall and a gate, and escorts them out of it. then the angel stows the sword and collapses on the couch, head in hand. the boy and girl return for the sword and a feather that dropped from the angel’s wings, then turn and hike off into the distance.

the angel comes back to find them wasting their time playing idle games and lying on the couch all day, so they get kicked out to do it for real, steal a feather and a sword, and go off to have their antarctic adventures.

1. Protagonist confronted with interdiction/prohibition she violates – wasting their time
2. departure or banishment – kicked out into the game
3. protagonist takes or is given task related to interdiction/prohibition – stealing, quest ?
4. TASK is a sign mark or stereotype of character (names are rare, insig) – ???answer w/in you
5. DELIVERY: The villain gains information about the victim. The villain’s seeking now pays off and he or she now acquires some form of information, often about the hero or victim. Other information can be gained, for example about a map or treasure location. – angel surprises them
6. TRICKERY: The villain attempts to deceive the victim to take possession of victim or victim’s belongings (trickery; villain disguised, tries to win confidence of victim). The villain now presses further, often using the information gained in seeking to deceive the hero or victim in some way, perhaps appearing in disguise. This may include capture of the victim, getting the hero to give the villain something or persuading them that the villain is actually a friend and thereby gaining collaboration. – gives them their quest (snake is angel)
7. COMPLICITY: Victim taken in by deception, unwittingly helping the enemy. The trickery of the villain now works and the hero or victim naively acts in a way that helps the villain. This may range from providing the villain with something (perhaps a map or magical weapon) to actively working against good people (perhaps the villain has persuaded the hero that these other people are actually bad). – carry out angel’s nefarious deed???
8. VILLAINY or LACK: Villain causes harm/injury to family member (by abduction, theft of magical agent, spoiling crops, plunders in other forms, causes a disappearance, expels someone, casts spell on someone, substitutes child etc., commits murder, imprisons/detains someone, threatens forced marriage, provides nightly torments); Alternatively, a member of family lacks something or desires something (magical potion etc.). There are two options for this function, either or both of which may appear in the story. In the first option, the villain causes some kind of harm, for example carrying away a victim or the desired magical object (which must be then be retrieved). In the second option, a sense of lack is identified, for example in the hero’s family or within a community, whereby something is identified as lost or something becomes desirable for some reason, for example a magical object that will save people in some way. – angel kicks them out, makes them work for healthpoints
13. HERO’S REACTION: Hero reacts to actions of future donor (withstands/fails the test, frees captive, reconciles disputants, performs service, uses adversary’s powers against him);
14. RECEIPT OF A MAGICAL AGENT: Hero acquires use of a magical agent (directly transferred, located, purchased, prepared, spontaneously appears, eaten/drunk, help offered by other characters);”

in antarctica:

they leave thru the gates together, out of a lush sunny garden…into a barren wasteland full of gray rocks, under an angry sky. neolithic: among barren rocks they are like babies and have to coax the environment to help them. they interact with winds and water and seeds and finally with great effort establish contact with animals who help them and feed them until they can grow weak bodies.

viking: in harsh mountain forests and on cold deep seas they compensate for their childish weakness with psychokinetic muscles, concentrating energy to build ships and buildings and make fires.

medieval: in pastoral villages and small port towns they attain their full strength and opacity, and develop the ability to manifest, as other players appear to fill out the other roles. they find themselves entraining other players, hampering their gameplay with interactions.

golden horde: over vast areas of uninhabited piedmont and estuary they avoid the growing crowds for a time, developing a sense of where all the players are. they become aware of everything in the game world. their powers enhance their appearance and confidence, exaggerating their strength.

hinterland: in rich and productive lands being steadily encroached upon by the big city, they organize the adoring crowds and teach them how to harness their wills as best they can. but the crowds are mesmerized by them and can only be controlled imperfectly. their appearance hardens and lumps up, shrinking slightly as they tire from the effort.

hell city: in dark, dirty and crowded city of extremes they and all the droids they command are no match for the powers that be, and they resist as best they can, within the system and against it. they continue to spread techniques for self-mastery / quantum powers, even tho tptb are winning. their appearance ages and weakens as their powers are exhausted by fighting tptb and watching their people suffer.

