Soul Mates and the HEA Real or Fantasy Part 7 Is The HEA Balderdash

Soul Mates and the HEA Real or Fantasy
Part 7
Is The HEA Balderdash? 

Previous parts in Soul Mates and the HEA are indexed at:

https://aliendjinnromances.blogspot.com/2019/05/index-to-soul-mates-and-hea-real-or.html

That index also contains links to posts discussing the HEA in the context of other subjects we've tackled here.

Today, let's look at some real-world views of the mystical element we call Soul.  Previously, we usually approach "Soul" as a binary proposition - either Souls are "real" in your built world, or there is no such thing as "Soul" in your built world.

In other words, as with entering a video game, you choose this or that trait, and throughout the game, stick with that choice.

But as we've noted, the readership most hungry for the payload a good Romance delivers, the HEA, is the very readership that thinks the HEA is balderdash, and thus the whole Romance genre is just balderdash.

I was in a casual discussion the other day with 3 men who were fans of the action-superhero-films, and devotees of Game of Thrones.

The shared, main complaint of this non-Romance reading audience was simple -- how come there is so little dialogue in action-superhero films?

One thought it was because dialogue is only exposition -- that's not the reason as you know if you've followed all the posts here on Tuesdays.

The reason that, over the last 15 years or so, the amount of screen time allocated to dialogue has steeply declined is simply that to afford the spiffy special effects, the film must hit it big in the non-USA market.  As someone on Twitter noted recently, you can't read subtitles while watching an action-film and enjoy the action.

Romance's "action" (plot-movement, change of situation, and character arc) all happens in words-spoken, in dialogue, and mostly in sub-text (dialogue that carries meaning other than what the dictionary says the words mean).

That's why we have a few heroic films like ROMANCING THE STONE,

and the Indiana Jones films, and so forth, and they do attract wider audiences, but Romance as such has a firm presence only in Comedy (which is, by the way, where Science Fiction started to break into wider audiences).

So there is a growing audience for the simple Romance where the guy gets the girl, and that's it.

To enjoy an action-romance film, the audience does not have to accept the HEA as either goal or distant possibility.

But the payload the disillusioned, cynical audience wants is the HEA-made-REAL.

We have discussed Believing In The Happily Ever After, and those posts are indexed here:
https://aliendjinnromances.blogspot.com/2016/11/index-to-believing-in-happily-ever-after.html

Each subset of the audience is looking for their own, unique, convincing premise to let them revel in the reality of a Happily Ever After lifetime.

With more and more people living to and beyond 100 years, ...

See the Wall Street Journal

https://www.wsj.com/articles/the-advantagesand-limitationsof-living-to-100-11558361828

...today's writer has so much more material to work with, to illustrate what happiness in marriage is, and how things work out in the long-long run.

"Ever After" is not about your 30's or 40's -- it might be about your 80's but more likely you won't understand "Happily" at all until after 100.

Now why is that?  And what good is happiness if you don't understand you have it until you're about gone?

The concept of the HEA is built on the concept of Soul Mates, which can't exist unless you postulate Souls plus some sort of structure for the Soul.

"Mate" implies that all souls have something missing that can be supplied by the opposite-number, the mate, like a key in a lock, two parts that make a whole.

So already you see in your world building process that postulating A Soul is not enough to drive a Romance.  You have to create some sort of structure from your amorphous Soul.

Luckily, many mystics through all human existence have come up with many theories of what a human is, and what part of us distinguishes us from animals.

Most pet owners are convinced their animal has a Soul - or whatever awareness it is that humans have of Self.

This theory is part of the theory of Soul-structure you find in Jewish Mysticism.  Animals have Souls, yes, but the structure of the animal's soul is different, simpler, than the structure of the human soul.

In Jewish Mysticism, the human body all by itself has a Soul, the animal Soul, absolutely essential for a human to live and with the goal of staying alive, but we also have a G-dly Soul, with the goal of reconnecting with the Source of all Soul.

So humans are bifurcate creatures?  Mysticism goes on to theorize five distinct levels of our non-material (no length, no breadth, no depth, no mass, can't be detected by physical existence)  structure, and our Souls exist on each of these 5 levels.  Each level of Soul has a name.

Here's an article that sets this out with extreme simplicity.

https://www.chabad.org/library/article_cdo/aid/3194/jewish/What-is-a-Soul-Neshamah.htm

As a writer building a world, you might not want to copy any particular, existing, mystical system.  Your Aliens might believe in some other system (which might be true for them, if not for humans).

But here is a quote to study from the article What Is A Soul Neshama.

--------quote-------
Five Levels

But it is the human soul that is both the most complex and the most lofty of souls. Our sages have said: "She is called by five names: Nefesh (soul), Ruach (spirit), Neshamah (breath), Chayah (life) and Yechidah (singularity)."2 The Chassidic masters explain that the soul's five "names" actually describe five levels or dimensions of the soul. Nefesh is the soul as the engine of physical life. Ruach is the emotional self and "personality." Neshamah is the intellectual self. Chayah is the supra-rational self—the seat of will, desire, commitment and faith. Yechidah connotes the essence of the soul—its unity with its source, the singular essence of G‑d. For the essence of the soul of man is "literally a part of G‑d above"3--a piece of G‑d in us, so to speak.

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

So you see, merely establishing whether Soul is real in your built world may not give you the plot that derives from that theme.  Plot requires conflict, but mere eternal conflict isn't a Plot -- plots have structure, just like Souls, and the plot's structure demands a beginning, a middle, and an END.

Souls, we know by definition, are "eternal" and thus don't "end."

The Happily Ever After "ending" can't be an "ending" at all since it is FOREVER by definition.  Ever-after = forever.

Here's a question to answer to generate a theme.

"Is Ever After Unchanging?" 

As we've noted in previous posts, the mystical theory is that Souls enter manifestation through the dimension of Time.

As I said above, the reason science can't design an experiment to identify a "Soul" and thus prove or disprove the structure of the universe, is that Souls as described in mystical thought, have no height, depth, width, or mass.

However, mystical thought postulates that Souls enter manifestation through the dimension of Time, which means Souls Exist.

In this system, we know that G-d does not exist, since "exist" means ride along the timeline one moment after another, subject to the laws of Time.  The concept G-d includes the postulate that this primal Cause is not subject to anything, least of all the created universe.

G-d creates Time, from outside it.  This is a notion that is very hard for a creature subject to Time, counting the years to 120, too conceptualize.  Nothing is exempt from Time.  Well, yes, exactly - no thing.

This is a fundamental axiom in the Visualization of the Cosmic All used by many people to make decisions, even about what to have for dinner.

It is worth pondering just how abstract, how fundamental, these axioms are because when you build your artificial world, you must depict everything and everyone (human and Alien) in a way that is consistent with your most abstract axiom.

Conflict arises to drive plots when two Characters in your built world disagree about their axioms.  What is an axiom to some is a mere postulate to another, subject to disproof.  Wars have been fought over this - and in fact, are being fought right now over such notions.

You can create a Fantasy world, or an alternate-reality, using the Souls notion, and the different ideas about the structure of the Soul.

But once you have included Soul, and defined it with its structure -- not in your narrative or exposition but just in your worldbuilding so you can keep your world consistent, weaving an aura of verisimilitude for your readers, -- then you can create Soul Mates.

If Souls have no structure in your world, there would be no mates, and no conflict. Each individual would be sovereign and in isolation, unable to Bond with others, and therefore unable to conflict.

Souls created for high drama will be dynamic, learning, growing, changing, both continuously and in leaps-and-bounds, discontinuously.  (like real people).

https://aliendjinnromances.blogspot.com/2015/07/why-every-novel-needs-love-story-part-2.html

So once you've included Soul in your world building, you give your Souls a structure that allows for "mating" and a part that drives the Character to find a mate, allows a Character to identify a Mate, then you have a Theme and Plot-Worldbuilding integrated set of postulates.

Now, if you can get your skeptical reader to suspend disbelief and empathize with a Character for whom Soul is an axiom, you can tackle the next part of "Happily Ever After" that your reader has problems with.

Most people who reject the fictional worlds with a thematic structure that allows for an HEA, do so because the HEA itself is an idiotic notion.

HEA requires both an eternity (a Soul)
 and a specific definition of Happiness.

Some readers reject the HEA as realistic because they don't know anyone who has lived it, or found it, or even heard of someone who is persistently happy.

