Showing posts with label Weddings. Show all posts
Showing posts with label Weddings. Show all posts

Tuesday, February 27, 2018

Index To Theme-Symbolism Integration

Index To Theme-Symbolism Integration

Here are the posts about the advanced topic of integrating two separate kinds of thinking, cogitation about "theme" which we discuss in many posts, and "Symbolism" which is even more abstract and daunting to writers.


Here is a post on Communicating In Symbols
http://aliendjinnromances.blogspot.com/2009/03/communicating-in-symbols.html

Many other posts on Theme integrate with Symbolism

Theme-Symbolism Integration Part 1 - You Can't Fight City Hall (or can you?)
http://aliendjinnromances.blogspot.com/2014/12/theme-symbolism-integration-part-1-you.html

Theme-Symbolism Integration Part 2 - Why Do We Cry At Weddings - Part 1
http://aliendjinnromances.blogspot.com/2015/08/theme-symbolism-integration-part-2-why.html

Theme-Symbolism Integration Part 3 - Why Do We Cry At Weddings - Part 2 is
http://aliendjinnromances.blogspot.com/2015/08/theme-symbolism-integration-part-3-why.html

Theme-Symbolism Integration Part 4 - How To Use Candles As Symbolism
http://aliendjinnromances.blogspot.com/2016/01/theme-symbolism-integration-part-4-how.html

Theme-Symbolism Integration Part 5 - How To Create Using SHOW DON'T TELL
http://aliendjinnromances.blogspot.com/2016/01/theme-symbolism-integration-part-5-how.html

Theme-Symbolism Integration Part 6 - Expository Lump dissolver
https://aliendjinnromances.blogspot.com/2018/02/theme-symbolism-integration-part-6.html
Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Tuesday, February 20, 2018

Theme-Symbolism Integration Part 6 - Expository Lump Dissolver

Theme-Symbolism Integration Part 6 - Expository Lump Dissolver 
by
Jacqueline Lichtenberg


Previous parts in the Theme-Symbolism Integration Series are indexed at:
https://aliendjinnromances.blogspot.com/2018/02/index-to-theme-symbolism-integration.html
Symbolism is saying without saying.

Symbols are the essence of Show Don't Tell.  It is how the writer conveys both information and emotion -- giving both a single context.

Symbolism often uses the visual cortex, but all the senses can be used.

Perhaps the biggest contributor to symbolism is culture, heritage, and tradition.  Any object can become a "symbol" when used over generations in a particular way.

Wedding Bells, the Family Bible, a Gravestone, a monument or flag, an old soldier's uniform, a candle.  Anything can have layers and layers of history-emotion-meaning imbued into it.

Alien Romance writers, like all science fiction writers developing non-human peoples, have to bring readers to understand the symbols of Aliens.

Symbols are fabricated by writers (or chosen from their real world story-setting history books) to explain the THEME without using words.  Symbols are the alphabet of emotions, the "right brain" functions, and all the traditions of the Character's forefathers.

For questions, the answers to which are succinct Themes you can use, see:

https://aliendjinnromances.blogspot.com/2018/02/theme-worldbuilding-integration-part-18.html

You build your world, your fictional setting, from theme - from what you want to say.

So all sorts of questions having to do with "worldbuilding" are connected to the business of inventing symbols and explaining what they mean.

Theme and Symbol, when fully integrated (made into one single thing, indivisible), speak to the reader's subconscious and trigger floods of emotion, perhaps mystifying and intense, and make the reader memorize your byline.

But what does a fictional culture need a symbol for?  Human cultures all have invented symbols, but do all Aliens do that?  Or do they do it, but in a different way?

Creating the symbols meaningful to your Aliens is essential to bringing the reader to understand these Aliens -- and why a human's soul mate might lurk among these strangers.

Soul Mates respond to symbols in emotional ways which, if translated to music, would form a chord.  There is emotional harmony between the two Characters.  Multiple symbols can form an entire symphony -- a life together, a happily ever after.

Take for example, the problem of Depicting
http://aliendjinnromances.blogspot.com/2015/04/index-to-depiction-series-by-jacqueline.html
an Alien-Human Romance that starts out with repulsion between the two main characters.  Maybe they are on opposite sides of a war, or one does something the other considers immoral or degenerate.

But the plot calls for them to end up together -- in an HEA - a Happily Ever After life spanning the stars.  Or maybe spanning Galaxies, or Time Itself.

See the Guest Post by Julie E. Czerneda
https://aliendjinnromances.blogspot.com/2018/02/guest-post-by-julie-e-czerneda.html  where I rave (once again) about her long and complex Inter-Dimensional-Romance -- a whole universe driven and brought to a satisfying point of HEA by a simple and beautiful Love.

Julie's two characters start out strangers, with distrust and maybe condescension between them.  It is awkward, mysterious, strange -- not a friction-less love at first sight.  But they literally save the universe.  It just takes a while.

How can you make an HEA plot work when it starts with two people entirely, relentlessly, hopelessly at odds?

What in our everyday reality of human life would readers be familiar with that depicts this transformation?

When new writers, (who have seen this phenomenon draw two people into lifelong marriage,) try to depict what they have seen in reality, they end up narrating "backstory" -- all the things that happened before anything happened, before the story started but which make the story happen.