they boy goes on to fight everyone he meets, and wins because of his sword. he grows rich and powerful and becomes a strict patriarch. the girl goes on to help everyone she meets with her similarly magical feather, and grows beloved and respected as mother of all.

in time, his lands become despoiled and his people sickly, and he casts his eyes on her fertile lands and healthy people, and begins to take them, while his people, oppressed and suffering, begin deserting and joining her side.

feeling threatened, he amasses his armies on her borders. afraid, she goes to face him alone. he begins the attack, she waves her feather, and his weapons grow heavy, bend, and turn into trees. his soldiers disappear into the forest.

they spend a lot of time going thru antarctica having adventures, like the most involved and intricate videogame ever, but it’s much more real.

here it’s still hazy, and goes very fast. i’m not sure if that’s a good thing, but it’s what i’m working on at the moment. if i concentrate on it during my next meditation, it will expand in detail. i’m learning that this is how it works. whatever you concentrate on expands.

they wander thruout the land, creating things, purring things into order. wherever the girl sweeps the feather, people spring up, families and tribes and civilizations spreading out. wherever the boy touches his sword, castles spring up, fortresses, walled cities, and vast armies spreading out. all this takes a very long time, and is very tiring. the boy and girl lie down to rest.

while they are resting, their bodies spread out, the edges become less defined. they feel themselves becoming the land underneath them, feel themselves growing immense, endless, their bodies stretching to the horizon and beyond. the people, the civilizations are part of them, as if they are bits of fingers and arms, hairs, muscles. the whole world becomes an expression of the boy and girl, waving, wandering, breathing; carrying out even their unspoken dreams.

in the end, they both have the sensation that they are just lying there, the essence of antarctica, as if their very bodies formed the land masses and seas of antarctica, the soil, the mountains, as if every particle of their bodies were players, teeming over the archipelago and continent, playing the most real videogame ever, thinking they were individual players while actually being nerve endings of the boy and girl who were actually lying comatose on a rooftop.

5. Characters function according to social class/profession & transform selves or cross boundaries – from kids to rulers
7. Protagonist will meet enemies or friends – ????
8. Antagonist is often a witch, ogre, monster, or evil fairy – ???
12. Protagonist is tested & overcomes inimical forces – winning game
13. Usually peripeteia (sudden fall) in fortunes = temporary set back – ???(not in garden)
14. Miraculous / marvelous intervention needed to reverse wheel of fortune – ???(sword/fthr?)
15. Often protagonist here uses endowed gifts (including magical agens & cunning) – ???
9. MEDIATION: Misfortune or lack is made known, (hero is dispatched, hears call for help etc./ alternative is that victimized hero is sent away, freed from imprisonment). The hero now discovers the act of villainy or lack, perhaps finding their family or community devastated or caught up in a state of anguish and woe. – scales fall ????
10. BEGINNING COUNTER-ACTION: Seeker agrees to, or decides upon counter-action. The hero now decides to act in a way that will resolve the lack, for example finding a needed magical item, rescuing those who are captured or otherwise defeating the villain. This is a defining moment for the hero as this is the decision that sets the course of future actions and by which a previously ordinary person takes on the mantle of heroism. –
15. GUIDANCE: Hero is transferred, delivered or led to whereabouts of an object of the search;
16. STRUGGLE: Hero and villain join in direct combat;
17. BRANDING: Hero is branded (wounded/marked, receives ring or scarf);”


gamburtsevs: in an electronic mountain range they stand alone to fight the boss enemy. their appearance is old and weak, but they are at the peak of their powers. they are surprised by the identity of their enemy. they face themselves as they were in the garden of eden – young, spoiled, innocent, stupid. then they are those younger selves, facing caricatures of their old selves in ridiculous ill-fitting fantasy getup. both versions ready to fight to the death. on both as they decide this is a silly idea, and put the weapons down, and embrace.

the embrace makes them all explode, and they see that they are all one, and there is no time or space, and they create the entire universe in their own minds. the angel appears to ask the meaning of what they’ve just been thru and they answer with a koan-type answer that embraces the quantum universe. or not. fade to black.