In fact, the absence of real-life examples of an HEA couple is the biggest stumbling block.  Only children, teens who haven't lived long enough to observe the real-life absence of happiness or ever-after-to-a-hundred-years, actually believe in the HEA -- in "if I could just find my Soul Mate all my problems would be solved and I'd be happy."

Many cynics choke on the definition of happy.  The lifestyle depicted in many novels, the hopes and dreams as stated by the young and inexperienced, would be unendurably boring.

Boring?  Happiness?

Well, yes, by definition it's all over, no conflict, no giant projects, no Cause To Die For.  What an empty, boring life.

Would you be happy if you never had to wash another dish?  Ironing.  Mending.  Planting, reaping, washing, churning butter -- we used to work so hard, and one by one these daily chores have been lifted off our tired backs.  But are we happy?  No, now it's carpooling, PTA meetings, office work, ever-available-by-cell-phone.  We are not happy doing nothing.  And we're not happy having nothing to complain about.

So what is happiness?  You can't craft an HEA without a working definition of happiness, but your Characters may "arc," may start out the novel with one definition and travel a curved trajectory through the plot to end up with another.

Readers who can't abide the concept of Soul often also have no concrete definition of happiness.  To convince such readers to enjoy suspending disbelief, the writer has to supply both, or risk the novel being labeled balderdash.

The same mystical source that defines the Soul as structured into 5 levels, also solves the problem of why, in our everyday existence, we can't nail down a definition of happiness.

We know it when we feel it, but it is always an emotion that just evaporates on impact with the next life challenge.

Romance is an interval (a Neptune transit to your natal chart) when Neptune casts a glamour over the world, blurs the rough edges, and softens the impact of events.  People remember it as the happiest time of life, but it is a defined interval, not "ever after."

The honeymoon will inevitably end, and reality come crashing in.

OK, so when building your world to exemplify a theme having to do with the HEA, how do you define happiness?

Does happiness exist?

What happens to people when they are happy?

Neuroscience is pursuing this, taking interesting photos of the brain's circuitry.  But is "happiness" just the stimulation of the pleasure centers?

Many reject the HEA simply because "ever after" implies unchanging, and thus, as noted above, boring.

Humans crave change.  We play videogames and keep score because we need to do better each time, we need to count how many times, and change things.

The mental condition dictated by brain development during the college years is the unstoppable urge to "change the world" because it's all wrong, it's not new and modern, and we have to make those old people change.

To that developmental stage, all change is good, whether it is an improvement or not.

You can't have human happiness unless there's change, which means happiness can't be "ever after."  Eternal happiness would be hell.

So what exactly is happiness?  

It is obviously not a property of the physical, human (primate) body which has a pleasure center in the brain, but gets addicted, or goes stark-raving-nuts if that pleasure center is CONSTANTLY STIMULATED.

So happiness is not necessarily pleasurable, at least not to the body.

Note again the linkage between Soul Mates and the HEA is what this series of posts explores.  And we have come to a nexus where the two must connect.

That connecting nexus is the definition of happiness.

Perhaps "happiness" is not a phenomenon of the physical body, but rather a phenomenon of the Soul?

Because Soul is eternal, and only part of the complex structure of the Soul is subject to Time, true happiness, once achieved, is by definition eternal, or "ever after."

Once you've got it, you can't not-have-it.

The definition of happiness may contain the notion of eternity.

Now consider the bifurcate structure of the Soul discussed in the article quoted above,
https://www.chabad.org/library/article_cdo/aid/3194/jewish/What-is-a-Soul-Neshamah.htm

--------quote--------
Two Souls

The Chassidic masters speak of two distinct souls that vitalize the human being: an "Animal Soul" and a "G‑dly Soul." The Animal Soul is driven by the quest for self-preservation and self-enhancement; in this, it resembles the soul and self of all other creations. But we also possess a G‑dly Soul"--a soul driven by the desire to reconnect with its Source. Our lives are the story of the contest and interplay between these two souls, as we struggle to balance and reconcile our physical needs and desires with our spiritual aspirations, our self-focused drives with our altruistic yearnings. These two souls, however, do not reside "side-by-side" within the body; rather, the G‑dly Soul is enclothed within the Animal Soul—just as the Animal Soul is enclothed within the body. This means that the Animal Soul, too, is vitalized by the "part of G‑d above" at its core. Ostensibly, the two souls are in conflict with each other, but in essence they are compatible.4

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

Suppose we can't figure out "what" happiness is because happiness is a state, or experience, or property of the "G-dly Soul."  Experiencing happiness, the G-dly Soul within the Animal Soul induces a vibrational response in the Animal Soul.  And that response is all we have to examine.

We are trying to figure out what happiness is, when all we have to examine is the effect of happiness.

The G-dly Soul fused to the Animal Soul is the source, and it is the G-dly Soul's experience that causes the Animal Soul to feel happiness.

-----quote-----
A soul is not just the engine of life; it also embodies the why of a thing's existence, its meaning and purpose.

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

Maybe happiness is the achieving the G-dly Soul's meaning and purpose, the reason that unique individual was crested.

Or maybe it isn't having achieved that creates true happiness, but the score, the tally, we rack up along the way, like in a video game or any other engrossing, immersive, enthralling endeavor.

This image of the Soul's Quest being an "ever after" dynamic, ever-changing yet perpetual happy experience is presented in an article here:

https://www.chabad.org/library/article_cdo/aid/1303062/jewish/Help-from-the-Past.htm

The article provides a useful notion for plotters:

--------quote--------
All the souls of these generations have been here before. And they come with their baggage—both good and not so good.

But there is a distinction:

The good the soul has collected is eternal. It can never be uprooted, it can never fade away, for it is G‑dly, and G‑d does not change.

But the bad is not a thing of substance. It is an emptiness, a vacancy of light. As the soul makes its journey, through trials and travails, through growth and renewal, that darkness falls away, never to return.

Know yourself only as you are here in this life, and the challenges of our times are beyond perseverance.

Tap into the reservoir of your soul from the past, and find there the unimaginable powers of millennia.

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

Think about that.  GOOD is eternal.  BAD is dispatched, never to return.

That is score-keeping, that is measurable progress, that is what humans are designed to become engrossed within.

We wash one dish, set it in the drainer, and wash another, and keep score by how full the drainer is.

Or today we load the dishwasher, wait for it to cycle, take the dry dishes out and put in the rest of the pots and pans waiting on the counter.  Little by little, the kitchen comes into order, ready for the next meal.

The futility of all that stems from the lack of a COUNTER on the wall, to count the number of meals served vs the number that must be served, so we can see progress toward a goal.

We do it in stitching quilts, each stitch permanent vanquishing of scattered bits of cloth, and the progress toward a coherent pattern.

Happiness for humans is scoring progress toward the G-dly Soul's objective, a score kept by the Animal Soul, and a celebration, a high-five, between the two.

Every good deed, every bit of goodness our Souls have brought into the world over many lifetimes is progress, measurable progress toward the goal because Goodness is permanent while the bad is ephemeral.

So all the good you did in previous incarnations is part of your score in this incarnation.  And what you do now, will be part of your score next time.

Racking up that score, continuing to increase it, to do good deeds every day, is happiness.  You can increase your score by teaming with your Soul Mate, raising kids, working toward good causes, helping the helpless, or serving the meals every day, keeping bodies alive.

That is one usable theory that generates whole bundles of themes.  The HEA is not about achieving a static state, but rather is about achieving the dynamic state of increasing the good in the world.

See if you can come up with a system of axioms and postulates - say for your Aliens to live by - that has the ring of verisimilitude this one does.

By using different definitions of "good" you can generate lots of themes, and many Characters in conflict with each other -- none of whom are villains!  Everyone is increasing what they consider good in the world -- they just disagree on what is good!

But before you launch that conflict, be sure you have a resolution of it in mind.  "Good" may be as difficult to define for the modern reader as "happiness" is -- and Soul, and ever-after.

Both plotters and pantsers ...
https://aliendjinnromances.blogspot.com/2019/08/targeting-readership-part-16-plotters.html

...can use the method of knowing the resolution to the conflict before starting to write the novel.  As you write, using either crafting style, you will find that the resolution point itself may shift, change, and morph, requiring lots of rewriting.  Both styles require you to stop writing when the conflict has been resolved.

Consider that if happiness is, by definition, a property of the G-dly  Soul, then "mate" is likely also a property of the G-dly Soul.

