Friday, 19 May 2017

Handwriting aids retention.

When I should be #editing book two ~ the hand doodles the character Anathon as a warrior of 'The Heaven Stone'. Focus, Trace, focus.
From ~ Handwriting aids retention.
Handwriting allows us to use the parts of our brain that we don’t when we keyboard; there’s a thing that happens when we’re doodling or brainstorming with a pen in our hand where we solve problems, whether of plot, narration or character motivation, or planning. Some of it is perhaps not conscious, but as we write, we formulate a solution.

Writing by hand also uses different parts of the brain, and more of them, than keyboarding does, which may have something to do why those writing demonstrate better retention than those who keyboard.
Because of the way we concentrate on what we are doing and because it is slower than a keyboard, writing by hand gives us time to think.
Lifprasira (Chance's Letter)
Writing by hand changes our mechanics, and consequently, our memory. As we concentrate on forming the letters, we’re using parts of our brain that we don’t use when we keyboard, and that appears to assist both memory and recall. Researchers and Psychology professors Dung Bui, Joel Myerson, and Sandra Hale from Washington University discovered that students taking lecture notes via a computer keyboard demonstrated better immediate recall than students creating well-organized lecture notes by hand, but that about twenty-four hours later students who keyboarded their notes performed worse on tests about the material than those who wrote their notes by hand. The researchers concluded that keyboard notetakers had poorer recall than those taking notes by hand because they were not actively summarizing and synthesizing key points, as much as they were engaged in transcription.
Read more HERE
Love and light,

Monday, 15 May 2017

An Introduction to Screenwriting.

An Introduction to Screenwriting.
via Future Learn - HERE

I wanted to share this wonderful and free class found via Futurelearn Online. Week Two has just started but it's still not too late to join (link above). So far, it has been fun, nice fresh inspiration, and really interesting. The development reminds me much of what is used in novel writing craft as far as character, plot, mood, etc, is concerned. Which excites me as I would like to transform the books in ACoPF series into script format. That is once I've completed book two, Awake in Purple Dreams hopefully to be published in the autumn of 2017.
The script I'm developing is for book three - Shining Sword (future story) in the series. Half of the first draft is written and I thought this would be a fun way to further develop the story.
This week we are learning about 'CHARACTER, WRITING THE SCENE AND FIRST DRAFT'. This involves exercises to further develop characters and exploring scene construction.
and hear approaches and tips from our four educators.
There are four fabulous educators who have varying viewpoints in techniques and how they're inspired. This is helpful and most people should be able to relate to one.
For study, I choose Excalibur (film seen)  1981. A  British dramatic fantasy film directed, produced, and co-written by John Boorman that retells the legend of King Arthur and the knights of the Round Table, based solely on the 15th century Arthurian romance Le Morte d'Arthur by Thomas Malory (1469–70) .
Boorman had planned a film adaptation of the Merlin legend as early as 1969, but when submitting the three-hour-one-film script written with Rospo Pallenberg to (United Artists), they rejected it deeming it too costly and offered him J. R. R. Tolkien's The Lord Of The Rings instead.
Boorman was allowed to shop the script elsewhere, but no studio would commit to it. Returning to his original idea of the Merlin legend, Boorman was eventually able to secure deals that would help him do Excalibur.
Much of the imagery and set designs were created with his original vision of The Lord Of The Rings in mind, and it has been noted that certain scenes are reminiscent of Monty Python's 1975 comedy film, Monty Python And The Holy Grail.
In addition to Malory, the writers incorporated elements from other Arthurian stories, sometimes altering them. For example, the sword between the sleeping lovers' bodies comes from the tales of Tristan and Iseult; the knight who returns Excalibur to the water is changed from Bedivere to Perceval; and Morgause and Morgan Le Fay are merged into one character.
The sword Excalibur and the Sword in the Stone are presented as the same thing; in some versions of the legends they are separate. In Le Morte d'Arthur, Sir Galahad, the illegitimate son of Lancelot and Elaine of Carbonek, is actually the Knight who is worthy of the Holy Grail. Boorman follows the earlier version of the tale as told by Chrétien de Troyes, making Perceval the grail winner.
Some new elements were added, such as Uther wielding Excalibur before Arthur (repeated in Merlin), Merlin's 'Charm of Making' (written in Old Irish), and the concept of the world as "the dragon" (probably inspired by the dragon omen seen in Geoffrey of Monmouth's account of Merlin's life).
According to linguist Michael Everson, the "Charm of Making" that Merlin speaks to invoke the dragon is an invention. The phonetic transcription of the charm as spoken in the film is [aˈnaːl naθˈrax, uːrθ vaːs beˈθʌd, doxˈjeːl ˈdjenveː]. Although the pronunciation in the film has little relation to how the text would actually be pronounced in Irish, the most likely interpretation of the spoken words, as Old Irish text is:

Anál nathrach,
orth’ bháis’s bethad,
do chél dénmha

In modern English, this can be translated as:

Serpent's breath,
charm of death and life,
thy omen of making.
According to Boorman, the film was originally three hours long; among scenes that were deleted from the finished film but featured in one of the promotional trailers was a sequence where Lancelot rescued Guenevere from a forest bandit.

 The Perks of a Wallflower (film unseen). 
The Perks of Being a Wallflower is a coming-of-age epistolary novel by American writer Stephen Chbosky which was first published on February 1, 1999, by Pocket Books.
 Chbosky took five years to develop and publish The Perks of Being a Wallflower, creating the characters and other aspects of the story from his own memories. The novel addresses themes permeating adolescence, including introversion, sexuality, and drug use, while also making several references to other literary works, films, and pop culture in general.Although Chbosky's first book was a commercial success, it was banned in some American schools for its content.
Since he wrote The Perks of Being a Wallflower, Chbosky aspired to adapt it into a film, calling this "a lifelong dream of mine." After the publication of the novel, the author said he received film offers, refusing them because he "owed the fans a movie that was worthy of their love for the book."
The film boosted the novel's sales, and the book reached The New York Times Best Seller list.
Love and light,

Thursday, 11 May 2017

Awake in Purple Dreams

“People think dreams aren't real just because they aren't made of matter,
of particles. Dreams are real. But they are made of viewpoints, of images,
of memories and puns and lost hopes.”
~ Neil Gaiman
Awake in Purple Dreams

Monday, 8 May 2017

Empyrean Heaven

Sacred Soul Forgotten
Storytelling Haiku 

1. Paradise bounty
her sweet innocence and youth
unaware of fate

2. A purple flower
scents of violets and mead
echo through her soul

3. His mouth an apple
his kiss an ethereal dream
encircled she’s his

4. Eyes appear that see
a crime of forbidden love
rage and fury flames

5. Hearts torn asunder
banishment they both depart
disgraced gates open

6. Under starry sky
the four rivers of her heart
drowns out the sorrow

7. Float on ocean’s waves
her heart now seeks a new home
broken but hope breathes

8. Muted horizon
she finds a land of plenty
but hell becomes home

9. Gazing out to sea
serenading memories
waves against the shore

10. The wings of a bird
soaring high in the heavens
he seeks what she lost

11. Ancient endearment
of the star-crossed love gone by
its light now fading

12. Wildmen in forests
Herne the hunter seeks her
in sacred marriage

13. A new clan inland
the past is fading away
the apple haunts her

14. A woman’s soul crushed
in a land of warring men
fragile yet divine

15. Waterfalls in mist
she falls to her knees and prays
begging for the light

16. Woodwose hunted down
the crown removed from nature
roses overgrown

17. The secret garden
where seeds of truth lies dormant
fenced off from the world

18. Sacred feminine
close your eyes and hear her name
carried on the wind

~  Tracey-anne McCartney
Love and light

Sunday, 7 May 2017

The Celtic love triangle and Love rectangles.

The Celtic love triangle is characterized by three main characters. The first is the old man, who usually has a great amount of power.  The second, young, beautiful maiden, is always featured as the individual betrothed to the old man.  The third character is the young man/warrior/male figure, whom the maiden eventually falls in love with or seduces.

A love triangle (also called a romantic love triangle or a romance triangle) is usually a romantic relationship involving three people. While it can refer to two people independently romantically linked with a third, it usually implies that each of the three people has some kind of relationship to the other two. The relationships can be friendships, romantic, or familial.