When related to a reader in that order (backwards) and using only narrative, a little dialogue, even peppered with a bit of description, the result is boring, and few readers will get beyond Chapter Two.

When you are certain the reader must understand these things BEFORE reading the story -- you produce what is known as the Expository Lump.

Such lumps "tell without showing."

That's not a "story" -- it is a lecture.

When your readers must know something before the impact of something else will score an emotional high for the reader, you probably have hold of a series, as Julie E. Czerneda discovered, and very possibly you have hold of the series by the wrong end.  Julie got a grip on her epic by the right end, and the entire odd universe she invented unfolded and cradled her Characters perfectly.

The way writers tell themselves stories is the opposite way (mirror image) of the way readers read themselves stories.

The writer has to learn to take what is imagined and turn it around, inside out and upside down - even backwards - to find a viewpoint angle in time-space-character which has artistic composition enough to draw a reader into the story.

In photography, or web page layout, they have made a science of "focusing" the viewer's eye, the attention, using "composition."  Story structure works the same way.  Symbols are the images that must be laid out in a composition to focus the emotional intelligence of the reader on the substance of the theme -- without telling the reader what the theme is.

So how do you compact all that information the reader must know before they know anything at all?

How do you plant the seed of Romance in the reader's mind where they don't see it growing until it blossoms?

One of the most popular plots is the Hate At First Sight which turns to Eternal Love -- but how can you Symbolize True Love amidst hatred and revulsion?
It takes space.  Decades ago, the entire Romance field consisted of 50,000 word novels -- little skinny things you could read on an airplane and toss in the trash when you deplane.

Then Science Fiction lovers spun off the Adult Fantasy field -- with big, fat, lovely, complex Relationship Driven Fantasy novels.

Then Big Fat novels exploded into the general Romance field (Historicals led the way, I think).

Now, most Romance Novels take a few evenings to read.

Why is that?

What is it about the Romance field that requires all those words to tell the story?

Is it the sex scenes -- just padded in between actual plot developments?

Partly, yes, but I think the main reason is that, like Action-Adventure, the Romance field has begun to explore the vast, untapped depths of human psychology.

The thing about early science fiction novels that attracted such scorn (up until Star Trek) was simply that, like early Comics, the characters underwent huge psychological turn-arounds, complete change of essential Character, (epiphany moments), after a single Plot Event.

Epiphany does not work that way in real life.

We have a MOMENT -- when we "see the light" -- and feel "changed forever."  And then we REVERT to old habits.

Only gradually, over years, does the Epiphany take hold and draw us into a more mature self-image and thus view of the world, and a new way of functioning.

Later - decades later - we look back and see it was that one, single, moment when "everything changed."  And most of us realize that it was indeed that moment, but then much-much-much more gradual assimilation of the meaning of that moment, and then implementing it in life.

Change can be abrupt -- such as the sudden loss of a loved one in a car crash - or it can be gradual -- such as the loss of a loved one to recurrent Cancer.

But the loss of what was, (job, home, family, -- think of all those who have lost their houses and jobs to hurricanes and wild fires in 2017 -- ) leads to the acquisition of what will be.

It isn't about THINGS.  It is about self-image.

Acquire a new self-image, and the things (symbols) in your life (Character) automatically change.  Abrupt change is painful.  Slow change just draws the pain out and out and out.  But slow change (maybe taking 4-10 years of hard living) leads to permanent change -- a true Ever After situation can be crafted step by step.  (e.g. get a new college degree, or job credential, better job, move to another country, found a business).

Along the path of change, THINGS acquire the status of SYMBOLS.

In a Romance, a couple will have one of those "transported" moments and designate the music they danced to that night as "Our Song."  Or the place it happened as "Our Place."  Or the clothing they were wearing as "Our Lucky Outfit."  Or perhaps the make of car (that saved them from injury in a crash) as "Our Lucky Car" and always buy that brand of car.

People create symbols -- love and hate all generate symbolism.

The most potent symbols are generated at moments of Change.

An example is the flag of a country.  The American Flag was created at the moment of breakaway into independence as a nation and symbolizes the independence of individuals -- a self-image of the pioneering spirit shared in the 13 Colonies, strong individuals bound by their beliefs.

If Aliens come to Earth to (save us from whatever) do something -- say the Aliens are being chased by worse Aliens (Gini Koch did that in her Aliens Series - big fat books driven entirely by Romance).  Earth decides these refugees are "The Good Guys" and we take them in, then turn and fight their pursuers -- and create a NEW FLAG to represent that Earth Alliance.

That new flag becomes a symbol of human-alien unity.

Uniting two civilizations under one symbol takes a long series of very big fat Romance novels.

And yes, starting such a series by narrating the history of the galaxy that led to the first arriving refugees and their war with their pursuers being so catastrophically lost, would just bore readers to tears.  Well, actually, readers would just toss the book after the first 3 pages.

But if you start crafting the opening with a human meeting an Alien Refugee (think of the film STARMAN), distrust, strangeness, -- and then instead of just falling into an alliance based on sympathy, -- you set them at odds over a symbolic issue, you have the springboard into a long series.

If you start with your Star-Crossed Lovers at odds, you have to convince the modern Romance reader that the evolution of your Characters' Relationship is possible.

How exactly can a human come to love a person (human or alien) that they find revolting, disgusting, horrifying, or threatening in some way.