Possibly, the Animal Soul's experience of cementing the Soul Mate bond is by sharing the G-dly Soul's happiness.

Now, if the reader's axiom is that there is no Soul, and thus no bifurcation into G-dly Soul and Animal Soul, and no structure of G-dly and Animal souls which could mate with another such bifurcate soul, then all of this is balderdash.

Your job, as a writer, is to make these notions real, tangible and immanent.  The best way to do that in fiction is to use symbolism.

https://aliendjinnromances.blogspot.com/2018/02/index-to-theme-symbolism-integration.html

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Theme-Archetype Integration Part 1: The Nature of Art

Theme-Archetype Integration
Part 1
The Nature of Art
by
Jacqueline Lichtenberg

On Facebook Messenger, I was discussing how to create fiction that can sell to a commercial market and at the same time just write what you want to write, what you feel you need to say, what is deeply personal and matters to you -- what you personally want readers to feel in their guts, way below the verbal level.

That gut-response is what makes fictions memorable, and thus talked about and recommended. 

I get that response to many things I've written, particularly Sime~Gen.

https://www.amazon.com/Sime-Gen-13-Book-Series/dp/B016QAFPMK/

Sime~Gen #14 is in the works, with more planned.

Most recently, I was reminded on Facebook how moving my first non-fiction book, STAR TREK LIVES!, has been to people still connected to me via social networking. 

Robert Eggleton posted a picture of the cover of STAR TREK LIVES! and said nice things about it, whereupon a number of people chimed in with their memories.  I only noticed the post when Robert J. Sawyer "tagged" me on his comment, and I got drawn into a long discussion where I answered underneath people's comments.  If you know how Facebook "works" -- it spawns lots of conversations under a broad topic where lots of people exchange views.  Choose the right friends, and it can be very cordial.

On previous series of posts on this blog, I've explained the intricate relationship between STAR TREK LIVES! -- non-fiction about a TV Series -- and Sime~Gen a future-history of humanity set (so far) mostly on Earth of the far future.

The private discussion on Facebook Messenger with this other writer was within the context of the lasting impact my work has had, still echoing down the generations of writers and readers. 

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

and to
http://aliendjinnromances.blogspot.com/2013/11/index-post-to-art-and-craft-of-story.html

... which she had read through once, and came back to say she was left puzzled by my use of the term "archetypes" (she is a well educated professional writer, so it was my usage not her ignorance).

And it is true, I do use the word to refer to a bit of fiction-structure which is related to fiction the way math is related to theoretical physics. 

 That archetype structure behind the fictional worlds is what gives those fictional worlds their verisimilitude.

We've discussed verisimilitude in several posts.  Here are a few:

http://aliendjinnromances.blogspot.com/2016/10/alien-sexuality-part-3-corporate-greed_25.html

http://aliendjinnromances.blogspot.com/2016/06/depiction-part-14-depicting-cultural.html

http://aliendjinnromances.blogspot.com/2015/07/why-every-novel-needs-love-story-part-2.html

http://aliendjinnromances.blogspot.com/2015/07/why-every-novel-needs-love-story-part-1.html

Creating verisimilitude is a key writing craft skill -- craft not art.  Craft can be learned by anyone who can write a literate sentence.  Art may be born into you, or absorbed from those who raise you, or a combination, but you can't just "learn" it with the intellectual part of your mind.  And you can't learn Art with the part of your mind that can be trained in a Craft (such as driving a car can't be mastered by reading a book about it.)

I make vocabulary distinctions to refer to components of what it takes to launch into a commercial fiction writing career. 

Art is like Math.  In Math you "let X equal" -- or just arbitrarily assign meanings to blank variables.  That trick is the power behind applying a mathematical discovery to a real world problem, such as the Grand Adversary of all students, The Word Problem. 

A Math formula is the math equivalent of fiction's archetype. 

If you are accustomed to solving problems using carefully selected math formulae, then you know on a nonverbal level what an archetype is.

Yes, it is non-verbal.  The language handling section of your brain can not acquire or manipulate the underlying concept "archetype" with the kind of facility necessary to create the artistic dimension of fiction.

LOVE CONQUERS ALL leading to the HAPPILY EVER AFTER is the result of applying an archetype to a problem, of "letting X equal and Y equal" then applying rules to manipulate the equation until you get a solution.

The problem you are applying the archetype to is the problem of "What Is The Meaning Of Life?"  Or maybe, "What Is Life?"

Which archetype you select to apply to that WHAT IS LIFE? problem is dictated by the theme for your fictional story.  Or maybe the other way around on some occasions, the resulting THEME your novel explicates (after you cut, trim, rewrite, clarify) will have to be an exemplification of the archetype you accidentally applied.

When you are doing "Art" - those "accidents" are in fact your subconscious screaming at you, "SAY THIS!" 

We don't always know what we know until we tell ourselves. 

So how do we know what we know in order to say it in a novel?

We view the world and then we depict what we see.

Art is a selective depiction of Reality.

Art is not reality itself.  Art is a few bits and pieces of Reality, rearranged to say something that may be useful to those who hear it. 

Fiction is a conversation about Reality in the language of Art, between fiction writers with readers eavesdropping.  Art is a "language" just as mathematics is a language.  Physicists talk to each other in Math.  Fiction Writers talk to each other in Art.

Physicists talk about the structure of Reality, and Writers talk about the structure of Life.

Both professions are Artistic professions, creative professions, exploring "where no one has gone before." 

Good physicists ask good questions no physicist has asked before.  Good writers as questions no writer -- or in the case of science fiction romance, no living being -- has asked before.

Having asked a New Question, the artist then suggests an Answer.

Not THE Answer, mind you, but An Answer.  Another writer will try to disprove that Answer, postulating a different Answer, and the argument will take shape as readers try out every variation they can imagine.  News stories and academic studies will flow, "progress" will be made, and the conversational argument will continue.

That exploration of the non-existent, unreal world of imagination is endlessly fascinating because if a human can imagine it, some other human can make it real.

That is how Art fuels human progress, and why it is so important to "support The Arts" -- Art inspires.

Commercial Art may inspire but that is not its purpose.  Commercial Art exists to make a profit, and Commercial Artists do this work to make a living while dreaming of making a killing! 

Art is a necessary component of human life -- it existed as Cave Paintings and campfire stories long before people lived in permanent structures with sewers and chimneys.

Art has proven to be a necessary component of Civilization because it inspires creativity and convinces young people to dream and make it real.  Through Art we know we can succeed.

So, as I have discussed in many previous posts, the Artistic component of novel writing, as opposed to the Craft Mechanics component, comes from the writer's ability to look at the tangled mess of "white noise" that is the Reality we live in, and sort out a signal, see a pattern in the randomness of reality. 

That signal may actually be there -- or maybe not, maybe it is just the writer's imagination.  Psychological Studies have determined that humans will always see patterns where there actually are none -- such studies are cited as proof that God does not exist, but is just a figment of our imaginations.

We see patterns in the Stars and give constellations names.  Various cultures have seen different patterns and named them differently, attributing different powers to the same sky patterns.

There is something that we just know:  Reality consists of patterns.

We don't believe this.  We know it. 

Science, on the other hand, seems to have proven that we see patterns where there are none.  Most of reality is random.  Entropy (disorder) always increases.

Then there is the Observer Effect, in physics, where the act of observing changes the observed.  This happens because to observe, one must bounce something off the object being observed and detect it.  When the bounce-impact happens, the observed object thereupon changes, and the bounce-back particle does not carry all the information about what the object will become. 

In other words, as of the early 20th Century, theoretical physics (mostly just math at that time, but now being checked out by the Hadron Collider) postulated a connectivity among all physical objects.

Oddly, this notion mirrored the bedrock principles of the most Ancient mysticism we have record of -- ancient magical traditions, religions even more ancient, -- humanity has always "known" that somehow what we think and feel affects concrete reality. 

Physics is all about discovering the equations that describe how physical objects affect one another (gravity and so on).

Art is all about discovering the archetypes that describe how human lives affect one another (Romance and so on).

The psychological "archetypes" that Carl Jung made so famous
https://www.amazon.com/dp/B00GYGPZ22/
describe not only how individual humans function, but also how we are all "connected" through the collective subconscious. 

Structuring human psychology this way brings human psychology into the same kind of structure that physics was postulating (during those same decades of the early 20th century).  In short it is "wheels inside of wheels" -- symmetry. 

