In this day and age, when there are so many connecting wires of communication, convincing someone to slow down and join us in an experience which will transform and inform is a little difficult. There are few who are willing to engage in healing energies in the scheme of things. Many will talk the Spiritual talk but run from the Spiritual walk. Mythology is, more often than not, the Spiritual walk. We are supposed to guide people through an initiation which we ourselves have taken. And we can do it, we just have to put our backs into it.
I desire nothing more than serving pieces of art through communication with the abstract symbols which are our assigned medium. The theory of the craft of writing is so intense that many people can't integrate and display a mastery of said theory in order to really get the blissful experience of writing. Then when you add on the piece which is mythology, those who enrapture with words, sentences, and paragraphs normally walk away mumbling something under their breath about storytelling being hard enough as it is. Mythologists who stick it out are not only rewarded with a bounty that can only be kept in the banks of the higher heavens, but we share this bounty enabling others to open accounts alongside us- we are never alone. Thinking about the fact that we have been selected to this honorable position with its hindering tasks, can stop us from reaping what has been sowed while we were just using writing for escapism. Fore the process of becoming initially accepted and acknowledged is one, in which identicality to every other position on this Spa Planet: Earth, sends us on our fool's journey. Just like others it isn't the following of bliss which we start out with, but the warmth from escaping the environment of our holding cell. We write, not even closely aware of the fact that we, like doctors and nurses, will one day enliven and resuscitate the immortals, motivate and inspire the mortals, and give hope to the ghouls. If lucky, we move beyond that feeling we had when we first started and begin the journey of becoming a Mythologist. Schooling and theory on writing comes after escapism, and we die to who we were. There will be so much to learn about character arc and plot. Setting normally takes care of itself, unless we are going beyond the bounds of our atmosphere. But those darn married aspects of creative writing; those are the things that will make or break a writer. Like I said, liken to a doctor or nurse. Theory is just one aspect. It is an important aspect but only the pronouncement and exhibition to the world that being broken is not an option. After showing that there can be trust since now you are an initiative authoritative guide. Structure and Voice are licenses displaying name and ability. Upon becoming working apprentices of the art, the beauty which is storytelling, the mountain of comparative mythology must be climbed. There is a reason why we still need to read Homer or the Sumerians' Epic of Gilgamesh. We need Japanese and Chinese myths in our toolbox and how to use them. There is the greatest historical mythological story, according to some, the Good Book(s) of the Jews and the Christians which weaves history, philosophy, worship, ritual, and fantasy together so well that people are still dying over it. The list carries on with Egypt's Atum and Amun, both gods in their own right, good according to their own disciple sight; Norse; Celtic; African. Exhaustive one must be. This is why many don't Fuck with Myth. Mythology in one area of discipline is hard enough, but when you add the required information gained only be being a comparative mythologist, things get downright outrageous. Yet, going in the belly of the beast will bring about your own hero's journey; one which Joseph Campbell would be proud of. That is when you pass the bar exam, and gain your license, having everything you need in order to lead others through the beast of relevance. There's a lot on your shoulders Mythologists, I know; don't give up. There is no more rewarding way to serve than leading boys into being men and girls into being women. We need you; I desire your company. Just thin about this during those long nights and early days. School of theory, like Med School, only last so long. Apprenticeship, like internship, only last so long. Mastery schooling, like dissertation writing, only last so long. Do the time and graduate each level- slowly. The world will wait. For you are one of the keepers of the gate. Thanks for Listening! Sabrina Louise Andielle Crow Crew
0 Comments
Deja is the one fighting to stop this killing of Vu; so it would appear. She's the one who is verbally combative with Mikin when he is pacifying the Jungs and keeping Mow away from hearing their case. If we live in a tic for tac world (which many of us do) then Mow become in debt to Deja moments after arriving on Welnikov. In fact, the very act of attempting to bypass Mow and her powerful ability to destroy is how Mikin kickstarts the Deja and Mow relationship which ultimately kickstart the adventure/journey Mow has in order to receive her covenant with El Yahweh.
