Zoek, Vind, ontdek en beschrijf je Passie

Je Passie is waarschijnlijk de meest krachtige persoonlijke hulpbron en motivatie-driver die je (als reminder) kunt gebruiken om hindernissen en obstakels te overbruggen. Er zijn een aantal manieren om je Passie te ontdekken:

  • Wat vind je (bijna altijd) leuk om te doen?
  • Waarover gaan de boeken die je graag leest?
  • Wat bekijk je het liefst op TV?
  • Waarover praat je het liefst?

De Passietest:
1. Waar ben je van nature nieuwsgierig naar?
Dit gaat in wezen over je interesses. Om jezelf beter te begrijpen, kun je jezelf afvragen wat voor soort non-fictie boeken je graag leest? Wat is het onderwerp van de documentaires waarnaar je graag kijkt? Waarover gaan de kranten of tijdschrift artikelen die je altijd leest? Wat vind je leuk om over te leren?

2. Wat zou je willen veranderen aan de wereld?
Dit is een zeer krachtige vraag. Wat is de aard van de kwesties in de samenleving dat je boos maakt of triggert? Wat is het nieuws waarover je je kwaad maakt? Wat wil je in de wereld veranderen om het beter te maken?

3. Wat zou je graag willen doen of bereiken voordat je sterft?
Probeer de lijst zo groot te maken als je kunt.

4. Wat zou je doen als je niet kon falen?
Er zijn geen grenzen – wat je ook besluit te doen, je zult hierin slagen. Als er geen angst is om te falen, wat zou je doen?

5. Wat zou je doen als je niet zou worden beperkt door geld?
Soms zetten we belemmeringen om ons denken, omdat we denken in termen van de monetaire beperkingen. Als daar zou geen sprake van zou zijn, waar zou je jezelf in toewijden?

6. Wat zou je willen horen bij je begrafenis?
Stel dat het je begrafenis is en iedereen die dicht bij jou staat is daar. Een voor een geven ze toespraken. Wat zou je graag elk van deze sprekers laten zeggen over jou en je leven? Wat voor soort van een vriend en familielid was je? Collega? Welk karakter zou je willen dat ze gezien hebben in je? Welke bijdragen, welke resultaten zou je willen dat ze nog herinneren? Kijk goed naar de mensen om je heen. Wat voor verschil zou je willen hebben gemaakt in hun leven?

7. Wat zijn de dingen die je op dit moment leuk vindt om te doen?
Wat zijn de activiteiten waarbij je het gevoel krijgt dat de tijd gewoon vliegt?Probeer na te denken over zowel de leuke dingen als de productieve activiteiten.

8. Wat waren de activiteiten of taken die je deed toen je het meest bekrachtigd voelde?
Denk na over de banen die je hebt gehad, vrijwilligerswerk, school en ga zo maar door. Wat deed je toen je je het gelukkigste voelde, het meest productief en stond te popelen om te doen wat je aan het doen was?

9. Waarvoor zou je het liefst willen worden erkend tot nu toe in je leven?
Wat zijn de prestaties waarop je trots bent ? Klein of groot, waar(mee) ben je trots op jezelf?

10. Als je slechts één wens had, wat zou het zijn?
Denk er over na voor een minuut en zorg ervoor dat je hiermee echt de spijker op de kop slaat.

11. Wiens leven wil je leven?
Wie zijn de mensen (huidige of historische figuren) die je bewondert, of zelfs misschien wel een beetje jaloers op bent?

12. Door welke ideeën ben je het meest geïnspireerd? Waarom?
De ideeën kunnen gaan over het leven, carrière, de maatschappij of wat dan ookwat dat betreft. Voorbeelden van een inspirerend idee zou kunnen zijn: uitstoot van koolstof vrij leven, gratis onderwijs voor iedereen, wereld waar intercultureel begrip heerst en ga zo maar door.

13. Met wie zou je graag jezelf omringen?
Met welk soort mensen zou je het liefste willen zijn omgeven in termen van levensstijl, beroep, vaardigheden, vermogen, interesses?

14. Neem je verantwoordelijkheid voor wat er met je gebeurt?
Kijk naar het soort persoon die je bent en hoe je nu in je leven staat. Geloof je dat jij zelf de oorzaak bent voor de wijze waarop dingen gaan? Kun jij je eigen toekomst creëren?

***


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Applying Sociocracy as an Individual

Even if you do not live or work in a sociocratic organization, you can apply the sociocratic principles and methods to develop a deeper understanding and achieve greater harmony in your life and in the lives of others. By demonstrating that sociocratic principles and practices increase fairness, effectiveness, and transparency and improve collaboration, you may also increase the possibility that sociocratic principles will be implemented in your organizations.

These small changes suggested here can make a big difference in your life as well as in that of others.

Sharon Villines

1. Expect Consent

Begin functioning with the expectation that consent is the standard for all decision-making.

When a decision is about to be made, before anyone can call for a vote, ask if there are any objections. If possible, glance at each person as an invitation to speak. If someone tries to dismiss concerns or interrupts, say “Let’s look at this for a moment.” If necessary, try to help clarify concerns, determine if they are objections or concerns, and ask if anyone can address them. When there are unresolved objections at the end of a discussion, emphasize that a decision has not been made. Many small groups function by consent most of the time but with only one or two objections, will avoid a formal decision, and then proceed as if it had been made. State clearly, “We have no decision” or “Let’s decide not to proceed until we have enough information to resolve Sam’s objections.”

2. Start Rounds

Actively initiate rounds by asking, “What do you think, Mary?” and moving around the room.

Doing rounds can completely change the dynamic of a group because they (1) establish equality in the room as each person is given time to speak, (2) bring out comments from those who dislike competing for time or feel their ideas are not important, and (3) prevent people from avoiding responsibility by being silent.

3. Double-Link

Suggest that two people with differing styles or opinions represent your group to other groups, approach an authority, or attend a conference.

Leaders and representatives are accustomed to negotiating or presenting autocratically and this authority is very hard to give up. When two equals represent a group, however, (1) the process is more likely shift to collaboration and consultation on behalf of the group, to searching for a solution rather than presenting a fait accompli. With two representatives, (2) co-opting is less likely than with one. With two differing points of view or training, (3) the information conveyed in both directions is likely to be fuller.

4. Elect by Discussion and Consent

Don’t ask for volunteers; ask whom group members think might to be a good person for the task or function and obtain consent.

A volunteer may not be the best person for the job and the person who is may not volunteer. Before anyone can volunteer, ask what the task or function requires and then directly ask one person who they think could fulfill those requirements. Convey the expectation that there will be more than one qualified person. People often recognize abilities in others that others don’t see in themselves.

5. Actively Solicit Concerns & Objections

Thorough examination of all concerns and objections is essential to more effective decision-making.