And if you study Kabbalah, you will find that the Tree of Life structure that delineates (with mathematical precision) the connection between human consciousness and the physical world around us also uses that "wheels inside of wheels" structure.

The 10 Sepheroth or areas of definition, each contain all the 10, each of which contains all the ten -- the infinite regression effect symbolized by the Quaker Oats box with the picture of the Quaker Oats guy holding a box of Quaker Oats with the Quaker Oats guy holding a box of ..... infinitely.

Note how the image here shows each of the Sepheroth as Trees in and of themselves.  Now visualize how each of the Sepheroth on each of the little Trees contains another Tree.  In Math, these are called Cross Terms. 


One excellent way to understand how this bit of physics (reflection, infinite iteration) applies to human emotion at the interface between the spiritual and the physical (Love vs Sex) is to study this book:

https://www.amazon.com/Spiritual-Guide-Counting-Omer-Forty-Nine/dp/B008NAF37Y/

This 49 day drill, done annually, educates and trains that non-verbal part of the mind that knows without believing.  (...knows such things as Love Conquers All -- a corollary of Joy Breaks All Barriers -- and other principles that are hugely unpopular these days.)

The human emotions are the lower 7 of the 10 Sephiroth, and each of the 7 manifest in human beings as combinations with each of the other 7X7=49. 

Each one of these focused exercises will yield at least one, of not dozens, of Romance Novel Plots, all with Beginning, Middle, End laid out clearly.

Underlying this particular book's explanation of this 7X7 structure of the human psyche is the pure Archetype that generates our human personality.  Once fully grasped, these principles will reveal why sayings such as, "There's no accounting for taste!" are not true. 

Archetypes belong to the realm of non-verbalizable knowledge.  It is not belief, but actual knowledge accessed by a different cognitive function that does not encode data in words or even in math.

An archetype is a pattern.  If you set out to make a new dress, you go to the notions store and select a pattern.  That pattern envelope contains several variations (long sleeve, short sleeve), and the one you select will give you a range of sizes. 

Behind all the variations and sizes is an "archetype" of "dress" -- ball gown, job interview dress, cocktail dress, etc.

Now you go select material and matching thread and buttons, zippers, sequins, whatever. Every possible combination will produce vastly different results.

But underlying all those different dresses is still The Archetype for that style dress that generated the folded tissue inside the envelope.

With writing a novel, you do the same thing.  You go to your store of Views of The Universe -- (life's a Ball, life's a party, life's a dinner date, life's all work, life's deep sea fishing expedition) -- and you pick out one of your Views.

Then you go to your notions counter and pick out details of how this Life you are going to depict is going.

Just as sewing that dress is an exercise in craft, so too is writing the novel depicting the meaning of life as experienced by this particular Character.

Your reader will recognize the verisimilitude of the life you are depicting because your reader, too, knows the archetype behind your original creation.

As Jung pointed out, we are all connected by something -- and he called that something the Collective Unconscious.  Maybe there is no such thing, but there is something we all have in common, we all recognize, no matter how hidden by details.

Art is in the selection of details juxtaposed to convey a theme - a message about the nature of life.

But the commercial novel writer does not get to invent new patterns, freehand.  If enough readers can recognize the underlying archetype, the pattern you selected, the novel will sell well.  If that pattern is not recognizable, the first people to buy it will not recommend it to others.

Scholarly, creative writers don't get to invent archetypes either -- but they may discover them.  Archetypes are as structurally fundamental to the structure of reality as are the laws of gravity.  We can't invent gravity - but our understanding of its relationship to space and time has changed markedly over the last few decades.

 Jean Lorrah, my sometime collaborator and a Professor of English, has noted that the novels we write belong to a hitherto unrecognized category, a particular Plot Archetype which I call Intimate Adventure (Action Adventure with the Action replaced by Intimacy which may or may not be sexual).

In real life, all the archetypes overlap and interact -- every human born on this planet has a unique composite of archetypes (Natal Chart) plus all the modifications (epigenetics) they gather through life.  It's a mish-mosh. 

In fiction, the Characters have 3 prominent traits, only one of which is dominant.  Characters are like musical chords, formulated just so. Not every chord goes with every other chord -- in a novel, the writer has to stick to the "Key" as the music writer has to stick to a Key.  The plot events of a novel are the "Time" or rhythm, -- is it a waltz or a fox trot or a tango? 

As I have explained in previous threads, Writing Is A Performing Art, a wisdom taught to me by Alma Hill.

Commercial Fiction Writers perform the story, just as a pianist might perform a Chopin piece for an audience.

No two performers do it the same way, and no two performances by a given pianist come out exactly the same.  A performance is a hand-made, one of a kind, artistic creation.

It is just like giving a speech someone else wrote, or making a dress from a pattern bought at a store.  Individual components are carefully chosen to go together into an artistic whole, with each component enhancing the meaning of all the others.  A huge set of individually mastered skills are brought together into a performance to present a tiny glimpse of infinite wisdom.

The choosing of components, the bringing of the components together to make the underlying Archetype visible, yet manifesting in a unique way, is the writer's Art.  The craft lies in the practice and mastery that makes the performance seamless, effortless, uplifting, memorable.

One sour note, one off-beat plot event, can reduce the sublime to the intolerable.

The Art is in the non-verbal message that is conveyed by the style, voice, and the beauty of the performance. 

Some commercial writers have to know what they're doing to do it well.  Some can't do it at all if they know what they're doing.  Others are hybrids of these extremes.

How you accomplish the performance is idiosyncratic.  What story you perform for which audience is idiosyncratic.  Writing teaches you as much about yourself as it does about the world and your audience.

The art lies in how you fit what you have to say within the recognizable archetype you share with your audience. 

Artists see something in the chaos of reality that the audience doesn't see, then use the tools of shared archetypes to reveal the purpose and meaning of life.

There is no art form that does this better than the Science Fiction Romance.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Alien Sexuality Part 3 - Corporate Greed And The Sex Drive

Alien Sexuality
Part 3
Corporate Greed And The Sex Drive
by
Jacqueline Lichtenberg

Part 1 of this series on Alien Sexuality is
http://aliendjinnromances.blogspot.com/2010/12/alien-sexuality-part-one-root-of-all.html

Part 1 is about the root of all conflict -- i.e. sexuality itself.

Part 2 is about the question, "What is Life?"
http://aliendjinnromances.blogspot.com/2016/08/alien-sexuality-part-two-what-is-life.html
And this is Part Three about, "What is Power?"

A popular view of decision-makers who seem to have power over our lives and destiny is that they "give away" our jobs (or other rights or possessions) to people who do not use those assets to our advantage.  Corporate Greed, an easily observed phenomenon of everyday reality, has to be accounted for by Science Fiction Romance writers building an Alien culture.

Is every human who acquires Power necessarily Greedy?

Does Power create Greed?

Or is Greed just another innate trait of all humans?

If so, then could we say that the "impoverished workers" referred to in the quote here are not impoverished at all, certainly not by the business owners, but rather are simply Greedy themselves and "projecting" their inner trait onto prospective employers who refuse them jobs?

That would be a very dangerous thing to say, wouldn't it?

What would a powerful but non-Greedy Alien be like? Would such an Alien make a magnetic Love Interest for your Human Main Character?

How does a Powerful person react to being out-competed for a vital resource such as a job?  Are Powerful, Self-Confident people sore losers who are jealous and resentful of the winner's "good luck?"  Or is being a gracious loser the sign of a Powerful person?  What exactly is "power" when it comes to Human Personality and how does it manifest in Human society and economies?

We might view "Power" as the root of the sex drive itself.  Or we might see it as the main avenue of communication between Human and Alien, since "power" is a property of the physical universe we share with the Aliens.

We've talked a lot about how a writer can (and must) create verisimilitude in a novel's Worldbuilding or "background" as well as the "back story" of each Character -- the experiences that make the Characters see things and react emotionally to those things just exactly this way - and not that way.

http://aliendjinnromances.blogspot.com/2014/04/index-to-theme-worldbuilding.html
http://aliendjinnromances.blogspot.com/2015/12/index-to-theme-plot-character.html
Given verisimilitude, a reader will be able to relate to the most Alien of aliens -- and even fall desperately in love with your Alien character.

The same aura of verisimilitude paints the villain or antagonist as so vile, so corrupt, so bigoted and hate-filled that the reader will become invested in watching the hero or protagonist conquer that villain, out-competing and humiliating the villain.  But what if the villain then takes that defeat (in the middle of the novel) with grace instead of jealous resentment?  Might the reader reconsider which Character is the Hero and which the Villain?