The writer must study human psychology -- both actual university course textbooks on psychology, and modern self-help pop psychology with a special focus on the differences between them.

Then the writer must SHOW DON'T TELL that difference between what is actually known about human psychology and what the reader thinks is known, what is popularized.

Find the difference between actual science and pop-science that you want to reveal or argue about -- define it in one sentence.

Then make that difference the core driver of the Initial Reaction of the two Characters who will hold each other in such low regard, maybe contempt.

It could be that one will hold the other in Contempt and the other will regard the one who holds the Contempt as Willfully Ignorant Bastard.

Or they could each see the other in the same very unattractive light.

Find the reason behind each Character's view of the other.

Now, design the epiphany each encounters that changes their view.

Create the symbol they will later consider "Our Song/Place/Garmet"

Derive that Symbol from the difference between real-science psychology and pop-science psychology.

In other words, concretize an abstract concept.

Make sure that concrete object (symbol) is present in your opening scene and ending scene.

It should also be on the exact middle page -- and at that mid-point, you reveal the true meaning to them.

If it is a 14 book series -- book 7's middle page is that Epiphany magically attached to the Symbol.

A single symbol may come in a variety of shapes.

Note how in our discussion of Why Do We Cry At Weddings -- we mention a wide variety of symbols of weddings.  Certain things symbolize weddings -- others don't.  There is a mystical relationship between a physical object and what it can (or can't) symbolize.

Symbolism (for humans, and one supposes for Aliens) is not random.  Not just anything can become a symbol of whatever.  You don't get to invent the entire mechaniism of human psychology freehand, and just put in what seems "cool" to you, for the heck of it.

Creating Symbols is almost an exact science.  But it is still more than half artform.

A lot of a writer's time, and workday, is spent contemplating symbols and symbolism.  A picture is worth a thousand words.  Symbols, used well, move the plot, explain the backstory, break up expository lumps, transform narrative into description, and even create settings.

For example, as a writing exercise, set a love scene at the Lincoln Memorial in Washington D.C. -- right there at the foot of the seated statue.

Now pick that scene up, and set it on the walkway of the Golden Gate Bridge.

Examine what you have to change.

Setting = Symbolism.

So, humans think in symbols and humans feel in symbols.  Things, objects, heritage, -- all in free association with abstract ideas.

The reader starts with the described symbol, and then feels the idea.

The writer starts with the feeling of the idea, and then creates the symbol.

Writing is backwards from reading.

When you've got that one nailed, and can think backwards -- every novel you read will become something very different than a novel.

Learning to think backwards changes your life.  It takes getting through an epiphany to transform yourself from a reader into a writer.  (or vice-versa; some people are born writers).

So study the psychology of the epiphany, and learn to pilot your readers through a Character's epiphany from being utterly blind to their own "self" to having a good view of how their inner mind works.  Real people do this constantly, all the time through life.  Characters, only once.

That's right.  Story is just about defined by the high-point of a Character's Life.  Story is the MOMENT when a Character's life changes, and their self-image changes, and their behavior changes, and thus the results of their actions change.

CHANGE is the essence of Conflict which is the essence of story.

Conflict produces change in Characters.

The biggest, single, and most common Conflict all of us are familiar with is Romance itself.

Romance happens when we set aside our self-image and embrace Another Person.

So to pilot your readers through the transformative moment of Romance, you need to select a Conflict that will cause your Character to CHANGE -- from "this" type of person to "that" type of person.

You could write a self-help non-fiction book about what forces a person encounters in life that cause them to change -- and probably sell more copies than any Romance novel.  But if you want to write a novel, leave the narrative and lecture on the shelf in your mind, and focus on the Conflict that Causes your Characters to Change Each Other.

If they will end up at an HEA, in love forever, then start with them having an innate antipathy.  Explain that antipathy with symbols, and narrate it with conflict (he did this; therefore she did that).

Here is one key to dissolving the expository lump.

As the plot progresses, the story progresses.  Each has a Beginning, a Middle, and an End.

Start your love story with the two Characters averse to one another.

Make a Middle where the aversion abates to neutrality.

End when you transform that neutrality to love. 

Make the readers believe the theme of Love Conquers All by Showing Without Telling a basic principle of psychology.

Here's an example.

You see in others what you love or dislike about yourself - you see yourself in others - but "Love" of a certain HEA type happens when you meet a person whose aura or presence brings out the BEST IN YOU - and though the worst still exists, the BEST comes to dominate your life-expression.

Then you love your "self" (flaws and all) and are able to love this Other (flaws and all). It is a psychological vertical learning curve leading to the kind of maturity that can establish and manage an HEA life.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Tuesday, August 18, 2015

Theme-Symbolism Integration Part 3 Why Do We Cry At Weddings Part 2 by Jacqueline Lichtenberg

Theme-Symbolism Integration
Part 3
Why Do We Cry At Weddings Part 2
by
Jacqueline Lichtenberg
Symbolism
Bride&Groom Pray Before Ceremony
Without Seeing Each Other

Previous Parts of Theme-Symbolism Integration
PART 1
http://aliendjinnromances.blogspot.com/2014/12/theme-symbolism-integration-part-1-you.html

PART 2
http://aliendjinnromances.blogspot.com/2015/08/theme-symbolism-integration-part-2-why.html

And this is Part 3 of Theme-Symbolism Integration - as well as Part 2 of Why We Cry At Weddings.