The love triangle story structure has been around since before early classic writers like William Shakespeare and Alexandre Dumas. Shakespeare's famous play Romeo and Juliet featured a love triangle between Juliet, Romeo, and Paris. Although more subtle, Dumas's classics The Count of Monte Cristo and The Three Musketeers also feature love triangles strong enough to seek revenge and start a war.

A Love rectangle (also quadrangle or quad or "love square") is a somewhat facetious term to describe a romantic relationship that involves four people, analogous to the typically three-sided love triangle. Many people use this term for a romantic relationship between two people that is complicated by the romantic attentions of two other people or one person who is complicated by the romantic attentions of three other people, but it is more frequently reserved for relationships where there are more connections.

Minimally, in a love rectangle, both male characters usually have some current or past association with both female characters. These relationships need not be sexual; they can be friendships or familial relations. Both males and/or both females can also be friends, family members (frequently siblings) or sworn enemies.

Love rectangles tend to be more complicated than love triangles. They may be a spin-off from the main love triangle, where 'as a sub-plot.

An example of a love rectangle in classic literature is in William Shakespeare's Midsummer Night's Dream, between the characters Lysander, Demetrius, Helena, and Hermia. Demetrius is granted Hermia's hand in marriage by her father, but Hermia loves Lysander, and the two flee, intending to elope. Demetrius pursues the couple, and Helena pursues Demetrius, whom she has always loved. The fairy Puck, in trying to use magic to resolve the situation, temporarily transfers both men's affections to Helena. Further tampering restores Lysander's love for Hermia. Demetrius, now in love with Helena, withdraws his claim on Hermia, and both couples are wed.
For additional terms, the word "love" can be prefixed to other polygons with the appropriate number of vertices, to reflect romantic relationships involving more people, e.g. "love pentagon" or a "love hexagon."

Folklore was turned into a popularized and evolving form of cultural connection to the past. Modern writers expand on the tales bringing them into the present day.

Such as:
Tristan and Iseult is a tale made popular during the 12th century through Anglo-Norman literature, inspired by Celtic legend, particularly the stories of Deirdre and Naoise and Diarmuid Ua Duibhne and Gráinne. It has become an influential romance and tragedy, retold in numerous sources with many variations. The tragic story is of the adulterous love between the Cornish knight Tristan (Tristram) and the Irish princess Iseult (Isolde, Yseult, etc.). The narrative predates and most likely influenced the romance of Lancelot and Guinevere in the Matter of Britain and has had a substantial impact on Western art, the idea of romantic love, and Western literature since it first appeared in the 12th century. While the details of the story differ from one author to another, the overall plot structure remains much the same.
There are two main traditions of the Tristan legend. The early tradition comprised the French romances of two poets from the second half of the twelfth century, Thomas of Britain and Béroul. Later traditions come from the Prose Tristan (c. 1240), which was markedly different from the earlier tales written by Thomas and Béroul. The Prose Tristan became the common medieval tale of Tristan and Iseult that would provide the background for the writings of Sir Thomas Malory, the English author, who wrote Le Morte d'Arthur (c. 1469). Read More HERE
There is also:
The story of Derdriu

Deirdre or Derdriu is the foremost tragic heroine in Irish mythology and probably its best-known figure in modern times. She is often called "Deirdre of the Sorrows." Her story is part of the Ulster Cycle, the best-known stories of pre-Christian Ireland.
Details of Amoret in the Garden of Adonis (1887) by John Dickson Batten.
Deirdre was the daughter of the royal storyteller Fedlimid mac Daill. Before she was born, Cathbad the chief druid at the court of Conchobar mac Nessa, king of Ulster, prophesied that Fedlimid's daughter would grow up to be very beautiful, but that kings and lords would go to war over her, much blood would be shed because of her, and Ulster's three greatest warriors would be forced into exile for her sake.
Hearing this, many urged Fedlimid to kill the baby at birth, but Conchobar, aroused by the description of her future beauty, decided to keep the child for himself. He took Deirdre away from her family and had her brought up in seclusion by Leabharcham, a poet, and wise woman, and planned to marry Deirdre when she was old enough. As a young girl, living isolated in the woodlands, Deirdre one snowy day told Leabharcham that she would love a man with the colours she had seen when a raven landed in the snow with its prey: hair the color of the raven, skin as white as snow, and cheeks as red as blood. Leabharcham told her she was describing Naoise, a handsome young warrior, hunter, and singer at Conchobar's court. With the collusion of Leabharcham, Deirdre met Naoise and they fell in love. Accompanied by his brothers Ardan and Ainnle, the three sons of Uisneach and Deirdre fled to Scotland. They lived a happy life there, hunting and fishing and living in beautiful places; one place associated with them is Loch Etive. Some versions of the story mention that Deirdre and Naoise had children, a son Gaiar and a daughter Aebgreine who were fostered by Manannan Mac Lir.
But the furious, humiliated Conchobar tracked them down. He sent Fergus mac Róich to them with an invitation to return and Fergus's own promise of safe conduct home, but on the way back to Emain Macha Conchobar had Fergus waylaid, forced by his personal geis (an obligation) to accept an invitation to a feast.