Welcome the expression of concerns and objections because resolving them builds a stronger decision. Once expressed, don’t allow them to slide away unresolved. In addition to correcting or improving a proposed decision, taking objections seriously builds the commitment and focus necessary for effective action.

6. Measure & Report

Build measurements into your decisions so you will know if they are working in the ways you expected.

In every decision, ask, “How will I know if this is working? When do I take a second look? How will I keep track?” Set a time limit on decisions so they will be reviewed and changed if necessary. This doesn’t have to be complicated. Gauge the measurement to the complexity or possible effects of the decision. For personal decisions, it may be as simple as putting a mark on the calendar setting a time to consider how you feel. Then record and make the result available to everyone concerned.

7. Encourage Self-Organization

Ask questions that expect people to find their own answers. Support ongoing self-education. Take control over your own responsibilities.

The meaning of “govern” is “to steer.” When you self-organize you are governing your own life. You take the helm and steer your life like a boat, correcting course when necessary. You ask, “How can I fix this?” “What do I need to do my job?” Ask this of others as well as yourself.

Self-organization is often discouraged in offices but there are usually small areas of possibility. There is generally more freedom to self-organize in your personal life. A mother with four high-energy children and a husband who worked twelve hours a day did one thing that changed her life—she woke up an hour earlier than the family and organized her day over a quiet breakfast. A single father of suddenly adopted 18-month-old twins has a DayTimer on the table next to his plate “for the house and the twins. Everything is in it.”

8. Self Education

Take responsibility for your own development, for continuing to learn about life, about your work, and about your organization.

Management literature often calls this “don’t get stale.” It means keeping up with your industry and developing beyond it. Define your professional area, and your personal life, broadly. If you work on a loading dock, find out how other organizations handle late shipments and transient employees. Watch changes in your company at the top levels that may help you understand your job. Design educational programs that reduce emergencies and increase productivity. Bring your colleagues along with you.

Develop your social contacts at home. Follow your dreams. This will create an environment of growth—not in size but in depth.

Sharon Villines is coauthor with John Buck of We the People: Consenting to a Deeper Democracy, a Guide to Sociocratic Principles and Methods(Washington, DC: Sociocracy.info Press, 2007). For more information:http://www.sociocracy.info

[This Article was copied full to have a local reference for search purposes]

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Business MetaQuest: The 9 Building Blocks

What does it take to run a Business? A true entrepreneur sees challenges as possibilities and opportunities on the way, and creating a business is a natural step. Defining and analyzing the building blocks of your business offers variables and context for sharpening the saw. This descriptive model comes from the best Business Model Meta-Boek I came across in years: “Business Model Generation” it offers a field-tested frame-work with building blocks to analyze current ventures and create sustainable new ones.

[Abstract from the book Business Model Generation]

1. Customer Segments (CS) An organisation serves one or several Customer Segments.
[Mass market, Niche Market, Segmented, Diversified, Multi-sided platforms (or multi-sided markets)]

2. Value Propositions (VP) It seeks to solve customer problems and satisfy customer needs with Value Propositions.
[Values may be quantitative: (price, speed of service) or qualitative (design, customer experience). The elements: Newness, Performance, Customization, “Getting the job done”, Design, Brand/status, Price, Cost Reduction, Risk Reduction, Accessibility, Convenience/usability]

3. Channels (CH) Value Propositions are delivered to customers through communication, distribution, and sales Channels.
[Channel Types: Own (direct) sales force, web sales, own stores; Partner (indirect) partner stores, wholesaler. Channel Phases: 1. Awareness How do we raise awareness about our company’s products and services? 2. Evaluation How do we help customers evaluate our organization’s Value Proposition? 3. Purchase How do we allow customers to purchase specific products and services? 4. Delivery How do we deliver a Value Proposition to customers? 5. After sales How do we provide post-purchase customer support?

4. Customer Relationships (CR) Customer Relationships are established and maintained with each Customer Segment.
[Personal assistance (human interaction: on-site, call centers, e-mail, …), Dedicated Personal Assistance (account manager), Self-service, Automated services, Communities, Co-creation.]

5. Revenue Streams (RS) Revenue Streams result from Value Propositions successfully offered to customers.
[Asset sale, Usage fee, Subscription fees, Lending/Renting/Leasing, Licensing, Brokerage fees, Advertising]

6. Key Resources (KR) Key Resources are the assets required to offer and deliver the previously described elements …
[Physical, Intellectual, Human, Financial]

7. Key Activities (KA) … by performing a number of Key Activities.
[Production (activities relate to designing, making, and delivering a product in substantial quantities and/or of superior quality), Problem solving (activities of this type relate to coming up with new solutions to individual customer problems), Platform/network (a platform as a key resource is dominated by platform or network related Key Activities: Networks, matchmaking platforms, software and brands can function as a platform]

8. Key Partnerships (KP) Some activities are outsourced and some resources are acquired outside the enterprise.
[Four Types of partnerships: 1. Strategic alliances between non-competitors, 2. Coopetition: strategic partnerships between competitors. 3. Joint ventures to develop new businesses. 4. Buyer-supplier relationships to assure reliable supplies. Motivation for creating partnerships: Optimization and economy of scale, Reduction of risk and uncertainty, Acquisition of particular resources and activities.]

9. Cost Structure (CS) The Business Model elements result in the Cost Structure.
[What are the most important costs inherent in our business model? Which Key Resources are most expensive? Which Key Activities are most expensive? Cost-driven (minimize costs wherever possible), Value-driven (focus on value creation), Characteristics of Cost Structures: Fixed costs (costs that remain the same despite the volume of goods or services produced), Variable costs (costs that vary proportionally with the volume of goods or services produced), Economies of scale (cost advantages that a business enjoys as its output expands), Economies of scope (cost advantages that a business enjoys due to a larger scope of operations).

 

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Character motivation

[Source: Gordian Plot]

Motivations: Love, Curiosity, Self-preservation, horniness, greed, domination, power, Jealousy, Duty, order, Self discovery, image conscious, Revenge, Fear, Hate, habit, Comfort, food, sleep, addiction, ambitious, compulsive, dreamer, pleasure seeking

Motivation questions:

What would make him fall in love with someone? they are like him, they are different enough to fascinate him, he respects them, he falls in love randomly, they resemble his mother, they resemble his dead spouse

how easily does he fall in love? always falling in love, has never been in love, doesn’t even believe in love, had one love that he compares all others to. fell in love once and thinks he will never fall in love again. falls in love now and then.

What would make him desire someone sexually?

What would make him fall in love with someone?

What would make him trust someone? What would make him hold a secret? What would make him love a place? What would make him go to a place? What would make him guard a place? What would make him hate someone? What would make him pursue someone with vengeful intent? Is there something that he would go to great lengths to obtain? How would he go about it? What properties would an object have for him to go to great lengths to have it?