the boy and girl stand alone against each other. they are old. they have missed each other. he is sorry for all the fuss. she’s sorry for staying away. they embrace, and energy builds up between them until their synapses overload and they explode in bliss. they see the duality of all things, and the oneness of all things.

in the light, as the feeling dulls down, the fiery angel appears and asks them the answer to the riddle. the answer is “binary/qunary/yes.” what is the meaning of this? that they are really one person. that everything is one, or else it’s nothing. and love is all you need.

and then what? there’s a final bit here right before they come back to consciousness, and i forget what it is. some final takeaway lesson. and do i need to have the angel come back and make them answer the questions – what’s it all for? but their quest was all about answering the questions. otherwise, what’s the point of hte wandering and the becoming the world?

6. Significant or signifying encounter – with themselves
10. Miraculous or marvelous change / transformation – into one
16. Success usually = marriage, acquisition of money, survival, wisdom or combination of first 3 – gamburtsev confrontation
17. As a whole these functions form TRANSFORMATION (overall focus of the tale) – gamburtsev hole
18. VICTORY: Villain is defeated (killed in combat, defeated in contest, killed while asleep, banished);
19. LIQUIDATION: Initial misfortune or lack is resolved (object of search distributed, spell broken, slain person revived, captive freed);
20. RETURN: Hero returns;
25. DIFFICULT TASK: Difficult task proposed to the hero (trial by ordeal, riddles, test of strength/endurance, other tasks);
26. SOLUTION: Task is resolved;
27. RECOGNITION: Hero is recognized (by mark, brand, or thing given to him/her);
28. EXPOSURE: False hero or villain is exposed;
29. TRANSFIGURATION: Hero is given a new appearance (is made whole, handsome, new garments etc.);
30. PUNISHMENT: Villain is punished;
31. WEDDING: Hero marries and ascends the throne (is rewarded/promoted).”


the bottom of a stairwell at their dragoncon hotel. they awake the next morning with hangovers. they’re lying in a stairwell looking all the way up thru the railings, feeling sick. a feather floats down beside them. the girl goes to pick it up but the boy criticizes her because it’s from a filthy pigeon and is probably diseased. she pockets it when his back is turned. her phone goes off – messages, missed calls. a text message from the angel: “cre8 teh gema antarctiQ. t’ch hte Sns 3*7. sord/fthr”

a computer-filled basement in the realworld, lit by multiple monitors, a tech reviews a clip of security footage, showing the boy and girl materializing into a stairwell. the tech passes it on to his superiors.

when they come back to themselves, it’s the next morning and they’re lying in a stairwell feeling sick. they find a feather. the girl goes to pick it up and the boy criticizes her because it’s from a filthy pigeon and is probably diseased. she picks it up when his back is turned. they get a text message from the angel: cre8 game, t’ch Sns, 3×7. fthr/sord.

21. PURSUIT: Hero is pursued (pursuer tries to kill, eat, undermine the hero);
22. RESCUE: Hero is rescued from pursuit (obstacles delay pursuer, hero hides or is hidden, hero transforms unrecognisably, hero saved from attempt on his/her life);
23. UNRECOGNIZED ARRIVAL: Hero unrecognized, arrives home or in another country;
24. UNFOUNDED CLAIMS: False hero presents unfounded claims;”

shit happens: apparition, security footage showing the boy and girl materializing into a stairwell.

they: write it off. the tech passes it on to his superiors.

use the negative space around a story to tell a different story. mary poppins as an evil witch who doesn’t know her place. things we aren’t permitted to see ‘disappeared’ by stage business (musical interlude etc) that covers reality.

morality tale – the dangers of being lazy and selfish, the desirability of ‘all one’. evil character – ??? use magic numbers, do things 3 times. clear contrast between good and evil???