We have seen in Star Trek how a defeated Klingon warrior respects his conqueror without diminishing his own self-respect.  A job seeker out-competed by someone else who adopts the Klingon warrior's attitude might increase chances of being hired for an even better paying job where (plot twist) he/she meets a Soul Mate and lives Happily Ever After.

This dynamic of human relationships is one of the subtle aspects of our natural world that we use to draw readers into science fiction, and it works as a story springboard, too.  Story Springboards are the coiled Power beneath the opening line that propels the character into the adventure.  Defeat always reveals Character and engages reader sympathy.

Love At First Sight is a thematic element that works well as a Story Springboard.  The opening line can be something like, "The woman in the muddy wedding dress leaned against the door to my office and watched me stride down the hall toward her."

So suppose "I" am the alien version of a private detective and the office is on a Pirate Planet that hosts hundreds of space pirate operations, and "she" is a human woman who has escaped a forced marriage to some such Pirate and run for her life.

Pirate operations often grow to be giant international corporations, sometimes going legit as we have seen Organized Crime do.  Look at all the historical accounts of Robber Barons -- in USA History, we find many nefarious deeds building the fortunes of Rockefeller, Vanderbilt, et. al., - railroad fortunes, steel fortunes, - all high-tech exploits of their day.

Fortunes are rarely amassed "cleanly."  It does happen, and such stories are the source of great novels.  But it is rare in real life.

Why is that?  Why are fortunes associated with nefarious dealings or unethical use of force to "twist arms" or "buy politicians?"  Of course, also to own the police.

Is that tendency for nefarious deeds to found powerful fortunes an innate property of human nature, not to be found among Aliens?  Or is defiance of social norms necessary for economic success, thus the acquisition of the Power to deny certain people jobs?

Do humans need to see such a tendency in Aliens in order to fall in Love?  Is the Power to defy social norms sexy?  Are all great fortunes amassed by Bad Boys/Gals?

Bad-Gals are still very hot in 2016.
http://www.usanetwork.com/queenofthesouth

What is the primary substance of which Amassed Fortunes - giant corporations, multi-national banking, and shadow banking are formed?
http://aliendjinnromances.blogspot.com/2014/09/reviews-10-shadow-banking-in-fantasy.html

And how can love conquer all that greed?

To find what readers need in order to immerse themselves in your fictional world, we have to look very closely at the similarities and differences between Love and Sex, between Kingship and Greed.

Yes, "Kingship" would be the opposite of Greed in the fictional worldbuilding paradigm.

We write a lot of romance novels using one or another theory of government by Aristocracy -- the "Duke" is one level of aristocracy that makes grand Romance, and there is a reason for that.

A Duke is one step below King, has a lot of power, land, money, and social influence, but not more than one man could plausibly handle.

A King has no strictures on implementing his whims, irritations, or outright hatreds.  Offend the King and it's "off with your head" if the particular man is incapable of handling Power.

"Power" of the political sort, not electrical, is one of those stripped back basic concepts that we might expect to be the same among Aliens as among humans.

What exactly is Power?

Quick Google search for "What is political power?" yields:

---------quote-----------
Political Power: Definition, Types & Sources - Video & Lesson ...
study.com/academy/lesson/political-power-definition-types-sources.html

Power is the ability to influence and direct the behavior of other people and guide the course and outcome of events. Authority means that an individual or group has the right to use power by making decisions, giving orders, and demanding obedience.
--------end quote-----------

Kingship bestows power and the authority to use it.

Dukes have power allocated by the King, and all the authority to use that power resides still with the King (of course, what the King doesn't know .... hmm).

What is Greed?

Google again yields:

---------quote--------
greed
ɡrēd/
noun
intense and selfish desire for something, especially wealth, power, or food.
synonyms: avarice, cupidity, acquisitiveness, covetousness, rapacity; More
--------end quote----------

And Google also yields:

------quote---------
Greed - definition of greed by The Free Dictionary
www.thefreedictionary.com/greed
greed. (grēd) An excessive desire to acquire or possess more than what one needs or deserves, especially with respect to material wealth: "Many ... attach to competition the stigma of selfish greed" (Henry Fawcett).
------end quote---------

Other Google returns imply Greed is not a virtue, but a "dark" trait, explaining it as selfish (implying selfishness is "wrong" on some fundamental level.)

Would all Alien species among all the galaxies classify "greed" as "wrong" (morally wrong?)

Ayn Rand wrote Atlas Shrugged to redefine "selfish" as "Light" or as a Virtue that makes a human more valuable to a social unit by increasing the likelihood that the social unit would survive.

If the theories of evolution prevail, the traits that make social units more likely to survive are more likely to survive and become distributed.

Look around you. Do you see any lack of selfishness?  We have plenty of altruism, but we also have immense resources of selfishness.

https://www.sciencedaily.com/releases/2016/03/160318102101.htm
--------quote---------

Your brain might be hard-wired for altruism

Neuroscience research suggests an avenue for treating the empathically challenged

Date:

March 18, 2016

Source:

University of California - Los Angeles

Summary:

By temporarily inactivating a part of the brain involved in impulse-control, neuroscientists have discovered compelling evidence that we're hardwired for altruism. The discovery suggests possible avenues for treating the empathically challenged.

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

And an older article:

http://www.sciencemag.org/news/2014/08/human-altruism-traces-back-origins-humanity

Adulting is the acquisition of the judgement of when to use which trait, selfishness or altruism, to do what job.  Characterization is showing the reader which tool the Character chooses to do which job.

Humanity seems to be a breeding ground where selfishness thrives, so maybe you will also find it among Aliens.  Portraying some of your most dynamic Alien Characters as Selfish could provide your readers with a connecting point into your story.

Every society apparently needs some selfish individuals, but if all the individuals are nothing but always selfish, there will be no society at all.

Note the business owners who passed over some job applicants to take on the applicant who would work for less money were not seen as selfish by those who would work for less money.

Those business owners might have been seen as altruistic or generous by those who would work for less money, and thus the new hire would be grateful and put their heart and soul into the work.  And that might be why the business owner hired them - expecting loyalty and dedication.

As a Romance Writer, your most potent tool of Characterization is Point of View.  The same action seen from two different points of view can Characterize the Viewing Character more than it does the action or the actor.

So selfishness per se has to be an ingredient, not the dominant trait of your Aliens.  To seem human enough to be a Love Interest, the Aliens have to have some altruism, too.

What if "Greed" is not "Selfishness" so much as it is a malfunction of selfishness?

Note that the key definition quoted above uses qualitative words "excessive" "more than" and "needs or deserves."

What of the King, born and raised a Crown Prince, whose whole personality is built on the foundation of the indisputable fact that he he owns everything, even the people, that nothing he chooses to do is "excessive" and he does in fact "need" all that power because "the people" will misbehave if he allows them to have any power or self-determination?  What of the King knows for a fact that he, and only he, "deserves" this position?

That's not "selfish" but simple fact corroborated by the behavior of everyone around him, even those he abuses.  By our standards, it is abuse -- by his, it is not abuse because you can't trust people to behave properly.

Now, what if that King, who knows he deserves all he has, feels insecure?  What if he feels frightened that what he has might not be "enough?"

Or perhaps he feels "empty" inside, or any of the usual insecurities and depression that manifests (in humans) as an inability to feel pleasure from fine, subtle, quiet distinctions.  In other words, he's not happy and needs ever increasing stimuli to feel a distant twinge of pleasure.  The word for this is ennui.

Fear and/or ennui can unleash Greed, and such a King who has so very much "power" may go conquering other countries for the pleasure-hit from destroying "enemies."

The word neurosis is shunned these days, but it specifically describes this psychological condition.  Humans will grab for more and more of one thing in order to satisfy the need for something else entirely -- and then wonder why they don't get satisfaction.

For example, someone who feels unloved might eat more and more chocolate ice cream for solace, and still not feel loved and not feel relieved of that nagging need for love.  Modern psychology dislikes this explanation, but it works very well for fiction writers.  Readers understand Characters who behave this way because almost everyone has a few neuroses tucked away somewhere and live through obsessive/compulsive years now and again.

So we might redefine "greed" to be something our Aliens can relate to.

Greed builds when you want something, work hard and get it expecting acquisition or possession to produce pleasure -- and then you have it, but not the anticipated pleasure, or the pleasure lasts only a moment and ennui sets in again.