Obstacles to Motivations: another person, an object, a place, the nature of the plan itself, himself, a group, a cultural situation, a law, a political situation, custom, a curse, magic, technology, lack of ability

Self Expectations: Goals, past goals, past failures, past successes, disappointments, achievements, fantasies, wishes

Possible Motivations to want a thing: Because it is just beyond his grasp, because someone else has one, it is worth lots of money, he could help people with it, he could protect himself with it, he could attack others with it, others could attack him with it, it would pose a danger to an innocent person who found it, it is beautiful, it is prestigious, he collects those, he doesn’t want someone else to have it, to give it to someone he loves, to prove himself, it has special meaning to him, there are memories attached to it, someone special gave that to him.

Is there something he is highly motivated to learn? To defeat the bad guy, curiosity, to find the object of his quest, to get a degree, to get acclaim, to stop something bad from happening, to learn something about his past, was he guilty of that crime, was his friend guilty of that crime, What would arouse his curiosity? What would the main character view as a prize?

Secrets
Can’t keep a secret, can’t tell a secret when it needs to be told,

Who is he most likely to confide in? Is his confidence well placed? What kind of things does he hide from others?

He has secrets from the ones he loves, his children, his parents. What is he afraid his enemies may find out about?

How is he imprudent; stupid, ignorant, lack of street smarts, unaware of the evil intentions of others, misreads people, attraction to dangerous people, makes choices he knows he shouldn’t, there is something he just can’t resist getting, doing or saying

How might someone take advantage of his type of imprudence?-list

How would it be possible to sucker him into something? What would be the best carrot and stick someone could use to get him to do something?

What is the cruelest thing a person could do to him? What motive would someone have to do this? Who would be most likely to do this?

How would he most easily fall prey to someone?

What is his greatest weakness? How could someone take advantage of his greatest weakness?

Pride, morality, stupidity, curiosity, contrariness, greed.

how he may have Lost something, imprudence, dept, accident

Let go and only realized it was important to him later

The lost something was – a persons love, jewelry, information, honor, property, money, house, animal

Does he have a neurotic personality type-list for each type { Narcissistic, Borderline, Histrionic, Antisocial, Schizoid, Masochistic, Obsessive/Compulsive, Paranoid}

Self-destructive {sets himself up for emotional falls, gets himself into bad relationships, takes unnecessary risks, cuts himself, attempted suicide, repeatedly allows himself to be duped, allowed things he cares about to be put at risk, taken no action when action would have helped him, chooses partners and friends who are harmful or manipulative, acts dangerously rash, foolishly brave, accident prone}

Delusional cant distinguish between what is internal and what is external : What kind of delusions does he hold? Sees all problems as all his own fault,

he blames others for his problems, Who is he most likely to use as his scape goat? Does he tend to use specific people such as its all my useless brothers fault, or dose he blame groups, for example through racism or sexism? Is he hostile to people with either more or less power than himself?

Thinking habits
What would he regard as common sense, is common sense what is commonly held or what is logically obvious.

Convictions:

what are the things he sees as true: the truths against which other things are verified. Are his opinions considered or dogmatic? What are his prejudices and how did they originate? Political tendencies: {conservative, liberal, business, proletarian, fascist.}

How much does he care about politics? Does he talk about it.

Reaction to success\failure
{devastated by failure, unemotional about victory, highly emotional about victory, uncomfortable about succeeding, surprised when he succeeds, surprised when he fails, takes failures as a learning experience, ignores failures}

How self-aware is he? What is he ignorant of in himself? What would it take to make him see it? What are the things he is in the habit of thinking about? What does he consider worthy of pondering? Is he a daydreamer?

Religion {Catholic, Jewish, Protestant, monotheist, atheist, agnostic, Hindu, Buddhist, Islam, pantheist, animist}

Religiousness {atheist, holidays only, live and let live, fundamentalist, rabid, proselytizes, adamant over one interpretation, spiritual, religious upbringing, backsliding, born again, converted, disillusioned, doubting, casually faithful, follows the rules, intentionally blasphemes against his own religion,

How does he feel when he is tempted away from the path? What has tempted him? Has he given in to temptation? How does he feel about the religions of others? hostile to other religions, curious about others religions, intentionally blaspheme against others religions,

does he believe in signs or portents? astrology, landscape reading, animal gut reading, cards, yew sticks

What would he take as a bad omen; black cats, walking under a ladder, the evil eye, breaking mirrors

Does he believe in; vampires, goasts, fairies, werewolves, witches, magical animals, honest politicians

Internal order, Moral habits inhibitions

True morality vs. how he justifies himself

On what is his morality based: {social expectation, Religion, class, peers, family, books, he generated his own spontaneously.}

Does he have more than one source for his values, do they conflict?

His interpretation of morality is; { martyrdom, following the laws, acting contrary to others laws, egocentrism, enlightenment, serving the family, serving the class, chivalry, personal honor, machismo, following a role or caste, keeping things the same, self preservation, hedonism, stoicism, altruism.}

Is there a moral ideal he would sacrifice for? How much would he give? Describe a time when his commitment to his ideals where tested.

What is his idea of justice {Obligation, imposition, fairness, atonement}

Is he morally judging of others?

How does he express it? {Complaining of others behavior, nagging, lecturing, physical retribution, report to the authorities, internal simmering, exasperation}

What does he do when he judges mistakenly?

How does he handle the faults of others {doesn’t suffer fools kindly, views people as all good or all bad, open-minded, there but for the grace of god could go I, trys to see others in the best light possible,}

{unaware of others feelings, aware of others feelings, cares about others, aware of others feelings but doesn’t care. offers help to others who need or want it, offers help to others who don’t need or want it, Doesn’t appreciate things that others do for him, }

Is he honest? Does he trust others? Do others trust him?

What it take to gain his trust {he is highly trusting, outward appearance, a minor indication of trust worthiness, reputation, the person belongs to a group or classification he believes is trustworthy, A major act or test.}

What things does he regard as his duties/responsibilities { his own actions, unexpected results of his actions, the actions of friends and relatives, the safety of friends and relatives, dangers caused by things he has made, emotional obligations to others, actions he accidentally set into motion, religious and social obligations}

{accepts responsibilities, avoid them, take to many, takes on unreasonable responsibilities, take strange vows, always promising to do things he cant do, agrees to do things he has no intention of doing}

What is forbidden to him by religion or ethics?

What kinds of crimes would he find most tempting? list

What is he most likely to do that is against his own morals, duties or better judgment? What is the greatest transgression against his own beliefs that he has committed?

To what degree has he internalized his morals: what he wishes to do versus what he thinks he should do.