You can't out master the Master, Mikin! By Deja staying true to her dreams and speaking her truth, a new masculine energy was born, she was released from the reality that she would have remarried and retained a position that she didn't really enjoy. I mean, Deja and Vu were standing on the horizon watching El Yahweh create order and life with the Word. They were beings of chaos and served their position as the Masculine and Feminine Essences of Gaia just to a ripen disposition. There is no doubt in my mind that the old Deja, the Witness Deja, would have told El Yahweh where to go with the whole Death Moon Ritual which would kill Vu and leave her for another if not for her time spent as the Feminine Essence of Gaia. The old Deja would have killed Mow on sight, sending Mow to Paleolympho, Land of the Dead, after Zeus had sent everyone to Nigelmin, underworld of Welnikov. Yeah, Deja, and Vu for that matter, lived out their days simmering so that when it was time for toxic masculinity to be absorbed in the collective energetic source of Porthe Hole they could play their role. To be connected with another who has purpose with you. To be connected with another who love you like a Celine Dion love song. To be connected with another who will ride or die with you like a rapper's imaginative girlfriend. Means you have everything. Means you have power. Power that some are unable to harvest and stabilize. I mean Mow Yen and Po Li have a tight relationship, don't get me wrong, but it is in the beginning stages while Deja and Vu Jung have ran and completed the race and this they know. They're so confident in their combined strength that they only depend on El Yahweh to lead them, the unit, the couple; because, they know their combined power of rage and destruction is so strong that the only thing stronger is their love. Part of me wonders, did Deja know that when she was disembodied and sent to Nigelmin, she was in fact on her way to Porthe Hole? And could it be that this thought, this realization, frighten her into thinking that she would never see Vu again thereby doubting El Yahweh's dedication, love, and compassion toward the beings in its family? If only for a moment. Yeah, it did and that is what motivated Deja to push Mow so hard in the beginning. It is also what convinced her to stay around Mystical Rose and thereby lose her life force and be sent to Porthe Hole- she was searching for Vu. Bottom line, like the Theme of Hour of Change, Deja had to die. See, she could understand the need for Vu to be replace but not her, nor could she see herself with another male. For these reasons she had to, again, die, and die the way she did, then being a creature older than Creation, she had to return to Porthe Hole to one day be reborn. Like Mow she was afraid and like Mow, when she returned to Paleolympho to find Vu waiting she, realized that Her God is an Awesome God. Thanks for Listening! Sabrina Louise Andielle Well, well, well; we meet again. That was my attitude this morning, as I settled in to work on my WIP.
See, I am one of those gentle, Spirit chasing, devotees of this adventure called: Spirit having a Human Experience. The idea of thinking about pretending to raise my intent in an disobedient way cause me to shiver. I'm a solider in the army of the Creator-Thinker-Host who has been placed under the command of Yahweh. A solider, I tell you. I do what's told. Back on topic, Sabrina. I have always had problems with constructing a villain. I understood that everyone needs resistance to grow, but I just couldn't understand why you would want to be the resistance. Being a writing storyteller, I am responsible with the task of conveying ideas and meaning. To do this means I have to understand both sides of every situation- objectively. And, for the most part, I have learned to be open to the bad guy in order to get his/her story. Once I became "friends" with these rascals I came up against another wall: Now that I know you, are you really needed for the story? No longer shaken by their energy, I am able to ask different questions of my characters. No longer shaken by their energy, I am able to tell them to hit the dirt. That's what I did. That's where I am during this version of this story of Initiation; titled Hour of Change. Zeus and Hecate were villains during brainstorming, draft 1, draft 2, and the initial set-up of draft 3. Now I see that Zeus is the villain and he claps hard. After all, he is fighting for his life so he is taking no prisoners. My son says he, Zeus, "walked in the room folded his hands across his belly and said, 'I'm that n****r.'" Now those with teenagers or who are teen aged at heart know what my son meant and I'm quite proud. Allowing Zeus to be Zeus (god fighting to gain control of the third dimension and to avoid being returned to the primal energies of the Creator-Thinker-Host) took pressure off Hecate and she got to return to being the Titan/goddess caught up in Zeus mess and this time she may have made the wrong choice by making the choice she did. Anyway, I've freed up so much energy by strengthening Zeus and removing weight off Hecate. But the thing that surprised me most was the sigh of relief I let go when I just erased the Wayland character. I just simply returned him to my creative primal energies. The man won't even be mentioned in Hour of Change. I did replace him with a bad guy, the ultimate bad guy, Satan. But Yahweh is an on screen character who appears just before Satan and is the only one who even think about confronting Satan. But, both of them have seconds on film. Bottom Line: Free your imagination and let your stories be populated by personalities you wouldn't necessarily consciously portray while in the third dimension. Oh, and kill a few sons of bitches; if you have to. Thanks for Listening! Sabrina Louise Andielle There are supposed to be two types of stories: Plot-Driven and Character-Driven. In the past I would have agreed but as I mature as a writer of stories, I see that a powerful book not only has fleshed out characters and complicated plots & subplots, but also bread crumbs for the reader to gobble up in order to become engaged in the relationship between reader and writer.