So having experienced a twinge of pleasure that faded, you go after MORE of whatever produced the twinge because it just felt so good.

See the pattern of addiction?

Pleasure producing drugs, or pain-relieving drugs, or any action or activity that produces pleasure or relieves pain can be addictive.

The familiarity with this Human tendency to be addicted to pleasure is one reason so many readers reject the plausibility of the Happily Ever After ending.

http://aliendjinnromances.blogspot.com/2016/06/theme-worldbuilding-integration-part-14.html

http://aliendjinnromances.blogspot.com/2016/09/theme-worldbuilding-integration-part-16.html
Addiction means simply that it takes more of that thing to produce the same result.

Human pleasure nerve-responses are intensely desireable and intensely addictive.

The human nervous system is not designed to sustain pleasure at peak levels.  But that's what we imagine is the "right" condition or the ideal condition for living.  Something tells us that "happiness" is sustained peak-pleasure.  But it is not, and is not possible, therefore the Happily Ever After ending is not possible.

Yet, in truth, below peak levels of pleasure, we have contentment or even true "happily ever after."

Contentedness and happiness can be, for some people, sometimes, simply the absence of misery!

So look closely at these concepts among humans and think how they could function among Aliens.

Love and Sex: Kingship and Greed.

Remember from Astrology Just For Writers that Love is a manifestation of Venus while Romance manifests the character of Neptune.

Sex is the manifestation of Pluto (Power).  Pluto is about the power of regeneration, change, revolution (the battle across the generation gap).

Here's the index to the posts on Astrology Just For Writers
http://aliendjinnromances.blogspot.com/2010/03/pausing-for-you-to-catch-up-with-me_30.html

Mars, the male principle, is War, and its "upper octave" is Pluto, Revolution.

Mars and Pluto represent two very different activities we lump under the heading sex.

We are seeing Pluto in today's mundane world as countries strive to redefine their borders (Brexit), whole new countries strive to form (ISIS), and political/social values contend for dominance (Pluto is dominance).

So, human society as seen through the lens of History, gives us what is called an "objective correlative" or a gateway through which readers walk into a story, put on the Main Character's suit of armor, and become the Human or Alien in the Romance.

Remember, the Romance Genre has the Master Theme that always must be acknowledged, "Love Conquers All."  That is the explanation of how and why such an absurdity as "Happily Ever After" can be plausible.

Alien Romance then has the master theme Love Conquers All Including The Species Gap.

When looking for the bridge to that species gap, search for the basic fabric of "reality" behind our modern world.  What properties of physics, math, chemistry, atoms, particles, waves, gravity -- the fabric of reality that Living Organisms organize -- what properties of reality create the human species AND the Alien species?

What do we have in common?  And in what do we differ?

One way to select a theme that can make answers to such questions plausible is to look closely at Economics (Capitalism vs. Socialism vs. Communism or some other ism) -- which is how we get food, clothing, shelter, and the excess energy to reproduce.

What is it about human nature that results in multi-national corporations? Why do such complex entities always stomp people into the ground like Kings stomped on peasants?

Also what is it about human nature that results in multi-national governments? At a certain size, governments become "multi-national" with as much concern for the vigor of other countries as for their own.  Sovereign Governments (Kingdoms) become inter-dependent.  Note how the U.N. has morphed and changed over its short lifetime.  And NAFTA and the EU might be viewed as in competition with the U.N. to gather all the Power over the world into one place.

This is mirrored in our everyday experience of modern life, as it becomes obvious that no mammoth fortune has been amassed by the efforts of just one person.

There is no way for one person, or a small group of people, to found a company, grow it to an international behemoth, and become billionaires without the infrastructure built by the blood-sweat-and-tears of thousands if not millions.

And if you think about it, the image, "We stand on the shoulders of giants," is appropriate.

It's not that modern fortunes, modern multinational corporations, were built on the blood-sweat-and-tears of you and me, of our contemporaries, of modern civilization.

Rather it is that our modern civilization was built by the lives and messy deaths of trillions of previous humans all the way back to conquering fire, creating a wheel and axil, deliberately planting food plants where you want to harvest them.

Indeed, we do stand on the shoulders of giants.  The phrase is explained here:

http://www.phrases.org.uk/meanings/268025.html

----------quote----------
The best-known use of this phrase was by Isaac Newton in a letter to his rival Robert Hooke, in 1676:

"What Descartes did was a good step. You have added much several ways, and especially in taking the colours of thin plates into philosophical consideration. If I have seen a little further it is by standing on the shoulders of Giants."

Newton didn't originate it though. The 12th century theologian and author John of Salisbury used a version of the phrase in a treatise on logic called Metalogicon, written in Latin in 1159. Translations of this difficult book are quite variable but the gist of what Salisbury said is:

"We are like dwarfs sitting on the shoulders of giants. We see more, and things that are more distant, than they did, not because our sight is superior or because we are taller than they, but because they raise us up, and by their great stature add to ours."

The phrase may even pre-date John of Salisbury, who was known to have adapted and refined the work of others.
-------end quote---------

Most entrepreneurs are well aware of how this process works.

This supports the idea that even if you create a civilization changing invention - Facebook,
https://www.yahoo.com/news/facebooks-political-influence-under-microscope-elections-rage-140839125--finance.html
a Smartphone, a cure for Cancer - and amass a giant fortune from the profits, that fortune is not "yours" because you made it by using the results of the work of others.

If you found  a transport company like FedEx or UPS, you don't "own" the resulting fortune because 'cars and trucks,' the fuel for the engines, the engineering, the roads they move on, the telecommunications used to arrange for things to go here and there, the  methods (RFID) of keeping track of what is where, are the only reason you were able to create that company.

Therefore, the proceeds of your creation do not all belong to you.

The reasoning is good, tight, and clear as the nose on your face.

You owe your success to 15,000 years of humans who went before, and to those now sweating for your success.

The Ph.D. degree is awarded to those who have increased Human knowledge, contributed something new.  We, each and every one of us, have to be the giants upon whose shoulders future generations will stand, produce the bits and pieces that they will assemble into something new - maybe First Contact with Aliens that does not start as a war of annihilation but a Romance.

What you owe to the work of others is as clear and obvious as the simple fact that the world is flat and if you sail off the edge, you will fall off.

We also know because it's obvious that stone is hard, matter is solid.

So any Alien species we run into among the stars will have a History of thinking that way, too.

And they will have a history of repudiating that kind of thinking.

Common sense is common, after all.  Matter is definitely solid.  Just smack your hand on the floor and see!

But we now know how matter is composed of particles, and it is mostly empty space with a certain probability that a particle might be there - or not.

Science Fiction writers make a profession of questioning common sense, finding ways around the obvious (you can't travel to the stars because it would take too long), and looking at the entirety of Creation from a non-human angle.  What if matter isn't solid?  We could walk through walls.

What if an amassed fortune actually does belong to the one who currently owns it?

This opens an entire dimension of Esoteric Wisdom that explores issues such as, "What exactly is ownership?"  But here we're looking at Greed - the overwhelming need to own, not the nature of ownership by itself.

What if certain CEO's actually do earn $10 million a year?

What if what they do is worth that much, while what you do for that corporation is actually only worth $25,000 a year.

$10 million a year isn't "wealth."

$10 million a year is not even just "Capital" as discussed here previously in Part 22 of Marketing Fiction In a Changing World on making a profit as a writer in a capitalist society:

http://aliendjinnromances.blogspot.com/2016/10/marketing-fiction-in-changing-world_11.html

 $10 million a year is "power."  A CEO or founder's profit is a nexus of Power.

A Billionaire is what used to be called a King.

Historically, a King got to be King by being the best killer in the vicinity, the best fighter, the one all the really good fighters wanted to fight with and behind.  The King-to-be was a "winner" -- a wielder of power.

When and where civilization crumbles to bits, we see the rise of "the strong man."  The tribal chieftain, the neighborhood Gang Boss, the swashbuckling Pirate Captain, the "Duke" staging a coups by marrying the Princess.  Take a look at the Balkans a few decades ago, or the Middle East today.

Aristocracy is the first structural organization you see in human society -- usually the relatives of the local King/Chief.  And then that King's appointees get to govern the areas the King conquers.