How does he act on his morals {Good, continent, incontinent, contrary.}

How does he feel about his own behavior {harshly self-judgmental, occasionally regretful, uncritical, satisfied, self-righteousness, prideful. sorry for himself about his moral failures, apologies, apologies too much, makes amends, highly regretful, haunted by his conscience, post traumatic stress syndrome, denial, projects his failings on others }

Does he feel remorseful or regret, what has made him feel remorseful, how does he express remorse?

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Character Psychology

Character habits and attitudes

From Gordian Plot

Eating habits

Diet: Veggies, grass, red meat, raw meat, fish, likes sweets, low fat diet, diabetic diet, low carb diet, low sugar diet, vegetarian, vegan, greasy food, junk food, health food, fad diet, always eats the same thing, eats a limited number of things, binges on one thing or another, mostly the same thing with occasional variation, eats a variety of things, experiments wildly, tries things not normally regarded as edible

Manner of cooking: slow, frantic, sloppy, cleans as he cooks, leaves the mess for later, never cooks, cooks simple things, can cook a few dishes well, barbecues, boils everything, bakes, makes no cooking dishes like salad, takes cooking seriously, enjoys cooking, hates cooking

Manner of eating: neat, messy, well mannered, fast, diligent, bulimic, eats compulsively, problems maintaining his weight, wolfing, picking, furtive, gormond, shameful, gluttonous, disdainful, reflective, disinterested, dissecting, coinsuring, distracted.

How often does he eat out: Every meal, daily, weekly, monthly, rarely, never. Favorite restaurants or eating places: Fast food restaurant, Dumpster behind fast food restaurant. Dive with good food, classy with good food, place with good view. Greasy spoon, classy with micro portions, weird specialty, guy who sells food out of trunk, hot dog stand, bar, sports bar, ice-cream parlor, coffee shop, bookstore coffee shop, movie theater, cafeteria,

Where does he sit: where the waiter seats him, near the window, away from the window, near the bathroom, where he can peer in to the kitchen, in an isolated booth, at a crowded communal table How do the employees and other customers interact with him? Knows people by name, orders the usual, never tips, over tips, talks on his cell phone, scolds other diners for there misbehavior, regards getting into a fight as part of the dining experience,
Sleeping habits

How long does he sleep and how does this make him feel?: tends to lay in bed, gets up right away, has difficulty sleeping, afraid to sleep, a night owl, awake or asleep anytime, noon napper, a morning person, round the clock napper, heavy sleeper, sleeps with eyes open, needs a lot of sleep, needs little sleep, always sleepy, takes a long time to fully wake up.

Dreams: remembers his dreams, repetitive dreams, nightmares, dreams of events from his past, dreams of his future, wishful dreams, dreams of his fears, symbolic dreams.

Toilet habits: regular, irregular, likes to mark his territory, messes up public bathrooms, needs to have an enema to take a shit, incontinent, can only use his own toilet, goes where the urge takes him, fascinated by excretion, unusually strong disgust or fear of excrement

Grooming-bathing-personal cleanliness-makeup: frequent washing, never baths, spackled on makeup, Well-groomed,

Attitude toward liquor and drugs

Drugs: Beer, wine, strong liquor, cigarettes, cigars, marijuana, methamphetamine, crack, opium, powdered coke, heroin, designer drugs, steroids, prescription drugs, caffeine How often? Addictions? How does he rationalize it? How has he been paying for them, what has he been sacrificing?

What prompts him to use: to overcome shyness, gain confidence, to escape his problems

When has he used drugs or drink?: First thing in the morning, At work or school, at a particular time every day, when alone, With people, puts himself in dangerous situations, feels compelled to keep using or drinking once started? has blackouts, health problems, unaware of health risks, lies about how often he uses drugs or alcohol, hidden it from family and friends. in trouble with the police. Causes problems with his family, work or school, bad reputation, Has been in treatment, Has unsuccessfully tried to stop? has felt guilty or sad because of drinking or drug taking, feels he should quit, or at least cut down? Have any of his friends or family members abused drugs or alcohol? How much was he exposed as a child?

Social habits and roles

Caste/class: Aristocratic, courtier, military, priestly, merchant, craftsman, servant, farmer, peasant, rouge, beggar, prostitute, slave, money mogul, old money, neuvaux riche, working class, middle class, professional class, upper crust,

Class attitude/Response to society?: Gives orders, takes orders, respected, despised, resigned, content, defiant, rebellious, defensive, alienated, part of group

Role in society: nerd, bad boy, good boy, snob, slob, know it all, care taker, martyr, soldier, victim, playboy, sex object, loyal retainer, jackal, noble leader, boss, bully, thug, surfer, debauched addict, Highbrow or lowbrow, parent or child, jester, seeker, eternal failure, misunderstood artist, charmer, amused at self, painful self image, member of group or clique, shifting

How conscious is he of playing roles? Can he project an image at will: act? How convincingly? If he acts a role how much does he tend to forget the acting and fall into the role.

How much of a chameleon is he: how often and how smoothly does he slide from one role to another? Do people tend to believe him, or see him as a phony?

Five Factor Model types

The Five Factor Model is based on the five most important human differences in styles of interaction. (This is based on an analysis of language and seems to hold through different languages and cultures.) These are not types but a series of variable traits. They can be useful ways to think about your character’s personality.
1. Need for Stability (Neuroticism): How does a person respond to stress? This is rated on a scale from Resilient (calm & steady) to Reactive (Alert & Excitable). It includes such traits as sensitiveness, intensity and rebound time. It measures anxiety, hostility, depression, self-consciousness, impulsiveness & vulnerability.

2. Extraversion: Does the person prefer to be around other people or to be alone? This is rated on a scale from Extrovert (very social) to Introvert (alone, quiet, private). This includes such traits as enthusiasm, trust, and energy mode. It measures warmth, gregariousness, assertiveness, activity, excitement-seeking, and positive emotions. (Not identical with the Meyers-Briggs use of introversion/extroversion.)

3. Originality: How open is the character to new ideas and experiences? This is rated on a scale from Explorer (creative, cutting edge) to Preserver (Maintains the status quo, detail oriented). It includes traits such as imagination, change, complexity and breadth of view. It measures openness to fantasy, aesthetics, feelings, actions, ideas and values.

4. Accommodation (agreeableness): How tolerant and accepting of others is the character? This refers to the degree to which we defer to others. This is rated on a scale from Challenger (Expressive, competitive) to Adapter (Tolerant, accepting). It includes traits such as agreeableness, service, deference and reticence. It measures trust, straightforwardness, altruism, compliance, modesty and tender-mindedness.

5. Consolidation: (conscientiousness) How does the character approach goals? This refers to the degree to which we push toward goals at work. This is rated on a scale from Focused (disciplined, dependable) to Flexible (relaxed, multi-tasking). It includes such traits as perfectionism, drive and concentration. This measures competence, order, dutifulness, achievement striving, self-discipline and deliberation.