Fergus sent Deirdre and the sons of Uisnech on to Emain Macha with his son to protect them. When they arrived, Conchobar sent Leabharcham to spy on Deirdre, to see if she had lost her beauty. Leabharcham, to protect Deirdre, told the king that Deirdre was now ugly and aged. Conchobar then sent another spy, Gelbann, who managed to catch a glimpse of Deirdre but was seen by Naoise, who threw a gold chess piece at him and put out his eye.
The spy managed to get back to Conchobar and told him that Deirdre was as beautiful as ever. Conchobar called his warriors to attack the Red Branch house where Deirdre and the sons of Uisnech were lodging. Naoise and his brothers fought valiantly, aided by a few Red Branch warriors before Conchobar evoked their oath of loyalty to him and had Deirdre dragged to his side. At this point, Éogan mac Durthacht threw a spear, killing Naoise, and his brothers were killed shortly after.

Fergus and his men arrived after the battle. Fergus was outraged by this betrayal of his word and went into exile in Connacht. He later fought against Ulster for Ailill and Medb in the war of the Táin Bó Cúailnge (the Cattle Raid of Cooley), the Irish Iliad.

After the death of Naoise, Conchobar took Deirdre as his wife. After a year, angered by Deirdre's continuing coldness toward him, Conchobar asked her whom in the world she hated the most, besides himself. She answered "Éogan mac Durthacht," the man who had murdered Naoise. Conchobar said that he would give her to Éogan. As she was being taken to Éogan, Conchobar taunted her, saying she looked like a ewe between two rams. At this, Deirdre threw herself from the chariot, dashing her head to pieces against a rock.
There are many plays based on Deirdre's story, including George William Russell's Deirdre (1902), William Butler Yeats' Deirdre (1907), J. M. Synge's Deirdre of the Sorrows (1910), John Coulter's Deirdre of the Sorrows: An Ancient and Noble Tale Retold by John Coulter for Music by Healey Willian (1944), and Vincent Woods' A Cry from Heaven (2005). There are also three books: Deirdre (1923) by James Stephens, The Celts (1988) by Elona Malterre, and "The Swan Maiden" by Jules Watson.
Source: HERE
Love Triangles ~
Helen of Troy
Tristan and Iseult
Warned off a love triangle by one of his prospective partners, Einstein conceded to Mileva Marić that, "You have more respect for the difficulties of triangular geometry than I, old mathematicus, have."
Documentary info HERE

Love and light,

Friday, 5 May 2017

#amediting ~ Awake in Purple Dreams ~ Book Two

Inspiration ~ Digital Collage created using Polyvore
Original Picture Source HERE