The USA was founded by people fed up with Aristocrats -- while modern France was founded by those who just beheaded all their entrenched Aristocrats.  Pretty much the same in Russia.  Our modern world is proud of having overthrown Aristocracy and become Democracy.  We are perhaps a bit too proud and too smug.

Science Fiction writers view such smug pride with askance.

What if only the titles have changed, not the distribution of Greed For Power among humans?

What if our modern CEO's commanding monstrously powerful fortunes are the same fraction of humanity that Kings were made of?

Kings often inherited their thrones -- but many Historical accounts indicate that the quality that makes a strong King (or a good King) is not inherited, of not for more than a generation or two.

Historically, and probably pre-Historically, Kings "rose" by killing their opposition (usually literally.)

Today's CEO's of giant corporations kill their way to the top with Character Assassination, stealing credit for the work of subordinates, sabotaging the work of superiors (or making them look so good that they "fail upwards.") and by out-competing them in any jousting contest in the corporate meeting room.

It is not a new thing that our "system" does not reward "goodness" or those of high moral conviction.  It is an old thing.  Very old.  Just go read the rest of the books of the Bible after Deuteronomy.

We didn't get rid of Kings and Aristocrats by getting rid of the Titles and Priveleges.

That personality type (in both male and female versions) has recreated its most comfortable world, shaped and reshaped society and industry as well as government to reward the Aristocrat and trash the rest of us.

The French Revolution was 1789-1799.

Pride and Prejudice by Jane Austin

The U.S. Book of Common Prayer

Common Sense by Thomas Paine (from loc.gov )
Published anonymously in Philadelphia in January 1776, Common Sense appeared at a time when both separation from Great Britain and reconciliation were being considered. Through simple rational arguments, Thomas Paine focused blame for colonial America’s troubles on the British king and pointed out the advantages of independence. With over half a million copies in twenty-five editions appearing throughout the colonies within the first year, this popular pamphlet helped to turn the tide of sentiment toward revolution.

It isn't the system, and it isn't the "ism" flavor of the generation - Capitalism, Socialism, Democracy or Republic - these are not imposed upon us, but rather crafted by the type of human that is "Aristocrat."

Maybe that's not true.  Framing the statement as a question to be a theme, you can generate a multitude of Aliens for various humans to fall in love with.

The commonality that these humans have with those aliens would be simply the existence of a "type" or "kind" of person who views themselves as an Aristocrat, and actually delivers the powerful counter-punches necessary to fight their way to the top, to amass so much wealth that it is raw Power.

There is the book I refer to here quite often, Rich Dad; Poor Dad.

This is the book that explains that rich families teach their children the difference between money and capital.

The assumption is that wealth only comes in Money and Capital.

Perhaps there is actually a third, completely separate, category of wealth: Power.

Power would be a vast multiple of Capital -- as instead of a gigabyte, we now measure Power of computers in Terabytes or Petabytes.

The Aristocratic family teaches their children the difference between Capital and Power.

If Aliens share the phenomenon of having a part of their population be Aristocrats, the Aliens, would understand that Aristocrats come in Good Guys and Bad Guys.

We generally define "Good Guys" as those who do not use their Power to infringe on the soveign Will of another Person.

Bad Guys amass Power to use Power to control the behavior of others, because "We know what's best for you!"

Good Guys know what's best for themselves, and consequently assume everyone else knows what's best for themselves, too.

Bad Guys know that what's best for themselves is not what's best for others but Bad Gys also know that others just don't know what's best because the others aren't "smart" (or whatever trait) enough to know.

So Bad Guys have a Greed is to "be Boss."  The only source of a pleasure hit is using Power to force others to obey.

Good Guys accept Power, and control their Power as a responsibility (Capricorn, Saturn).  Good Guys get their pleasure from spouse, children, siblings, art, beauty, even Nature, not from exercising Power over others.

Note no Historical Romance about Aristocrats is complete without the Drawing Room command performance scene, or the High Tea where the Female Lead plays an instrument or sings for the gathering.  Or perhaps it is a trip to the Opera, or taking on the duties of a Patron of the Arts, commissioning embellishments for the mansion.

The Aristocrats who are Good Guys love The Arts, and find real pleasure in music, dance, horseback riding competitions, etc.  Their pleasure seems phony to non-Aristocrats, but it is fulfilling to the Good Guy/Gal Aristocrat.

The Aristocrats who are Bad Guys love Gambling, Drinking, Whoring, and whatever sorts of drugs that are around their 'circle.'  Their pleasure requires ever greater stimulation to achieve.

There is a reason for that which you can use to build your Alien society and create an Alien Character your human would definitely fall in love with.

Good Guy Aristocrats are internally happy, satisfied, and at peace with themselves, even when their external lives are exploding with High Drama, overwhelming challenges and of course, Romance.

Bad Guy Aristocrats are internally miserable, dissatisfied, gripped by ennui and desperately addicted to pleasure, severely neurotic.

Neurosis doesn't make you Bad.  Good Guys are just as neurotic, but handle it better.

It is important to understand the difference between pleasure and happiness -- they are in fact often incompatible.  The children of Good Guy Aristocrats are taught that distinction the hard way, with pain and discipline, tears, and confessions and apologies.

Upbringing, as we've seen in Historical Romance novels, does not make Guys or Gals good or bad.

As depicted in many "fall in love with the bad boy from the other side of the tracks" Romances, Bad Guys can turn into Good Guys and vice-versa, if they don't Romeo&Juliet first.

Turning a Good Guy into a Bad Guy is called "corrupting."

Turning a Bad Guy into a Good Guy is called "saving" or "salvation."

Many grand novels have been written about both processes.  There wouldn't be so many such novels if there were no examples of this in "real life."

So we have a type of human (not genetically determined) that used to set themselves up as Aristocrats (the 1%, you understand, Kings and Dukes), or as they are termed in Werewolf Romance, the Alpha Male or Alpha Female of the pack.

We all know how hot and sexy the Alphas are, and we wouldn't be reading those books if we didn't understand the connection between sex and power (Pluto).

The Aristocrat comes in two distinct types, Good and Bad.  Individuals can switch sides.

As a whole, the Aristocrat type has recreated Society and our Economy to serve their competitive Power Hungry or Power Stewardship life paths.

The Aristocrats reformed the Economy and Society after we kicked them out of Government (The American Revolution, France, Russia, etc.).

The last vestige of Aristocrats in Government is the Constitutional Monarchy -- but there, the Monarch is basically the leader of the society, not of the Government.

If you build your Alien world's history on that pattern, you will grab your human readers with something they understand from personal experience, and it will seem plausible that a Romance could develop with these Aliens, a Romance that could Conquer the All of the War of the Worlds.

So now, in the 21st Century, we live in a world of giant multi-national corporations and giant multi-national Nations (Euro zone, NAFTA, a while ago the Soviet Union which seems to want to revive itself, and ISIS which sprawls wantonly across artificially created borders trying to re-create the Caliphate).  Even China, if you study history, is composed of small Kingdoms that were swallowed by an Emperor, and India likewise has its regions.  Britain itself is a composite of Kingdoms.

These first few years of the 21st Century is a World Epoch where Pluto is transiting Capricorn.

Capricorn is the Astrological Sign symbolizing 'governing" and thus "government."  It is ruled by Saturn, the power of regulation, the power behind the throne.  Capricorn is the Natural 10th House.

Pluto rules Scorpio, the Natural 8th House - Other People's Resources - thus sexual power.  It isn't "love" but "lust."  It is Power, Transformation, Change.  Pluto magnifies anything it touches.  Pluto signifies High Drama.

Here's High Drama:
http://aliendjinnromances.blogspot.com/2010/01/astrology-just-for-writers-part-9-high.html

Here's You Can't Fight City Hall - on Pluto and political power
http://aliendjinnromances.blogspot.com/2014/12/theme-symbolism-integration-part-1-you.html

And here's Would Aliens Share Human Fallacy and the Religious Impulse
http://aliendjinnromances.blogspot.com/2016/04/theme-plot-character-worldbuilding.html

So Pluto through Capricorn has stirred the World to re-create Governments and borders.  New countries will be born, new alliances, new tax structures. But first comes destruction.

It is interesting to note that the USA Natal Chart has Pluto in Capricorn -- we are such a Pluto-formed Nation created by Revolution.

The next President will preside over our first Pluto Return.  Pluto transits have the characteristic of dividing your life's memories into 'before' and 'after" -- such as "Before I met John, I didn't know what my life was about."