The more recognizable and vivid the situations you describe, the more vague the feelings you suggest, the more he will then complete the vague images that you are offering with content that is meaningful to him and which he will agree with. This will deepen the rapport and make him more receptive to what you are saying.
Link descriptions of actions and situations to feelings: Description of action or situation + and this made him feel like … / gives you the feeling of …
Insert embedded commands: By inserting embedded commands, you may talk about anything but simultaneously you will be programming the reader,
A handy way to make your reader think about or imagine something, is to tell them * not to think about it * that there’s no such thing as … * It is impossible to imagine …
you can “anchor” strong emotions, that is: mark them and in this way link them to a touch, to a specific motion, to a painting, to the starlit sky … in fact, to anything at all.  The stronger the emotion felt when the anchor is set, the stronger the response will be when the anchor is “fired” later.  The more special and specific the anchor, the longer it will retain its function.”

celebrate the heroes at the margins, inspire us to face the true scale of our problems, and herald visions of a world remade. they will accommodate complexity, embrace diversity, and foreshadow the challenges and triumphs we all will face. step out of their traditional scripted roles and challenge the dominant expectation of obedience. this shifts power relationships in the moment and makes lasting imprint in imaginations – fundamental change at the deepest levels. story-based strategy is an exploration of how social movements can operate in the realm of narrative to create a shared story for interpreting political issues that inform the understanding of a critical mass of society.”

suspend binary judgements, to move beyond an evaluation of “absence” as the opposite of “presence,” and to consider absence in a different way: as something present—but not. That which is “not not present” is absent. When something present is not looked at, not recognized, not seen, it acquires a certain invisibility—in part, what I call “absence.” Absence is what is always there but overlooked, or there but unheard, or seen and heard but never mentioned. We do not immolate the story in reconsidering what it conceals. Those characteristics of Cinderella left unaddressed support this view of absence: somewhere behind the story sits another story, the one we are not meant to hear. Were we to hear it we would walk away with an entirely different perception of the poor beaten Cinderella—or several different perceptions. We might be inspired to question the value of the hidden features, to wonder where issues of class, aesthetics, nature, superstition, parenting, hunger or politics fit in our founding myths, to wonder at the importance of such a myth as Cinderella in our female lives. We might be sufficiently moved to overturn the patriarchal texts, insert others in their place (Nature filling its vacuum). Not, that is, to rewrite Cinderella, but instead to find a more feasible model for contemporary female behavior. Perhaps even to acknowledge that there can be no models except those we embrace through personal experience. Unlike other ways of seeing, this strategy does not limit or eliminate the text, but it does subvert it. By examining our essential stories, those we encountered at the knee, and those we “teach” to children, we begin to see in other ways, to discover culture as a tool for moral education, sexual regulation and female containment, and to locate female absence very close to home.
One of the few exceptions is Mary Poppins, who is also depicted as an aberrant, desexualized creature. For one thing, she is a woman without children of her own, who literally takes, and seduces, other people’s children. Here again is a magical woman, a witch, dressed in black, like a widow; appropriately, her boyfriend is also a witch of sorts, having the “luck” of the chimneysweeps. Does it not seem curious to anyone that he is able to impart good fortune through physical contact—and is this not somehow frightening? (As parents wouldn’t you tell your children, “Just say no?”) Mary’s relationship with Bert does not stray from what we expect, even demand, of her class—her “boyfriend” (neither is married, nor do they discuss it, at least onscreen) is also a working-class Victorian London stiff (which is to say that he is also poor), with the robust happiness we need to ascribe to poor people, as well as a tendency to copulate below stairs; still we never see or are even permitted to imagine the content of their romantic holidays, interrupted by a song or some bit of magic. Because of her magic, and an understanding of what children really need that surpasses the ordinary, Mary is cleverly depicted as being able to breach the class zone: here her magic characteristics are essential for an explanation of this otherwise scandalous, and (in terms of class distinctions) uncomfortable flexibility. She doesn’t know her place—the moral that the children’s father ends in teaching, as he “rescues” his children from the unsavoriness of their relationship with this queerly unmarried woman and her odd friend. Mary’s ability to tread between classes, however, elevates her even from Bert’s league: we know that she will leave him too, and are secretly satisfied. He is, for one thing, truly from the lowest class, as his mangled Cockney accent tells us, while Mary’s impossibly perfect speech distinguishes her as something quite different (though this is never really acknowledged); Bert is also, if only figuratively, black, while Mary is, however trenchantly, white.”