It is said that laughter is a response to pain, the edge of the zone of pain, the prospect of pain -- a tickle is a sensation that can escalate into pain, but doesn't, yet it sets the nerves on fire and we laugh, giggle, flinch away just as if it were pain.

Emotional pain works the same way -- the tickle of the edge of a painful emotion sizzles through the nerves and jerks out a bark of laughter. 

Like a sneeze, laughter is a reflex: the nerves fire, the muscles respond, on a sliding scale of intensity.

Last week, we discussed Vulnerability -- how a writer does not need to understand precisely where their reader is vulnerable to evoke emotion in the reader, but a writer needs to understand the condition of vulnerability. 

A tickle on a vulnerable spot can be experienced as pain. 

"Salt in an open wound" is an example of that.  Ordinarily, our skin doesn't respond much to salt -- though enough salt on the skin for long enough dehydrates and puckers the skin.  Scrape the skin a little, then trickle salty sweat over the raw spot and OUCH!

The most vulnerable spot people today have in common is, I think, the knotted ball of symbolism that grows out of Religion (all of them; not any particular one). 

Bride Praying Before Ceremony
Religious people are viewed as stupid, or at least uneducated, and who wants to be viewed that way?  So we have a lot of people who seriously believe in God, but disavow all Religion because Religious people are stupid.  Some of these have convinced themselves that they don't believe in God, even though they do.  Some accept the idea of Souls and Soul Mates, but not God. 

We seem to be in an epoch of human history where our penetration of understanding of Nature, of Stars, and Planets, Galaxies and Particles, Dark Matter, Strings, and even Life On Other Planets, is finally becoming common knowledge.

In general, even just a High School education exposes people to the miracles of genetics, neurology, disease treatments and even cures based on our understanding of nerve cells, and the brain as a whole.

Even Sanity is coming under scientific scrutiny.  Out of body experiences can be explained by brain activity.  Many severe psychological conditions can be treated by daily medication, and more miracles are in the works.

We can solve anything.  We are just animals with a little more brain matter than most. 

In many ways that is a very comforting thought, and it leads to clear positions on various difficult matters such as Abortion, Death Penalty Crimes, the morality of War, and how to perform Charitable Deeds (or not).  The list of today's dilemmas seems endless, and most of them are easily resolved once you understand the world in terms of the human brain's electrochemical base.

You don't need God to get married, or have children -- in whichever order you choose.

Even people who go to Church a few dozen times a year to salute the Unknowable Infinite still live their everyday life in a totally explicable Knowable world.

We rely on that scientific view of reality, base all our decisions and actions on it, and feel confident that we know what we're doing as responsible adults. 

Saturn rules Science.

Neptune rules Romance.

Saturn rules bones.

Neptune rules the Soul.

Bones exist - we know that.  Souls do not exist -- we're pretty sure of that.


Yet we search for, and often find and marry, our Soul Mate.

When we fall in love, we FEEL a new sensation on a vulnerable part of the psyche -- it is a loss of virginity, a new sensation, a new set of nerves connecting and sizzling with a message.

Pain and Pleasure are the same thing -- nerves stimulated in a pattern.  One we flinch away from and try to avoid; the other we pursue and try to repeat. 

Where we are vulnerable and tender, very faint stimuli register as intense.  Where we are calloused from repeated stimulation, even the most intense stimuli are barely noticeable.

As physical creatures, we seek stimulation as validation of our existence, of life itself.  Experiencing a response to stimulus is essential to our well-being.

The louder the music (however pleasurable), the faster it deafens (callouses) you. 

Sex works like that.  The more frequent and unrestrained the sex, the more intensity you need in order to feel it. 

Taste works like that.  The spicier the food you regularly eat, the more spice you need to taste anything at all. 

Smell works like that.  If there's a bad smell in your house, you get used to it and your best friend won't tell you how your clothes stink.  You wouldn't believe it, anyway.

What you are used to becomes imperceptible -- yet we seek perception. 

The term is "Jaded Palate" -- if you have a jaded palate, even good things don't seem noticeable.

So how do we, as writers, sneak around to the back door of our readers' Soul and tickle them? 

The main tool we use to get through our reader's thick callouses and pierce their Souls with emotions they can not name is Symbolism.

But randomly chosen symbols will not add up to a story.

Working against each other, randomly chosen symbols produce an undifferentiated fog of gray.

Choosing symbols specifically to explicate a particular Theme produces sharp contrasts, black and white, yellow and red, green and orange.  Emotions work just like colors. 
Armenian Couple Crowned & Blessed


There are Seven Colors in the Rainbow -- and Seven Primary Emotions.

The writer's creative medium is not words, not computer word processing, and not even imagery or poetry -- the writer's creative medium is Emotion.

Naturally, there's a lot of argument over classifying human emotion! 

In early 2014, The Atlantic published this article headlined:
http://www.theatlantic.com/health/archive/2014/02/new-research-says-there-are-only-four-emotions/283560/

-----------quote-------
New Research Says There Are Only Four Emotions

Conventional scientific understanding is that there are six, but new research suggests there may only be happy, sad, afraid/surprised, and angry/disgusted.

-------------end quote------

This theory is in contravention to the accepted model of 6 Primary Emotions: happy, surprised, afraid, disgusted, angry, and sad. 