So Aristocrats create Countries ( a King-to-be rides around conquering then sets himself on a throne -- think King Arthur).  Aristocrats, the 1%, need to govern.  The Bad Guys want to govern others.  The Good Guys are happily ever after if they can just govern themselves.

We kicked the Aristocrats out of Government, so they went and created multi-national corporations, and whole social orders based on Foundations, Charities, and taking over Higher Education where they can be Kings and grant Dukedoms and Baronies.

Check the dates in this Chronology of Harvard University.
http://www.harvard.edu/about-harvard/harvard-glance/history/historical-facts
Because half of the Aristocrats (the Bad Guys) crave and lust after Power, and the other half wants to be sure the Bad Guys don't gain control of any Power that matters, the Aristocrats restructured the World Order to create many collection points for Power (thrones, as it were).

A throne is a nexus of Power, a single point where decisions are made that actually get carried out and implemented.

The nexus of Power at the center of a Corporation, or Social Organization (such as a Hollywood Star Performers and Celebrity of all sorts), attracts the new, young Aristocrat types like moths to a flame.

A youth Aristocrat recognizes where he/she belongs (on the Throne of Power), must get to, must be on that Throne in order to live.  Once glimpsed, a nexus of Power becomes irresistible to the Bad Guy Aristocrat and a Fate Worse Then Death But Nevertheless My Fate to the Good Guy Aristocrat.  Again, think King Arthur.

They grow through teens and twenties, striving and struggling to get to existing Power Points.  If they fail, they create their own brand new nexus of Power.

And how do you prevent Bad Guy Aristocrats from slipping into control at such a Nexus of Power?

What kind of pleasure seeking mechanism drives these people to sacrifice everything you and I value to get to such a nexus of Power (where you and I would be miserable)?

I figured that out for myself a few years ago when analyzing the Natal Charts of a whole lot of Politicians (we have had a lot of them running in the last 4 Presidential Election cycles - enough to make a generalization that is accurate enough for fiction, but not real life.)

What I have found is that they share the peculiar Astrological Natal Chart positioning of Pluto with emphasis on several key aspects and positions of other planets.  It was discussed in depth in an 800 page (small print) work on Astrology by Noel Tyl.  It is the signature of fame.

A few of these people with that signature of fame are either constantly or intermittently but frequently driven by Pluto making aspects by transit to key points in their Natal Charts.

Pluto, like all the transiting planets, the planets of this solar system, seems to symbolize both "Good" and "Bad."  Or in the parlance of Astrology, Vice and Virtue.

In Astrology, "Vice" doesn't mean like "gambling" -- it means that the particular symbol is not working well.  It lacks its natural power.  "Virtue" means the symbol is working at its best - all of its natural power is flowing smoothly into the person's life.

So Pluto at its best is Captain Kirk (the Captain's Chair is a nexus of Power) enforcing the Prime Directive -- with a bit of original twist.

Pluto at its worst is Captain Kirk being split into Good and Bad, and the Bad Captain drinking in Uhura's quarters soliciting sexual favors, hinting at doing so by force.

So what I found is that the driving force of the Aristocrat toward a nexus of Power is sexuality (not Love, and not Romance, an act of domination).

The Corporate Structure was created so there would be a nexus of power outside Government.  The combat to grab and hold that throne is driven by Pluto type sexuality -- not "Love" and not "Romance" but "Lust."

So what do we see our Celebrities do?  Behind every Celebrity success story is some kind of Sexual power-grab or misbehavior that you and I would never want to do.  If it's not sex, it's violence, and if not violence then some other kind of dominance game.

All of this misbehavior is "hidden" -- which is another signature of Pluto, the underground, "down" to Hell.  This is not the "unseen" of Neptune, a mystic Mystery, but the unseen of the foundation of a building, the underground sewers and power conduits, the dark of a coal mine -- the unseen upon which all else stands, the shoulders of giants long dead.

From time to time when the transits coincide just so, the hidden becomes revealed as the ground is turned over to plant a new crop. That ground breaking to plow and plant is Pluto in action.  First destruction, then growth.  Pluto turns over the ground and reveals you are planting on an old battlefield strewn with bones.

Note how Star Trek revealed Vulcan Sexuality as "hidden cyclical violence" tamed by telepathic Bonding (also invisible).  No Love involved with such a Consort.  Just sex.

So to create an Alien that readers can believe a Human can fall in love with, depict the Alien world in the same kind of overall struggle that humanity is in -- trying to figure out what to do with our Aristocrats, how to identify them before they do too much damage, and how to educate and train them to handle Power like Good Guy Aristocrats.

Is it only the Bad Guy Aristocrats that give us trouble?

Does Absolute Power (which is the goal) always Corrupt Absolutely?

Do we have better luck with Aristocrats who are raised to strict Noblesse Oblige standards?

We know that merely being rich-kids doesn't necessarily produce responsible Power handlers, though they may understand the difference between Capital and Money.  But does extreme poverty (or even just ordinary poverty) guarantee a kid will grow up to respect the power of Power and handle Power as a responsibility?  If the parents didn't know how to turn Capital into Power, how could they teach their children that?

Where do we get (or how do we make) Good Guy Aristocrats?

Will we meet up with Aliens who have figured out a way to use their Aristocrats, a way to either breed or raise Good Guy Aristocrats who don't need to get their pleasure from beating others down with their Power?

The Harry Potter Series explores a lot of these questions, which could be why it's so popular with this generation.  Harry himself is an Aristocrat of his kind and was raised enduring deprivation among those who have plenty.

Power, its use and abuse, is the central theme of life in this first part of the 21st Century.

We have massive power to destroy this planet with our industrial pollution, to pollute our very orbit with space-junk, to blow ourselves up with Nuclear Bombs.  Our civilization is a bunch of drunken teens playing with a bazooka.

So, what if Corporate Greed that we see running wild, tromping on the poorest among us, is not a function of "Corporations" or of "Capitalism" at all, but actually a manifestation of having thrown the Aristocrats out of Government so they can't be Kings and Queens?

If we cultivate the existence of a nexus of power, we have to expect it to attract Bad Guy Aristocrats who will seize Power.  Making sure there is no one person whose decisions are always implemented just leads to government by committee, which may be a bigger disaster. Hidden behind committees, the Aristocrats could get away with anything.

What if Aliens landed and just told us to put the Aristocrats back into Government where they belong so we can run our Corporations as they should be run?

What if they point to the secret flow of money from Corporations to the coffers of Politicians (personal and campaign) as an attempt by the Aristocrats to grab the Throne of Government back from us peasants?

If you can't make sure there is no nexus of Power in Government, then how do you find a Good Guy Aristocrat, and make sure that Government Power doesn't corrupt him?

Yes, we do things like Term Limits, and other jiggering and tweaking, but it does not seem to help much.

How do you raise a Human to be Incorruptible by Power?

What if the Aliens land and offer to sort out our young Aristocrats and take them off to their world to raise them properly, then return them to take over every nexus of power and manage it carefully and properly?

Who among us would endorse such a move?  Who would give up a kid, this one but not his brother, that one but not her sister, kids the Aliens select, and send them off to be fostered by Aliens?

And what if such a human kid fell in love with an Alien?

What if the "Alpha Male" phenomenon, the Aristocrat, turns out to be genetic?

None of our historical record indicates that it is.  Kids go awry.  Aristocracy does not breed true.

What if the Aliens know what's gone wrong with humans that half of one percent own everything?

Maybe the fostering deal is only for one generation and the Aliens intend to tweak our genetic makeup so that our 1% Aristocrats breed true, and always turn out Good Guy Aristocrats.

Meanwhile, the genetics of the rest of us are to be altered so we never produce Aristocrats.  How long could civilization as we know it survive without any Aristocrats?  If we get our Aristocrats back and they breed true, how long until we kill them all?

Of course it would take a good while for Aliens to raise a generation for us while we no longer breed Aristocrats.  But we need good managers and innovators, we need that rare 1% .

So meanwhile humanity creates A.I. managers who can't be corrupted by the Power they manage, but of course can be hacked.

What would returning, well trained Aristocrat kids now all grown up, do about our A.I. problem?

You see?  If you understand the origin and function of Corporate Greed, and the nature of the Giants upon whose shoulders our Aristocrats stand, and the kind of sexuality that powers that Greed (and what that sexuality would be if manifested as a virtue not a vice) - then you can build a world for an Alien Romance that would be as absorbing as the Potterverse has been.

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com