Wonder is a combination of thought and emotion. It's a form of illumination. It rises from the center of our being, our need to know. Children are filled with wonder. Everything is new. The world appears to the child to be well organized. Seeking the connections within this organization is a constant mental activity. The child has to put the world together, one experience, one discovery at a time. She has to discover reality. Reality is learned through experience. Wonder is born from the realization that there is more to reality than what we see. What is the reality behind reality? When we realize that what we see isn't reality, and that there's a reality behind the reality we know, wonder ensues.
What is the main source of wonder? It's mystery. It's the unknown and feeling connected with the unknown, feeling oneness with mystery.
Wonder, connecting with the mystery of the unknown, is a central component of childhood, one that tends to disappear as the child grows older. Adults may still have flashes of it, through which it manifests as inspiration, particularly through works of art. Unfortunately, many adults experience less and less wonder and inspiration as they grow older. Becoming "set in their ways" they stop growing. Life becomes rather humdrum, perhaps boring, and filled with passive living. Watching T.V. becomes a way of life. A little travel can re-leave the boredom. But coming home is returning to boredom.
Continuing to experience wonder, to be thrilled by mystery, as we grow older is a form of staying young (or growing young). It can be a central component of the older adult's life if we do not become 'set in our ways'. Not becoming set in our ways should become an objective for us all. It requires openness, honesty, and even courage. But the reward for this is to continue to experience the joy of wonder.
God's greatest gift to mankind is joy, and the joy found in wonder is the greatest joy of all.
Showing posts with label mystery. Show all posts
Showing posts with label mystery. Show all posts
Thursday, December 5, 2013
Wednesday, February 15, 2012
Write Like the Masters, by William Cane (2)
After reading Write Like the Masters, by William Cane, I selected the writers whom I felt most related to my own way of writing: Honore de Balzac, Charles Dickens, Edith Wharton, William Somerset Maugham, Edgar Rice Burroughs, Margarate Mitchell, Ian Fleming, and Philip K. Dick. Cane nicely explains each writer's major stylistic elements, his or her specialness. There were many other authors he discusses, so there is a lot that I did not care for for one reason or another, though someday they might appeal to me.
As an aid to seeing the big picture, I created a mind map of my favorite authors' techniques.
I can also summarize in a paragraph, especially without mentioning the particular author the technique came from, what I believe the mind map says:
As writers of fiction, we should strive for strong characters (especially conflicting characters, perhaps based on architypes) who are faced with life-defining, catastrophic events in which strong emotions (positive and negative) are highlighted (tagged) through the conflict, making the reader laugh, cry, and wait for resolution to these conflicts, all of which contain some elements of mystery, surprising the reader, and in which the character changes through an epiphany (ah-ha moment) that is foreshadowed in the fast/slow, rising/falling pace of the action, using sumptuous or strong details of description with a big background (Civil War, WW II, the Great Depression, etc.) and a strong element of romance (with obstacles to that romance) that flows in a pattern of the characters preparing for romance, participating in banter (romantic play) that is followed by the first kiss, preferrably told through the third person limited point of view of the protagonist.
Did I get it all in? Obviously, this is not a blueprint for writing. It is an aid to writing. I doubt that I or anyone else would have all these elements in the same novel, though I'm sure it's possible. But when you're thinking about and writing your story, these are elements that may enter into the story, that may increase your ideas and strengthen your story.
As an aid to seeing the big picture, I created a mind map of my favorite authors' techniques.
I can also summarize in a paragraph, especially without mentioning the particular author the technique came from, what I believe the mind map says:
As writers of fiction, we should strive for strong characters (especially conflicting characters, perhaps based on architypes) who are faced with life-defining, catastrophic events in which strong emotions (positive and negative) are highlighted (tagged) through the conflict, making the reader laugh, cry, and wait for resolution to these conflicts, all of which contain some elements of mystery, surprising the reader, and in which the character changes through an epiphany (ah-ha moment) that is foreshadowed in the fast/slow, rising/falling pace of the action, using sumptuous or strong details of description with a big background (Civil War, WW II, the Great Depression, etc.) and a strong element of romance (with obstacles to that romance) that flows in a pattern of the characters preparing for romance, participating in banter (romantic play) that is followed by the first kiss, preferrably told through the third person limited point of view of the protagonist.
Did I get it all in? Obviously, this is not a blueprint for writing. It is an aid to writing. I doubt that I or anyone else would have all these elements in the same novel, though I'm sure it's possible. But when you're thinking about and writing your story, these are elements that may enter into the story, that may increase your ideas and strengthen your story.
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