There is a more classic list of 7 Basic Emotions -- Anger, Contempt, Fear, Disgust, Happiness, Sadness and Surprise.

In 2012, Discover Magazine carried a story about defining humanity's 7 primal emotions by studying rats and making them laugh.

http://discovermagazine.com/2012/may/11-jaak-panksepp-rat-tickler-found-humans-7-primal-emotions

---------quote from Discover article------------
Since the 1960s, first at Bowling Green State University and later at Washington State University, Panksepp has charted seven networks of emotion in the brain: SEEKING, RAGE, FEAR, LUST, CARE, PANIC/GRIEF, and PLAY. He spells them in all caps because they are so fundamental, he says, that they have similar functions across species, from people to cats to, yes, rats.

Panksepp’s work has led him to conclude that basic emotion emerges not from the cerebral cortex, associated with complex thought in humans, but from deep, ancient brain structures, including the amygdala and the hypothalamus. Those findings may show how talk therapy can filter down from the cortex to alter the recesses of the mind. But Panksepp says his real goal is pushing cures up from below. His first therapeutic effort will use deep brain stimulation in the ancient neural networks he has charted to counteract depression. Panksepp recently sat down with DISCOVER executive editor ?Pamela Weintraub at the magazine’s offices in New York City to explain his iconoclastic take on emotion. His new book, The Archaeology of Mind: ?Neuroevolutionary Origins of Human Emotion, will be published in July.
------------end quote----------

See?  Just understand the brain, and you are master of life, the universe, and everything.

There really is nothing else.  Right? 

We can research, re-invent and re-define our Primary or Primal Emotions, and re-arrange ourselves and our lives any way we want.  A little electrical stimulus fixes everything.

These articles on the brain and emotions make perfect sense to us.  What more do you need to know? 
So now you know, can you explain why you cry at weddings? 

If Grief is a Primal Emotion, then it's obvious why we cry at Funerals, isn't it?  Grief is personal, and composed of feeling sorry for oneself at the same time as feeling what it is like to be the person whose life has ended.  How will your life end?  Is there any meaning to anything we do?

Clearly grief is uncomplicated and thus Primal.

Notice the absence of LOVE as a Primal emotion.  Is that absence congruent with your model of reality? 

Now look at this Kabbalah inspired article on the 7 Primary Emotions
http://www.chabad.org/library/article_cdo/aid/277116/jewish/Introduction.htm

---------quote-----------
The seven emotional attributes are:
-----------end-quote------------

Note how each of the 7 Primary Emotions listed on that page is composed of "cross-terms" as they say in math, or harmonics as they say in Astrology, or how an artist mixes colors to make new hues, making a palate of 49 Emotions which these exercises are designed to mature.

With maturity of these emotional states, the corresponding negative emotions cited in scientific articles are absorbed and dissipated by the light of these powerful emotions.  One's internal emotional climate shifts -- yes, climate change -- and the world seems brighter.  And the burst of tears at weddings becomes more explicable, perceptible as a glimpse of something too bright to look at directly. 

Click the links on the page to find the mixtures, which make it easier to sort out the melange of emotions causing that Cry At The Wedding outburst. 

Note this list starts with LOVE.

It starts with Loving-Kindness.

What does it feel like when someone looks at you with Loving-Kindness in their eyes?  I know you've seen it, but have you ever named it out loud?

Also note that LOVE is a component of every one of the other 6 emotions in the list. 

This 49-element model of human emotion uses LOVE as the power-source behind all emotion. 

You can't act in Justice without Love, and so on.  Love is the primary component, the origin and the source powering all others. But look at what "all others" includes -- but most especially does not include in this list of 7 Primary Emotions that combine to drive the human spirit.

Also note Grief is not on the list of 49.  Nor Fear.  This 7-Emotion paradigm depicts a totally different Reality than any of the other lists of primary emotions.

So think hard.  Is this portrait of Human Emotion more akin to your own internal primary emotions?  Does this depict your reality, or the reality you glimpse at the moment you burst into tears at a Wedding?


You may want to buy the following book which explains (though that's not what it was written for) how to create plot-events or symbols from these abstraction emotions. 

In this book:
 http://store.chabad.org/product.asp?Product=bk-mlc-counteng
Which you can also buy on Amazon:
http://www.amazon.com/Counting-Omer-Simon-Jacobson/dp/188658723X/

...each of the 49 individual Emotions discussed comes with a do-it-today exercise that is a challenge to your ordinary way of looking at the world.  These exercises, done in this sequence, strip calluses and leave vulnerability. 

To find out when the Omer is counted, search the App store (iPhone or iPad, probably Android too) for Omer.  Or the Android store.  There are lots of free apps, and some with in-app purchases.  An app usually uses your phone's local time to alert you to the day of the Omer being counted.

Starting with Passover and going 49 days to The Feast of Weeks, each day contains a plot-twist, and each annual repetition is no repetition at all, but rather a unique experience in learning about Emotion. 

You've heard the term "Emotional Intelligence?"  This exercise is preparation for an Emotional Intelligence test. 

There is a mystical (Kabbalah) tie between the day of the Lunar calendar and the action suggested in the exercises.  The idea is that doing that particular exercise on that specific day amplifies the effect the action has on your Emotional Intelligence in a way that doing it at another time would not have. 

The greater your emotional intelligence, the more effective you can be as a writer orchestrating emotional responses in your readers by using concrete plot-actions coupled with symbolism.