Structure: How will the story begin? What will be the problem? How is the problem going to be resolved? Theme: What is the theme / message the writer is attempting to communicate? Step1: THE MORAL LESSON Decide what lesson your fairytale is going to teach before you write it. At their core fairy tales are morality tales from the horror of stepmothers to not talking to strangers. They are generally teaching something and yours should do the same. A fairytale must have an evil character that works as an antagonist to the good character. The evil characters usually have special powers of some sort and they must use those powers in a way to cause the good character pain. The true essence of a fairy tale comes in the pixie dust and magic wands. Clever songs about magical words are optional, but some sort of magic should be present. The magic can be good or bad, or maybe even both. The main character can have magical abilities or perhaps be the victim of some sort of bad spell. It’s up to you. Don’t forget your numbers: Use the special numbers Three or Seven : Like magic, fairy tales wouldn’t be the same without special numbers. There were seven dwarves, three fairy godmothers, seven mermaid sisters and three little pigs. Three wishes or tests are very common, too. Find a way to work in three or seven of something and you’ll be set. Step9: IMPORTANT ELEMENTS- clear contrast between good and evil – often good and bad behaviour immediately after each other – often repetition: twice wrongly, once differently dealt with – so often groups of two or three: good and evil sisters – first, second, third son – also set phrases / sayings are often repeated.”

the character can clearly identify his or her plot goal but is not able to articulate the personal goal – at least not until it is achieved. it is the achievement of the personal goal, as a result of change/growth, that enunciates the theme of the screenplay.” “reversals – unexpected and often times unwanted events – appear in a number of different ways. there are the major reversals that completely alter the existing circumstances. these major reversals often come at the end of act 1 and act 2 and, as pointed out above, are sometimes called plot points. they’re the events that force the protagonist to move in an entirely different direction.” the necessity to overcome or sidestep obstacles continually involves the reader/viewer and also serves to motivate a character’s behavior. the choice of how to overcome or to sidestep an obstacle tells us about the character – his or her thoughts and background.” “screenwriters work with the characters who refuse to admit to the truths that are staring them in the face; those who direct their hostility toward a non-threatening person rather than the source of their hostility; those who use humor to hide behind; the ones who avoid feelings by engaging in predominantly intellectual concerns; those who accuse others of the behavior they dislike in themselves; the persons who deny their feelings, continuously excuse their own unacceptable behavior, over-achieve, under-achieve, live in fantasy worlds, repress anxiety-producing feelings and thoughts, and adopt and imitate the behavior of other people rather than develop their own. screenwriters people their screenplays with these kinds of characters because they are reflections of parts of themselves and the people they love and live with; and because these kinds of characters do the things that stories are made of.” “the final stage of personality development comes with a sense of integrity – when we accept ourselves and the people within the scope of our lives as being important and worthwhile. this brings an acceptance of responsibility for our own lives, a sense of communion with all people in all times and all places, and the ability to defend the dignity of our own lives against any external threats. when we don’t have this sense of integrity we live lives of despair and malcontent. we feel defeated and contemptuous about life and the way we’ve been treated.””

1. The villain — struggles against the hero. – angel
2. The dispatcher —character who makes the lack known and sends the hero off. – angel
3. The (magical) helper — helps the hero in the quest. – npc/angel?
6. The donor —prepares the hero or gives the hero some magical object. – angel
4. The princess or prize — the hero deserves her throughout the story but is unable to marry her because of an unfair evil, usually because of the villain. the hero’s journey is often ended when he marries the princess, thereby beating the villain. – girl
5. Her father — gives the task to the hero, identifies the false hero, marries the hero, often sought for during the narrative. Propp noted that functionally, the princess and the father can not be clearly distinguished. – girl
7. The hero or victim/seeker hero — reacts to the donor, weds the princess. – boy
8. False hero — takes credit for the hero’s actions or tries to marry the princess. – snake”


About jeanne

artist, grandma, alien

Posted on July 19, 2012, in Outline and tagged . Bookmark the permalink. Leave a comment.

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