Meyers Briggs types

These are 16 types based on a Jungian analysis. Each type has its strengths and weaknesses, its typical relationships and careers. They are directly related to the Kiersey Temperament types. There is an immense amount of information about each type on the internet.

ISTJ: Duty Fulfiller, inspector guardian (Introverted Sensing Thinking Judging)
ISTP: The Mechanic, Crafter Artisan (Introverted Sensing Thinking Perceiving)
ISFJ: The Nurturer, Protector Guardian (Introverted Sensing Feeling Judging)
ISFP: The Artist, Composer Artisans (Introverted Sensing Feeling Perceiving)
INFJ: The Protector, Counselor Idealists (Introverted, Intuitive feeling judging)
INFP: Healer Idealist (Introverted Intuitive Feeling Perceiving)
INTJ: The Scientist , Rational Mastermind (Introverted Intuitive Thinking Judging)
INTP: Thinker, Architect of Rationality (Introverted iNtuitive Thinking Perceiving)
ESTP: The Doer, Promoter Artisan (Extraverted Sensing Thinking Perceiving)
ESTJ: The Guardian, Supervisor (Extraverted Sensing Thinking Judging)
ESFP: The Performer, Performer Artisan (Extraverted Sensing Feeling Perceiving)
ESFJ: The Caregiver, Provider Guardian (Extraverted Sensing Feeling Judging)
ENFP: The Inspirer, Champion Idealist (Extraverted iNtuitive Feeling Perceiving)
ENFJ: The Giver Teacher Idealist Extraverted iNtuitive Feeling Judging
ENTP: The Visionary Inventor Rational (Extraverted iNtuitive Thinking Perceiving)
ENTJ: The Executive, FieldMarshal Rational (Extraverted iNtuitive Thinking Judging)

Keirsey types

RATIONAL NTs
Theoretical, intellectual, analytical, systematic, complex, inventive, autonomous, self-willed, efficient, curious, research-oriented.
Knowledge-seeking. Good at science, engineering, inventing, organizing.

IDEALIST NFs
Humane, sympathetic, enthusiastic, creative, intuitive, subjective, cooperative, spiritual. Identity-seeking. Good at interpersonal diplomacy and trying to bring wholeness to others.

ARTISAN SPs
Artistic, adaptable, athletic, open-minded, non-theoretical, easygoing, tolerant, tool lovers, joyful. Sensation-seeking. On the lookout for whatever or whoever is exciting, pleasurable or useful.

GUARDIAN SJs
Stable, consistent, cooperative, conservative, factual, dependable and thorough. They take care of people, institutions and schedules; everything is kept within bounds, all actions are supervised, everyone’s needs are met.

Sheldon’s types

Endomorph
Physical: They tend to be round with wide hips and narrow shoulders, which makes them rather pear-shaped. They are focused on the digestive system, particularly the stomach . (Their large intestine can be double the length of that of an ectomorph.) Deep breathing from abdomen; slow reactions based on a slower metabolism.

Psychological: Social extroversion; Fun-loving; Love of food; Tolerant; Even-tempered and good humored; Relaxed and slow moving; love of comfort; has a need for affection, and is typified as the ‘barrel of fun’ person. They can have problems with their need for affection and in phobias.

Social: Social stimulation enjoyed and needed to bring them out from their focus on the digestive system. Groups of people draw out their energy and make them feel alive. They both show affection readily and crave it for themselves. Their emotions flow readily and easily out to others. They are knowledgeable and well adapted in the social world. The barrel-of-fun type person. They are oriented out to the world through their senses. (Picture of Santa Claus)

Mesomorph
Physical: Large head, broad shoulders and narrow waist (wedge-shaped or rectangular shaped). Focused on musculature and the circulatory system. Strong forearms and thighs, Very little body fat, thick skin tending toward coarseness, hair is basically heavy-textured, upright posture. The chest area dominates over the abdominal area Their voices carry and sometimes boom out as if speech were another form of exercise.

Psychologically: Adventurous, Courageous, Indifferent to what others think or want, Assertive/bold, always ready for physical activity, Competitive, With a desire for power/dominance, And a love of risk/chance; extravert, with relatively little grasp of his inner self ; an extraversion of action. Women on the whole tend to have less mesomorphy than men and more endomorphy. They can have problems with narcissism and dominance issues.

Socially: Extraverted toward action, getting things done. Decisions without inhibitions. He is stable, predictable and hardheaded; competitive; They can be insensitive and aggressive. (Superman)

Ectomorph
Physical: Narrow shoulders and hips, thin legs and arms, facial features are sharp and fragile with a high forehead, thin and narrow chest and abdomen, delicate build, young appearance, Very little body fat focused on the nervous system and the brain , long fingers, toes and neck, fine and fast-growing hair, quick onset of hunger and a quick satiation of it

Psychological: Self-conscious, Private, Introverted, Inhibited, Artistic, Intense, emotionally restrained, thoughtful, introverted, highly developed self-awareness, finely-tuned receptive system sensitive to stimulation, a great deal of curiosity moving from one interest to another; a distaste for alcohol, drugs, resistant to hypnosis, rich dream and fantasy life, they seek privacy and solitude in order to try to work out the difficulty. Strong intuitive sense based on the broad inner consciousness from which intuition springs. They can have problems with depression and lack of self-confidence.

Social: shrinks from crowds, likes small, protected places, loves privacy, and intellectual or mental stimulation, uncomfortable with small conventional talk and general idle conversation, often out of touch with own senses, difficulty in forming routines and habits, don’t want much but become quite attached to what they have and often are affectionately attached to material things, some difficulties with sexuality, have a feel of not being part of this earth.

 

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The 36 dramatic situations

[Source: Gordian Plot – The 36 dramatic situations]

The Thirty-Six Dramatic Situations

From Gordian Plot

The Thirty-Six Dramatic Situations is a descriptive list which was created by Georges Polti to categorize every dramatic situation that might occur in a story. To do this Polti analyzed classical Greek texts, plus classical and contemporaneous French works. He also analyzed a handful of non-French authors. In his introduction, Polti claims to be continuing the work of Carlo Gozzi, who also identified 36 situations.

Because Polti drew heavily on French dramatists roughly contemporary with him, many of whom have now faded into obscurity, users are encouraged to supplement his examples with their own. User-submitted additions should be in Italic text, in order to distinguish them from the examples contained in Polti’s original work.

This is a translation from the french anyway, so please modernize the language.

also see Category:Plot lines for other plot lists
The Thirty-Six Dramatic Situations

GEORGES POLTI

Translated by Lucile Ray

1917

POLTI FOREWORD by Wm. R. Kane

POLTI INTRODUCTION

FIRST SITUATION, SUPPLICATION (To humbly petition) The Supplicant is chased, harmed or otherwise threatened by the Persecutor and begs for help from the Power in Authority.