With that understanding grasped, let's get back to Weddings as a plot-Event.

As previously noted, the Romance part of a character's story is generally over at the Proposal.

But sometimes the hottest Romances start with a Wedding scene for mutual friend or relatives where the couple first meets -- during or after one of those Crying At A Wedding moments.

Eyes swimming, they see each other through rose-colored tears -- all the sharp edges and harsh lines of character flaws blurred out, and Loving Kindness sweeps them off their feet.

Now why do we understand the Crying At A Wedding moment to be a natural prelude to meeting a Soul Mate? 

If you've never seen it happen, never heard of it happening to anyone you know, still you find it an acceptable postulate to kick off a Relationship driven story.

Another good moment to start a Romance is at a Funeral -- during or after the crying, and desperately trying not to cry scene.

Likewise, there are meetings over a parent's death-bed, in a Court Room awaiting a death sentence, at the scene of a car accident, by the ambulances in front of a house going up in flames, amid the rubble of an earthquake or bombing in a war. 

These are moments of peak emotion, moments when the whole nervous system is in fear-fight-flight mode, constant orientation response mode.

These are not normal, everyday, get groceries and pick up the kids from school moments. 

The emotional peaking stretches the old emotional scars and calluses that ordinarily cover up our emotions and blunt the ability to respond to minor incoming stimuli.
 
These are moments of vulnerability when we can let another person "in" and give of ourselves in ways we ordinarily do not.  Connections can be made at such moments where the cracks in our emotional armor are spread wide.

Emotions welling up can crack that shell from the inside and leave sensitive surfaces exposed, vulnerable.

That happens at Weddings, and other Life Event Ceremonies.  Retirement ceremonies work.  Presidential Inaugural, or swearing in ceremonies. 

But just feeling emotion welling up doesn't cause that very odd, very peculiar and distinctive flash of tears common to the "Crying At A Wedding" moment.

Commonly, the tears well at the moment Bride or Groom says "I do" (or whatever they've written).

Or at the giving of the token (symbolism) - traditionally a ring.

Or at the first kiss -- which is likely not the very first, but is the first as a married couple.

The tears burn up out of the eyes at the moment recognized as "Everything Just Changed."

This is the moment the Future morphs, partly because of what the couple did and partly because you recognized the shift in Reality. 

We live in a state of taking things "for granted" -- of relying on assumptions.  We understand science, we understand ourselves as mortal animals governed by a complex brain - and that's it.

We just can't handle all the variables necessary to envision reality on many levels, extending along many axes, beyond infinity.  It's too much.  We can't work the problems of our lives with too much information.

So we cut down on our perceptions, hide behind emotional callus, and won't admit there is anything there that we are not feeling the presence of.

In these peak moments of life, though, the callus cracks, stretches open and exposes the tender flesh that can feel the "salt" -- the foreign substance -- hear the faint whisper of mystical Presence -- smell the whiff of the Garden of Eden -- taste mana. 

I'm using Biblical references because most readers will understand them.  But this ultimate truth perception-shift happens for everyone of every faith (atheist, too). 

You can use the Wedding Tears as a symbol to move your readers because it is common across all belief systems.

It is a moment in which some people experience confirmation that their Beliefs are true, not beliefs at all but really True-Truth, and that is astonishing and too painful to encompass.  Such a discovery is always followed by flinching away from it -- as if it were painful.

It is also a moment in which some people experience confrontation with the knowledge that everything they believe about Reality just is not true -- or not as complete a picture of Reality as they thought.

Either way, the callus cracks, like the clouds parting and letting sunlight into a dark day -- and we wince just as when sudden light in darkness causes a reflex to close our eyelids.

It is a "pull the rug out from under you" moment, a moment of astonishment when nothing you thought you could depend on actually works.

It is the moment between being shot and noticing that you're dead.

It occurs at that point where pleasure and pain join, where the scream of pain and the shout of laughter are indistinguishable. 

The physical nerves "white-out" and something else continues to perceive .... something.  It isn't the universe as you know it, but the universe unfiltered by your defending calluses.

There is the Uncertainty Principle -- where the observer changes the observed by the simple act of observing.  By noticing that The Future Changed at the moment two souls join, you have changed The Future.

Hence weddings must have Witnesses.  The act of Witnessing is the act of changing.

And that is not possible in the World As We Know It.  Just because I see you does not change you. 

Yet in some other Reality -- yes, it is true.  Two Souls mate and the Third Soul composed of the Two United is changed by the observation of the Witnesses.  So who witnesses can change the course of the marriage.  "I danced at your wedding," makes a difference.

Reality itself warps during these Life Event moments (and with our population in the billions, there are lots of such Events every moment the Earth turns).  Reality warps again as the moments are witnessed.

You've heard the phrase, "Don't look! You can't un-see this!" -- often applied to a gruesome accident or an atrocity. 

Once you have witnessed something, it becomes a part of you and can change the direction of your life.  Hence WITSEC - the Witness Protection Program.  You see it; you testify; you can not be the same person anymore or they will kill you for testifying.

The same is true of Weddings.  The knowledge that you are no longer the same person causes the tears -- grief for who you used to be, joy for all the new possibilities in your life, and maybe Love of God or whatever you deem the source of that searing brightness that lances into your vulnerable cracks.
 