A Story of Four Souls and Three Hearts

Love and light,

Tuesday, 2 May 2017

Spirit Animals

Animals share with us the privilege of having a soul.  
~ Pythagoras
Deer Soul 
Art by Helga (A Gift 💜)
I've always been a deep thinker and this stems from my imaginative muse's thirst for knowledge. I question everything. Yes, I'm still 'that person' who continues to ask 'why?'. There's not a day which goes by without me thinking of 'the bigger picture' in some way, whether it's creatively related or on life. One of the areas that regularly interests me is the soul and the energy that connects everything. The more I research, certain elements repeatedly come up and usually connect in some way to something else, which I initially thought, was not related. Actually, this happens a lot, and I play with the idea that there is one source connecting all information. Like a massive, invisible library that we can tap into, to connect the dots, which are not normally within our reach. Much like the internet web, invisible, not able to view its entirety, but accessible through material technology. On the web, we tap into other people'ss feeds/posts, etc, and can interact with others in a way that wouldn't have made sense to anyone years ago. Try it, imagine explaining the internet to someone who has no knowledge of this type of technology. Yes, not unlike your elderly relative. *winks* But I mean no contact at all with computers/phones, etc. It's not so easy, huh? 
This is a similar concept to the Akashic Records in spirituality. A technology not yet understood or experienced by many. 
It's quite difficult to explain, but I get a type of inner knowing, which guides me in research. I see everything in my mind's eye as pictorial, like reading a book full of pictures, story snippets, but to make my search easier, I'm able to reach the index to cross reference - if that makes sense? Now, when I try to explain this procedure verbally, it becomes almost impossible. Why? Well, basically, it's a visual feed, many pages/mental tabs are open and elements of research are taken from pieces everywhere, from different mental books. It's also a 'feel' thing. Have I lost you yet? Lol. 
Usually, I briefly state 'everything plays out as a film'. It's the easiest way to get the mindset across to another, but it goes deeper than that, and, of course, can be confusing when trying to explain further. I'm not meaning to say that I tap into Akashic Records, only that something steers me easily to places while researching to connect the dots between questions. Okay, I'm rambling. Basically, if we can connect in an intangible way, such as the internet or 'cloud' storage, would it not be possible to empower ourselves via connections with animals, or anything else for that matter, via energy/thought? Instead of exterior computing, we use our own computer - our minds. 
There is so much about our DNA, inner workings which we do not understand, that I feel, anything is possible. Doesn't seem too far-fetched when you think about it on a scientific level. Maybe, ancient ancestors understood our inner mechanics better than we do now? It's food for thought. 😉

Note: In theosophy and anthroposophy, the Akashic records are a compendium of all human events, thoughts, words, emotions and intent ever to have occurred, believed by theosophists to be encoded in a non-physical plane of existence known as the etheric plane.

Akasha (ākāśa आकाश) is the Sanskrit word for "aether" or "atmosphere". Also, in Hindi, Akash (आकाश) means "sky" or "heaven".
Animal Guides ~
The meanings associated with the deer combine both soft, gentle qualities with strength and determination. The stag is the king of the forest, the protector to all other creatures. For the native tribes of North America, the deer was a messenger, an animal of power, and a totem representing sensitivity, intuition, and gentleness. In Buddhism, the deer symbolizes harmony, happiness, peace and longevity. Symbolism for Book Two - Awake in Purple Dreams. HERE