SECOND SITUATION, DELIVERANCE The Unfortunate is threatened in some way by the Threatener and is saved by the Rescuer.

THIRD SITUATION, CRIME PURSUED BY VENGEANCE The Avenger wreaks vengeance on the Criminal for past crimes.

FOURTH SITUATION, VENGEANCE TAKEN FOR KINDRED UPON KINDRED One family member, the Guilty Kinsman, harms another (the Victim). They are punished for this serious transgression by an Avenging Kinsman.

FIFTH SITUATION, PURSUIT A Fugitive is pursued, caught and Punished for some miscreant act.

SIXTH SITUATION, DISASTER A calamitous event occurs.

SEVENTH SITUATION, FALLING PREY TO CRUELTY OR MISFORTUNE The innocent Unfortunate is harmed by accidental Misfortune or by a deliberate Master who should know better.

EITTH SITUATION, REVOLT The Conspirator leads or contributes to a revolt against an oppressive Tyrant

NINTH SITUATION, DARING ENTERPRISE

TENTH SITUATION, ABDUCTION The Abducted person is taken by the Abductor. The Abducted may be rescued by a Guardian.

ELEVENTH SITUATION, THE ENIGMA The Interrogator poses a Problem which the Seeker must solve.

TWELFTH SITUATION, OBTAINING A Solicitor requests something of the Adversary, who refuses to cooperate. Or, there are Opposing Parties who cannot reach agreement and so their dispute is resolved by the Arbitrator.

THIRTEENTH SITUATION, ENMITY OF KINSMEN Two relatives hate one another (and act accordingly).

FOURTEENTH SITUATION, RIVALRY OF KINSMEN Two relatives compete over an Object, often another person who shows more favor to the Preferred Kinsman and shows less favor to the Rejected Kinsman.

FIFTEENTH SITUATION, MURDEROUS ADULTERY Adultery turns to violence as an Adulterer seeks to remove the Spouse or turns on the other Adulterer.

SIXTEENTH SITUATION, MADNESS A person becomes temporarily Mad, losing control and harming the Victim.

SEVENTEENTH SITUATION, FATAL IMPRUDENCE The Imprudent person loses an Object or causes harm to the Victim through unthinking imprudence, curiosity and general carelessness.

EIGHTEENTH SITUATION, INVOLUNTARY CRIMES OF LOVE The Lover performs acts of love with the Beloved, only to find (via the Revealer) that the Beloved is a close relative

NINETEENTH SITUATION, SLAYING OF A KINSMAN UNRECOGNISED The Slayer kills (or nearly kills or harms) the Unrecognized Victim, who is actually a relative or friend of the Slayer. Thus a seemingly justified act suddenly becomes unjustified.

TWENTIETH SITUATION, SELF-SACRIFICE FOR AN IDEAL The Hero gives up something for the sake of an Ideal.

TWENTY-FIRST SITUATION, SELF-SACRIFICE FOR KINDRED The Hero gives up something in order to help a relative or friend.

TWENTY-SECOND SITUATION, ALL SACRIFICED FOR A PASSION The Lover is impassioned by the Object to the point where they give up the Person or Thing, perhaps unwisely, blinded as they are their passion.

TWENTY-THIRD SITUATION, NECESSITY OF SACRIFICING LOVED ONES The Hero is forced to sacrifice the Beloved Victim, based on the Necessity.

TWENTY-FOURTH SITUATION, RIVALRY OF SUPERIOR AND INFERIOR The Superior Rival is set against an Inferior Rival, both vying for the Object of Rivalry.

TWENTY-FIFTH SITUATION, ADULTERY

TWENTY-SIXTH SITUATION, CRIMES OF LOVE The Lover loves the Beloved, but this love is illicit in some way, breaking social codes.

TWENTY-SEVENTH SITUATION, DISCOVERY OF THE DISHONOR OF A LOVED ONE The Guilty One brings shame on their kin by a dishonorable act. They are discovered by the Dishonorer.

TWENTY-EIGHTH SITUATION, OBSTACLES TO LOVE Two Lovers want to be together, but they are prevented from doing so by some Obstacle.

TWENTY-NINTH SITUATION, AN ENEMY LOVED The Lover loves the Beloved Enemy. The Hater hates the Lover for this betrayal.

THIRTIETH SITUATION, AMBITION The Ambitious person Covets a Thing, however that ambition is guarded against by an Adversary.

THIRTY-FIRST SITUATION, CONFLICT WITH A GOD The Mortal challenges the Immortal. There are consequences.

THIRTY-SECOND SITUATION, MISTAKEN JEALOUSY

THIRTY-THIRD SITUATION, ERRONEOUS JUDGMENT The Mistaken One makes some judgment about or is suspicious about the Victim, instead of the Guilty Person. This is due to some Cause or is caused by the Author of the mistake.

THIRTY-FOURTH SITUATION, REMORSE The Culprit has done wrong to a Victim or committed another Sin. The Interrogator gets an admission of guilt.

THIRTY-FIFTH SITUATION, RECOVERY OF A LOST ONE The Seeker looks for and finds the One Found.

THIRTY-SIXTH SITUATION The Kinsman Spectator sees the Kinsman Slain being killed by the Executioner.
CONCLUSION

POLTI INDEX

POLTI situations sorted by elements necessary

*****

Other recommended material from Gordian Plot:
* Character Thesaurus
* Plots that sell to Top Pay Magazines

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20 Basic Plots

[Source: TSA Writing Tips – Twenty Basic Plots]

IDEAS, PLOTS & USING THE PREMISE SHEETS

After you come up with your own system for generating ideas, the next step is to put them in some recognizable story form (the basic plot idea), build your central conflict (the story premise sheet), then build your character and underlying themes (the thematic premise sheet.

#1 QUEST – the plot involves the Protagonist’s search for a person, place or thing, tangible or intangible (but must be quantifiable, so think of this as a noun; i.e., immortality).

#2 ADVENTURE – this plot involves the Protagonist going in search of their fortune, and since fortune is never found at home, the Protagonist goes to search for it somewhere over the rainbow.

#3 PURSUIT – this plot literally involves hide-and-seek, one person chasing another.

#4 RESCUE – this plot involves the Protagonist searching for someone or something, usually consisting of three main characters – the Protagonist, the Victim & the Antagonist.

#5 ESCAPE – plot involves a Protagonist confined against their will who wants to escape (does not include some one trying to escape their personal demons).

#6 REVENGE – retaliation by Protagonist or Antagonist against the other for real or imagined injury.

#7 THE RIDDLE – plot involves the Protagonist’s search for clues to find the hidden meaning of something in question that is deliberately enigmatic or ambiguous.

#8 RIVALRY – plot involves Protagonist competing for same object or goal as another person (their rival).

#9 UNDERDOG – plot involves a Protagonist competing for an object or goal that is at a great disadvantage and is faced with overwhelming odds.