In today's culture readers also want messages and themes- there must always be a moral of the story otherwise "why bother". Readers want something for their $20-$30 they're handing over to the bookstore. Overall, this means that the recipe for baking a story has become more complicated; overwhelming the write or making progress move at the speed of a turtle. The solution . . . an outline which renders these problems obsolete. With an outline everything from the good to the bad is poured on the grill for the writer to see. With heat of passion and instinct, the unnecessary ideas are removed from the outline and the writing of the book is cooked with short order quickness. How can one constantly provide goody after goody of stories? The answer is outlines. When I first started I was a panters, I felt that outlines squashed my creativity therefore I went through the process of writing draft after draft of a complete manuscript or I would flat out quit the project. I didn't have fully developed ideas when I began, my stories were often dull, and my characters didn't have enough to do which is why my manuscripts weren't considered as a true contemporary seeds for books. But I stuck with the profession, deciding to learn how to structure a written story and plan my works accordingly; hence the promotion of the requirement of an outline for success, Outlines save more heartaches than they cause. Again, it's like cooking, an outline makes certain that you have all the ingredients, tells you what goes where and when, then allow you to sit while the writing of the story rises in you. Much shorter process than if you tried to cook it from scratch. Outlines keep the excitement going because you can skip around during this or that step of the process. Although some may tell you that the outline can be as short as a couple of sentences, I believe the more in depth the summary (which is really what an outline is) is the better. A few quotes, write-out of some body movement, and the writer's voice/style will find their way into the outline- very good stuff. Like driving on a road trip, outlining gives you a snapshot of the directions but lack the sights that you can only get with writing the book. So if you're for saving time, sanity, and confidence, then outline; you won't be sorry, promise. -Thanks for Listening Sabrina-Louise Andielle I used to believe that to write a selling tale you had to just focus on the characters. I thought that the people that occupied my mind and spilled onto the pages were enough- they satisfied me.
Often as storytellers we must choose between a character driven or plot driven story; in the past I've always gone with character. These were the choices given and to me there was no mixing the two. At least that was my understanding of the types of written stories. If we must make a choice then it will be character driven, I stated, since I believed that plot driven ones were too difficult. There were the subplots, the twists, the turns, and the climax and as a fairly new writer I just couldn't grasp it all. But, I'm a reader as well as a writer and soon I began to see that some of the most enjoyable stories written are what you consider plot driven. Being the determined astrological goat that I am I had to add writing plot driven novels to my list of things to beat. So, I studied and studied, printing out articles and blog posts, reading books and even attempting to write plot driven material myself. Now I'm at a point where I feel that it's starting to pay off. My current WIP (Lady Agape & The New Dimension) is allowing me to combine what I've learned and after outlining for this approx. 22 chapters, 93,000 word first self-published project, I see that climax is the one thing I skipped over . . . it's barely there, I'll be honest. Now how can you write a plot driven piece of work and not have a strong climax? I don't know but I designed one with my outline. Meaning, I now have to redo the final 25% of my project jiggling the story once more making that draft #3. This is a fact that doesn't scare me. It's just a short hand of re-writing. I used to wonder how people kept at an outline and didn't lose their creative impulse. Now I see that the same drive is there and with outlining you save yourself having to write the entire manuscript over. Therefore, I will happily write in a climax, a soul gripping one as a matter of fact. I will go back and redesign a few key parts leading up to this point. But most of all, I will no longer say that I am just a character driven writer because I have found the glory of writing about a plot. I used to believe that plot driven stories were too hard, now I know that they're no harder to write than character driven stories. -Thanks for listening Sabrina-Louise Andielle |
AuthorOne of those writer folk telling stories, reviewing the writer's adventure, and presenting the hero's journey. All wrapped in Spirit, the Kingdom of God, the Sanatana Dharma, the Tao, the Way, or the Absolute. Archives
February 2020
Categories
All
|