Is it God?  Do you need to postulate that God Is Real or to admit the Soul is Real to understand why you cry at weddings? No, you don't have to.  It is one explanation that works fairly well for some people, but not the only one that covers all the observations.

Few come away from a crying jag at a wedding convinced that God came down and married these two Souls.  In fact, most people would think you crazy for saying that. 

Most people can point to sentimental reasons, memories of other weddings, realization of hopes for the new couple, poignant sorrow at the failure of their own marriage, cynical foreknowledge that this new couple will likewise part, and a piercing hope that, "No, not this time!"

So many mixed emotions clashing with each other create quite enough almost-pain to account for the buckets of tears shed at weddings down the ages.

Compare the tears shed at a Wedding with the burst of tears when you witness (even via TV) a heroic act, or a life sacrificed to save another, perhaps a helpless baby.  Compare the Wedding sensation with witnessing an Event such as how the USA responded during the 9/11 Attacks, or someone's worthy deed being given a worthy award.

Consider any movie or novel that you cried through the last ten minutes or twenty pages.  Finally, finally it all comes out right in the end and your faith in human nature is justified.

Each of these moments speaks in symbols, in traditions, in customs, in passing the torch to the next generation and finding them worthy - in symbols that affirm the continuity of human civilization.

Those symbols, arranged just-so, blindside us with a stab of hot emotion too searing to bear for more than an instant.  Just as when the dentist drills into a tooth and your eye waters, something from outside your callused shell breaks through to exposed nerve and you FEEL it.

That "It" that you feel may as well not exist in your life at all before and after that moment, just like the dentist's drill is always in his office but doesn't always hurt you.

What is that "It?"  What is it that comes through your cracks and hits a nerve in those peak moments of life?

Those who are bored at Weddings, or do not cry or feel deeply (maybe only come to get drunk?) may simply be too afraid of the nascent pain to let their calluses crack open even a little, to let that sensation happen to them. 

Naming that "It" gives you a Theme.  Shrouding that "It" in symbolism gives you a way of explaining what that "It" is to your reader, who may be one of those bored at a wedding type people. 

We see that "It" as "light" -- the kind of Light by which the Third Eye sees.  The wince away from that Light at Weddings is the Third Eyelid squinching shut after Witnessing the souls joined.

The "light" is so bright, the flash through our cracks so sudden, we can't See what's behind it, what's causing it, what's emitting that Light.  To us, it is only "It." 

  

"It" is amorphous.  To make a novel out of "It" manifesting in this world, you have to Name it. 

Your thesis for your theme is a Worldbuilding element.  In this World where these Characters live, Magic is Real, Evil is Palpable and Profitable, Good Always Wins (or Loses?).  Those are themes you never state in words, but mold into the fabric of your World. 

What is the "It" that intrudes at Life Ceremony Moments? Name that "It" and the name becomes your Theme.  "This is a World where "It" is (God, Devil, Demons, Angels, Aliens).  Each choice is a statement about that theme, and dictates the symbols that will be meaningful to your readers.  


Weddings have symbols and traditions for a reason. 

Use that reason even when you have your couple write their own vows and create new traditions.  Every tradition was done for the first time sometime.  Not all first time traditions last more than a generation.









One way to research current traditions is to search Pinterest for Wedding, Bride, Bride and Groom, and related keywords you can think of.  Wedding Planners and Photographers and Caterers are using Pinterest to present their services, and encourage innovative Weddings that won't bore the guests.  You can use their posted images to develop the symbolism in which to discuss your Theme.

 

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Tuesday, August 11, 2015

Theme-Symbolism Integration Part 2 Why Do We Cry At Weddings Part 1 by Jacqueline Lichtenberg

Theme-Symbolism Integration
Part 2
Why Do We Cry At Weddings?
Part 1
by
Jacqueline Lichtenberg




Theme-Symbolism Integration Part 1 is here:
http://aliendjinnromances.blogspot.com/2014/12/theme-symbolism-integration-part-1-you.html

So why do you cry at Weddings?

At what point in the ceremony are you most prone to burst into tears, or at  least gasp and blink and wish you'd remembered to bring tissues?

Does the point where you burst into sniffles signify a different reason for the emotional upwelling? 

Do you get that same feeling just looking at the pictures later? 

If you, the Romance writer, have no answer to that question, "Why?" then how can you portray, depict or evoke that crucial moment for your readers?

Do you fall back on cliche, or tell not show and just say "she sniffled" or had to leave because she was sobbing out loud? 

Have you ever examined that inner-emotional-WHAM that fills your eyes to the brim, in step by step analytical detail so that you know all the elements that compose that sob/gasp/whoom!

Have you ever experienced that kind of blast/scream of mysterious emotion in any other context?

Can you summon it at will, turn it this way and that, and dissect it so you can recreate it for readers who have never experienced it? 
 

Yes, some of your readers have never felt that exquisite pain/pleasure of crying at a wedding.

Some just suffer through weddings and consider it boring, never responding to the emotion of the moment.  Some are too overwhelmed by their own resentment or jealousy that someone else is getting married and they have no chance of ever having that moment.  Some are too overwrought by responsibility for "everything to go right" and can't feel the moment.  Some have only been to weddings where they were bridesmaids in pinching shoes and "the wrong color" for their body type. 