#10 TEMPTATION – plot involves a Protagonist that for one reason or another is induced or persuaded to do something that is unwise, wrong or immoral.

#11 METAMORPHOSIS – this plot involves the physical characteristics of the Protagonist actually changing from one form to another (reflecting their inner psychological identity).

#12 TRANSFORMATION – plot involves the process of change in the Protagonist as they journey through a stage of life that moves them from one significant character state to another.

#13 MATURATION – plot involves the Protagonist facing a problem that is part of growing up, and from dealing with it, emerging into a state of adulthood (going from innocence to experience).

#14 LOVE – plot involves the Protagonist overcoming the obstacles to love that keeps them from consummating (engaging in) true love.

#15 FORBIDDEN LOVE – plot involves Protagonist(s) overcoming obstacles created by social mores and taboos to consummate their relationship (and sometimes finding it at too high a price to live with).

#16 SACRIFICE – plot involves the Protagonist taking action(s) that is motivated by a higher purpose (concept) such as love, honor, charity or for the sake of humanity.

#17 DISCOVERY – plot that is the most character-centered of all, involves the Protagonist having to overcome an upheavel(s) in their life, and thereby discovering something important (and buried) within them a better understanding of life (i.e., better appreciation of their life, a clearer purpose in their life, etc.)

#18 WRETCHED EXCESS – plot involves a Protagonist who, either by choice or by accident, pushes the limits of acceptable behavior to the extreme and is forced to deal with the consequences (generally deals with the psychological decline of the character).

#19 ASCENSION – rags-to-riches plot deals with the rise (success) of Protagonist due to a dominating character trait that helps them to succeed.

#20 DECISION – riches-to-rags plot deals with the fall (destruction) of Protagonist due to dominating character trait that eventually destroys their success.

(Note: Sometimes #19 & #20 are combined into rags-to-riches-to-rags (or vice versa) of a Protagonist who does (or doesn’t) learn to deal with their dominating character trait.)

For an in-depth look at these plots, read the excellent “20 Master Plots and How To Build Them” by Ronald B. Tobias

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Vladimir Propp – De Morfologie van het Toversprookje

In het boek “De Morfologie van het Toversprookje; vormleer van een genre.” van Vladimir Propp wordt de grondstructuur van sprookjesverhalen ontleed.

Hieronder de basis-elementen (via Wikipedia):

Vladimir Propp extended the Russian Formalist approach to the study of narrative structure. In the Formalist approach, sentence structures were broken down into analyzable elements, or morphemes, and Propp used this method by analogy to analyze Russian fairy tales. By breaking down a large number of Russian folk tales into their smallest narrative units, or narratemes, Propp was able to arrive at a typology of narrative structures.

Functions

After the initial situation is depicted, the tale takes the following sequence of 31 functions:

  1. ABSENTATION: A member of a family leaves the security of the home environment. This may be the hero or some other member of the family that the hero will later need to rescue. This division of the cohesive family injects initial tension into the storyline. The hero may also be introduced here, often being shown as an ordinary person.
  2. INTERDICTION: An interdiction is addressed to the hero (‘don’t go there’, ‘don’t do this’). The hero is warned against some action (given an ‘interdiction’).
  3. VIOLATION of INTERDICTION. The interdiction is violated (villain enters the tale). This generally proves to be a bad move and the villain enters the story, although not necessarily confronting the hero. Perhaps they are just a lurking presence or perhaps they attack the family whilst the hero is away.
  4. RECONNAISSANCE: The villain makes an attempt at reconnaissance (either villain tries to find the children/jewels etc.; or intended victim questions the villain). The villain (often in disguise) makes an active attempt at seeking information, for example searching for something valuable or trying to actively capture someone. They may speak with a member of the family who innocently divulges information. They may also seek to meet the hero, perhaps knowing already the hero is special in some way.
  5. DELIVERY: The villain gains information about the victim. The villain’s seeking now pays off and he or she now acquires some form of information, often about the hero or victim. Other information can be gained, for example about a map or treasure location.
  6. TRICKERY: The villain attempts to deceive the victim to take possession of victim or victim’s belongings (trickery; villain disguised, tries to win confidence of victim). The villain now presses further, often using the information gained in seeking to deceive the hero or victim in some way, perhaps appearing in disguise. This may include capture of the victim, getting the hero to give the villain something or persuading them that the villain is actually a friend and thereby gaining collaboration.
  7. COMPLICITY: Victim taken in by deception, unwittingly helping the enemy. The trickery of the villain now works and the hero or victim naively acts in a way that helps the villain. This may range from providing the villain with something (perhaps a map or magical weapon) to actively working against good people (perhaps the villain has persuaded the hero that these other people are actually bad).
  8. VILLAINY or LACK: Villain causes harm/injury to family member (by abduction, theft of magical agent, spoiling crops, plunders in other forms, causes a disappearance, expels someone, casts spell on someone, substitutes child etc., commits murder, imprisons/detains someone, threatens forced marriage, provides nightly torments); Alternatively, a member of family lacks something or desires something (magical potion etc.). There are two options for this function, either or both of which may appear in the story. In the first option, the villain causes some kind of harm, for example carrying away a victim or the desired magical object (which must be then be retrieved). In the second option, a sense of lack is identified, for example in the hero’s family or within a community, whereby something is identified as lost or something becomes desirable for some reason, for example a magical object that will save people in some way.
  9. MEDIATION: Misfortune or lack is made known, (hero is dispatched, hears call for help etc./ alternative is that victimized hero is sent away, freed from imprisonment). The hero now discovers the act of villainy or lack, perhaps finding their family or community devastated or caught up in a state of anguish and woe.
  10. BEGINNING COUNTER-ACTION: Seeker agrees to, or decides upon counter-action. The hero now decides to act in a way that will resolve the lack, for example finding a needed magical item, rescuing those who are captured or otherwise defeating the villain. This is a defining moment for the hero as this is the decision that sets the course of future actions and by which a previously ordinary person takes on the mantle of heroism.
  11. DEPARTURE: Hero leaves home;
  12. FIRST FUNCTION OF THE DONOR: Hero is tested, interrogated, attacked etc., preparing the way for his/her receiving magical agent or helper (donor);
  13. HERO’S REACTION: Hero reacts to actions of future donor (withstands/fails the test, frees captive, reconciles disputants, performs service, uses adversary’s powers against him);
  14. RECEIPT OF A MAGICAL AGENT: Hero acquires use of a magical agent (directly transferred, located, purchased, prepared, spontaneously appears, eaten/drunk, help offered by other characters);
  15. GUIDANCE: Hero is transferred, delivered or led to whereabouts of an object of the search;
  16. STRUGGLE: Hero and villain join in direct combat;
  17. BRANDING: Hero is branded (wounded/marked, receives ring or scarf);
  18. VICTORY: Villain is defeated (killed in combat, defeated in contest, killed while asleep, banished);
  19. LIQUIDATION: Initial misfortune or lack is resolved (object of search distributed, spell broken, slain person revived, captive freed);
  20. RETURN: Hero returns;
  21. PURSUIT: Hero is pursued (pursuer tries to kill, eat, undermine the hero);
  22. RESCUE: Hero is rescued from pursuit (obstacles delay pursuer, hero hides or is hidden, hero transforms unrecognisably, hero saved from attempt on his/her life);
  23. UNRECOGNIZED ARRIVAL: Hero unrecognized, arrives home or in another country;
  24. UNFOUNDED CLAIMS: False hero presents unfounded claims;
  25. DIFFICULT TASK: Difficult task proposed to the hero (trial by ordeal, riddles, test of strength/endurance, other tasks);
  26. SOLUTION: Task is resolved;
  27. RECOGNITION: Hero is recognized (by mark, brand, or thing given to him/her);
  28. EXPOSURE: False hero or villain is exposed;
  29. TRANSFIGURATION: Hero is given a new appearance (is made whole, handsome, new garments etc.);
  30. PUNISHMENT: Villain is punished;
  31. WEDDING: Hero marries and ascends the throne (is rewarded/promoted).