Butterflies are deep and powerful representations of life. Many cultures associate the butterfly with our souls. The Christian religion sees the butterfly as a symbol of resurrection. Around the world, people view the butterfly as representing endurance, change, hope, and life. I used this symbolism for 'The Butterfly Bridge' - Prequel in the series - More HERE
The Deer and the Butterfly seem to attach themselves to my psyche. I guess that's why they found their way into the books. For one of the character's, I choose the crow as a spirit guide. I'll admit, the crow un-nerves me a little as it has extremely deep meaning, but every guide plays a part of the cycle of life. 
The crow is a spirit animal associated with life mysteries and magic.  The power of this bird as totem and spirit guide is to provide insight and means of supporting intentions. A sign of luck, it is also associated with the archetype of the trickster; be aware of deceiving appearances. If the crow has chosen you as your spirit or totem animal, it supports you in developing the power of sight, transformation, and connection with life’s magic. More HERE
Swan symbolizes grace and beauty on many levels. It is associated with love, music, and poetry. In Roman mythology, Swan was sacred to Venus, the goddess of love. In Greek tradition, this bird was often pictured singing to a lyre.
I use the swan in 'The Purple Book of Menteith' Book Three (Past) - Book One, and Book Two. 
The elements that draw me in are old images of the swan with a crown around its neck or in chains. 
White Horse by Delshad Barzanji
The horse spirit animal symbolizes personal drive, passion, and appetite for freedom. Among all the spirit animals, it is one that shows a strong motivation that carries one through life. The meaning of the horse varies depending on whether this animal spirit guide is represented as wild, tamed, moving freely or constrained.
In some cultures, white horses stand for the balance of wisdom and power. In others, like Christianity, the white horse is a symbol of death. The horse is a universal symbol of freedom without restraint because riding a horse made people feel they could free themselves from their own bindings.
I use the horse symbolism in 'The Butterfly Bridge'.
Wolf is a symbol of guardianship, ritual, loyalty, and spirit. Wolf has the ability to make quick and firm emotional attachments, and often need to trust their own instincts. Thus they teach us to do the same, to trust our hearts and minds, and have control over our own lives.
The wolf offers some of the most striking animal meanings in the realm of spirit animals. The power of the wolf brings forth instinct, intelligence, the appetite for freedom, and awareness of the importance of social connections. This animal can also symbolize fear of being threatened and lack of trust. When the wolf shows up in your life, pay attention to what your intuition is telling you.
I use the wolf symbolism in Book Three (future) ~ Claíomh Solais (Shining Sword)
Since antiquity, unicorns have symbolized purity, magic, and healing and were revered among Babylonians, Persians, classical Greeks, Romans and early Jewish scholars. The Celts of ancient Britain also associated these mythological animals with life, joy and masculine potency.
This is a tough one because I love the symbolism associated with this mythical beauty but hadn't really connected on a personal level, perhaps due to the over-pretty girly images and the stigma attached of childish fancy, much the same as with the fae. Not that there's anything wrong with those pictures, though I prefer a more natural rawness without overly beautifying. A stripping down to the core being of folklore. So, come on, who doesn't love 'The Last Unicorn' novel or the movie 'Legend'?  💗 Fairy Tales 😊
I use the Unicorn symbolism in 'The Paper Unicorn' and 'Amour Désir (Love Longed For)' - neither are a part of ACoPF series. 
Other animal symbolism that interests me on an ancient level are:

It is said that we, as human beings, possess at least one Spirit Animal, or totem, in our lifetimes that serve as our personal protectors, guides, helpers, and companions. But usually, it is common for us to have many Spirit Animal helpers throughout different periods of our lives.

The concept of ‘Spirit Animals’ draws its origins from ancient Animistic and Totemistic beliefs about the world and our connection to it.

Totemism, a system of belief practised by the Native American Indian people, and the Australian Aboriginal people, for example, incorporates the notion that each human being has a spiritual connection to another physical being (e.g. a plant or animal).

Animism, on the other hand, is more of a world view held by many Buddhist, Shinto, Pagan and Neopagan groups of people, that all plants, animals and objects have spirits.

When we look at Animistic belief, we see that it treats all humans, animals, and plants as being equal and interdependent of each other.  In other words: to the Animist it is morally imperative to treat all forms of life with respect.  Not only that, but to the Animist we are part of nature, rather than being superior to nature, or separate from nature.

This belief is on the opposite end of the spectrum of the modern day “refined” and “cognitively developed” man who believes that he is the master of the world, and everything is subject to his rule.  No wonder the earth’s forests, streams, oceans, parklands, and wildlife are polluted, pillaged and dying every day.  “Mature” developed man has such a sickly and unintelligent mindset towards nature that he creates nothing but destruction and death wherever he treads.

Those who believe in the presence of Spirit Animals not only respect the flora and fauna of the earth as equals, but they often perceive the world around them as consisting of one and the same universal energy.  This is similar to pantheistic thought which believes that man, nature, and animal kind are all the manifestations of God.

Albert Einstein was considered to be a pantheist after writing one letter to a friend in 1954:

We followers of Spinoza see our God in the wonderful order and lawfulness of all that exists in its soul as it reveals itself in man and animal.

In the end, it’s up to you to decide whether Spirit Animals are merely primitive social constructs, or whether their long history throughout many peoples and cultures points to a higher, deeper truth.

Note: The phrase “Power Animal” refers to the shamanic idea that certain animals (or tutelary spirits) can physically and psychologically empower us.  The Power Animal, just like the Spirit Animal, is thought to lend its wisdom, attributes, and instincts to us in times of need. (Source).


Love and light,