But do you know that flashing-burst of emotion intimately?  Do you feel it only at weddings?  Or does it come at other moments? 

Is the "at weddings" flash the same as that which comes over you on other occasions?  Is there something similar tying together the "at weddings" tears with tears that flood over you at other kinds of moments? 

If you can catalog, then contrast/compare the wash of tears brought on by various triggers and put words to the cause, to what your heart-of-hearts is responding to and why it is tender in that area, then you have nailed the ultimate theme of all Romance, or at the very least of all Soul-Mate based Romance. 

Here is a recent article on "triggers" and how society is conditioning young people to handle triggers:
http://www.theatlantic.com/magazine/archive/2015/09/the-coddling-of-the-american-mind/399356/

Does that spark of emotion akin to that at weddings just blindside you from time to time, get pushed aside because sobbing out loud would be inappropriate or embarrassing, and then disappear onto a dusty shelf in your mind, not cataloged by any keyword?

Do you pay attention to the whipsaw emotional responses you have as you wander through life?  If so, chances are good you are a writer -- even if you've never written anything other than your signature.

Classical Romance generally finishes off before the Wedding, perhaps at the proposal or the acceptance, but rarely continues into the practicality of planning a personal extravaganza.  Sometimes, driving off to Las Vegas for an Elvis Presley wedding makes a good Ending.  But mostly, the "romance" part is over when practical, real life begins. 

Astrologically, Neptune rules Romance -- the blurry veils that soften reality and make everything beautiful.  Saturn rules practicality, things like the Wedding budget, choice of menu, caterer, venue, how many guests you can invite to your Wedding, and so on. 

Wedding Planners make their living off the fact that the Romance is still smothering the Couple's ability to manage mundane details in a business-like manner.  The Wedding Planner's job is to create a cloud of dreamy beauty to cushion and waft the couple into a heavenly honeymoon. 

Meanwhile, the prospective in-laws are trying to repair the errors they made at their weddings by imposing their dreams on the new couple.

Criss-crossing currents of fury/hope/grim-determination (not to mention pinching shoes) often interfere with Event Planning.  So people today try to out-source it all by hiring a professional to put on a pageant where the Couple can be the stars of the show.

 One of the things Wedding Planners do is create that sentimental moment where there is not a dry eye in the house.  That's showmanship, it is show-don't-tell, and it is symbolism.  The key to invoking the most powerful symbolism is theme.

Here are some previous posts where we have explored how to use Theme and Symbolism and other techniques that build your fictional world around creating such a powerful moment your reader cries -- just as they would at a wedding. 

http://aliendjinnromances.blogspot.com/2012/08/how-to-use-theme-in-writing-romance.html

http://aliendjinnromances.blogspot.com/2013/05/index-to-theme-plot-integration.html

http://aliendjinnromances.blogspot.com/2014/04/index-to-theme-worldbuilding.html

http://aliendjinnromances.blogspot.com/2015/04/theme-plot-character-worldbuilding.html

http://aliendjinnromances.blogspot.com/2009/03/communicating-in-symbols.html

http://aliendjinnromances.blogspot.com/2012/05/theme-element-giving-and-receiving.html

To create such a tear jerker moment in your fictional wedding, you may not need to understand what is going on inside you when you burst-into-tears, and try to push down and contain your response.  But some writers do need to articulate the unnameable in order to nail it effectively.

If you have experienced that wordless sensation that causes the flood of tears, you can very likely replicate it for many of your readers.  But if you have just used the material (the symbolism) that jerks your tears, you may leave a good part of your readership cold because you did not include the symbols that represent their vulnerable spot.

Your vulnerable spot does not have to be the same as their vulnerable spot if you understand vulnerability in general. 

Most people do not understand why they feel the way they do -- and of course there is no one answer that explains any particular emotion in everyone.

Emotion is in that realm beyond language.

The alphabet of emotion is symbolism.

Neptune rules symbolism, and Saturn & Mercury rule vocabulary definitions.

Neptune rules Romance, and Romance speaks in symbols. 

Hence weddings fraught with traditional symbolism hit vulnerable spots in almost everyone -- but the spot and the vulnerability are different for each person.

The response of crying at a wedding is idiosyncratic, individualistic, and simply will not be crammed into a word.  There is no language to that gut-grunting-screech of a cry.

If the triggers are so diverse, and the inner-meaning so idiosyncratic, then why is the experience so wide-spread, so common?

Crying at a wedding isn't something that happens once in a lifetime.  Some people cry at every wedding.  Some people experience that wham of emotion under other circumstances besides weddings.  Baby Showers?  Christenings? And of course funerals, but those tears feel different.

So next week we'll look at this blindsiding gut-punch emotional flash in more clinical detail to  understand what you, as a writer, can do with it.

Meanwhile, go watch a movie that makes you cry, hit pause and feel that feeling.  Notice what it is doing inside you.  Watch for similar responses you have to commercials, to cute-animals on Facebook, to your kids' graduation, and even to funerals, or Award Ceremonies.  Tributes to fallen heroes.  Whatever stirs and moves you with a surprise flash and upwelling eyes.  

What is going on inside you when you cry at the sight of something external to you? 

You will find the images in this post on my Pinterest collection Entertainment and Information, with links to the Wedding Planners and other contractors a Bride needs.
https://www.pinterest.com/AmbrovZeor/entertainment-information-sources/

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com