Occasionally, some of these functions are inverted, as when the hero receives something while still at home, the function of a donor occurring early. More often, a function is negated twice, so that it must be repeated three times in Western cultures.

Characters

He also concluded that all the characters could be resolved into 8 broad character types in the 100 tales he analyzed:

  1. The villain — struggles against the hero.
  2. The dispatcher —character who makes the lack known and sends the hero off.
  3. The (magical) helper — helps the hero in the quest.
  4. The princess or prize — the hero deserves her throughout the story but is unable to marry her because of an unfair evil, usually because of the villain. the hero’s journey is often ended when he marries the princess, thereby beating the villain.
  5. her father — gives the task to the hero, identifies the false hero, marries the hero, often sought for during the narrative. Propp noted that functionally, the princess and the father can not be clearly distinguished.
  6. The donor —prepares the hero or gives the hero some magical object.
  7. The hero or victim/seeker hero — reacts to the donor, weds the princess.
  8. False hero — takes credit for the hero’s actions or tries to marry the princess.

These roles could sometimes be distributed among various characters, as the hero kills the villain dragon, and the dragon’s sisters take on the villainous role of chasing him. Conversely, one character could engage in acts as more than one role, as a father could send his son on the quest and give him a sword, acting as both dispatcher and donor.

****

De mogelijkheid van Reverse Engineering op basis van een functie-structuur terug naar een verhaal:

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MetaQuest Schrijfworkshop: vereeuwig jezelf met een heldenrol

MetaQuest Schrijfworkshop: vereeuwig jezelf met een heldenrol.

Een Quest of Queeste is een zoektocht; in het bijzonder een zoektocht die het karakter heeft van een levenstaak. Een avontuurlijke, lange reis, met helpers en grote hindernissen (natuurfenomenen, monsters en vijanden) zijn standaard ingrediënten. In dergelijke verhalen is de queeste vaak een metafoor voor de zoektocht naar wijsheid, die door de zoekers wordt gevonden door de ervaringen die ze tijdens het zoeken opdoen.
Het woord wordt ook in overdrachtelijke zin gebruikt voor een opdracht die men zichzelf heeft gesteld, maar die onmogelijk is uit te voeren.
Het woord queeste is etymologisch verwant aan question, enquête en kwestie. [Bron: Wikipedia]

Meta- is in het Nederlands en in veel andere Europese talen een voorvoegsel dat betreffende het onderwerp zelf betekent. In de context van deze MetaQuest schrijfworkshop duid ‘meta’ op de algemene structurerende indeling van de tekst (1. het motief, 2. de reis en 3. het doel) gecombineerd met specifieke systemen met betrekking tot gebruikte symboliek, droomduiding, persoonsanalyse en de vormleer van het literair genre Toversprookje.
[Boek: Vladimir Propp – De morfologie van het toversprookje; vormleer van een genre]

Voor het schrijfproces en de opzet van de verhaallijn kan grotendeels gebruik worden gemaakt van reverse engineering* met behulp van de (universele) morfologische elementen uit het boek van Vladimir Propp en de 36 dramatische situaties van Georges Polti.

* Reverse engineering kan in het algemeen worden beschreven als het op een hoger niveau inzichtelijk maken van een onderwerp. In het geval van software kan dit bijvoorbeeld gezien worden als het omzetten van de broncode naar modellen.

Opdrachten (3 uur workshop):
1. – creëer een basiskarakter voor jouw “Held” door de belangrijkste kenmerken (naam, leeftijd, uiterlijk en gedrag) kort te beschrijven alsof je iemand introduceert of beschrijft bij een workshop of op een feestje (vlak voordat diegene binnenkomt) [= personage] 2. – beschrijf het diepste verlangen van jouw held – waar zou deze held om bekend willen zijn en om herinnerd willen worden? [= eindmotief] 3. – waar heeft jouw held een hekel aan? wat is zijn of haar grootste angst? [= dramatische situaties] 4. – wat vindt jouw held belangrijk?  Uit welke handelingen en gedragingen blijkt dat? Welke vaste rituelen heeft jouw held? Welke vaardigheden bezit jouw held? [= karakter] 5. – Beschrijf waarom en hoe jouw held begint aan deze MetaQuest. Wat is de directe aanleiding en wat is de verwachte uitkomst volgens jouw held? Wat zou jouw held twitteren of meedelen? Zijn er reisgenoten? Wie?
6. Welke ontwikkelingen, tegenslagen en (onverwachte) situaties gaat jouw held meemaken? Hoe komt jouw held hieruit? Van wie of wat krijgt hij of zij hulp? Wat heeft hij of zij geleerd?
7. Waarover droomt jouw held? Welke gebeurtenissen, symbolen en voorwerpen komen voor in deze dromen? Kun je dat duiden?
8. Gebruik minimaal 2 van de 36 dramatische situaties en 1 opofferings-situatie; jouw held wordt vervolgens gevangengenomen en beschuldigd van het tegenovergestelde van zijn eindmotief (vraag 2) wat doet jouw held? Jouw held geeft een interview en/of tweet over deze situatie: met welke quote komt jouw held in het nieuws? en hoe komt hij of zij weer vrij?
9.  Jouw held maakt de meest dramatische beproeving van de MetaQuest mee: zijn of haar grootste angst wordt werkelijkheid (vraag 3) Hoe red jouw held zich? Welk inzicht heeft jouw held verworven?
10. Met welk voorwerp wordt jouw held afgebeeld op een schilderij? Welk symbool (of symbolen) staat op het schild van jouw held? Hoe zal men zich jouw held herinneren?

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