Chapter 12: Afterthoughts part 2

So part 2 of the afterthoughts. Again pointless, you don't have to read this.

I wasn't planning this at first but then I just kept learning throughout the week about writing and I felt it had to be written and explain what to expect for the future

So last time I mentioned that I am getting some poetry books. I tried reading one and it was awful. I wanted to drop it after reading the introduction. It said that there is no structure in poetry and I thought that was ridiculous since it also said that poetry is very emotional and humane. This just made me depressed since it destroys what a human is, was, and will be. Humans can live in a box. they can adapt like everything in nature, although nature has no squares. Look, did you ever see a square anything in nature? No, it's impossible! But it doesn't change the fact it could happen. I could encase a growing apple in a steel square cask and it will grow into a square. In as much as it is impossible for humans/nature to be a box, it's just as much possible for them to be boxes.

It's not an entirely worthless idea though. I thought about Betty who has way too many emotions and can't process them and I thought maybe I can use this randomness, this stupid contradiction, and apply it to Betty. Betty is like that already, but that's all she is. My idea is that she, by her nature is a contradiction, but has different ways to express it. Honestly, I am positive I can't pull this off but it is something to think about. So I dropped the book. But I spend money on it and I didn't want to return it (the shipping would be more expensive than money back.) So I picked it up again. Dropped. Picked up. Dropped. It said nothing of value.

I recently got into Chinese Culture and Chinese poetry and I noticed it has this very natural way of warping nature to process emotion. For example, "The Pipa Song." It's written by a poet/official who lost his job recently and is extremely sad, he then encounters a pipa player whos also sad because she lost everything she held valuable in life and is now married to a husband who is never home. So they resonate and the last part of the poem is,

"Sit down once more, please play an encore,
And in turn, I will write you a "Pipa Song".
Moved by my words, she stood there, silent for a long while,
Then she sat down and quickly tuned her strings again,
Grief-filled and heart-felt she played a different tune.
Tear-soaked, sorrow-laden, all sobbed out at once.

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And who was weeping the bitterest tears of all?
The Deputy Chief of Jiujiang Prefecture,
whose blue gown was soaked in tears."

See the poet is very intuned with their emotions yet at the same time detached from their identity. Honestly, I can't read Chinese I know there is beauty unresistant in the poem that I can never witness no matter how long I can live, however that raw way of warping emotions and perspective, I want to catch it and use it. I have no idea if this was the author's intention, but it's my goal to write like this. Another example,

"Yu Mei Ren"

"Tell me then of sorrow – how much can there be?
It is exactly like:
a whole river of springtime waters
flowing off to the East."

Another example, although a different view on emotions. This author is a captured king who lost his kingdom (If I remember correctly the Tang dynasty to the Song dynasty). The next day he died of poisoning. But look at the emotions he's still there, the perspective is there, but he's talking to you he's trying to send you away to wallow in his pain. Alone. as the world flows he sits.

These poems demonstrate two opposite extremes of expressing sadness but two incredible ways. One is showing he doesn't know who he is anymore the other is that he knows who he is. Again, no idea if it's intentional, but I saw it and I will grab it. That's the thing of humans, if it's a thought, it s a possibility.

it is a heartthrob. Warping the world. This brings in the next point. I wrote the worldbuilding for my, 'masterpiece,' and decided to tie it down to this world also. In this world, multiple magic systems are interacting with one another, but it's not complete. Especially not the cultivation magic system. Remember that starlight moon grass from chapter 6? It's one of the (at least) 1000 herbs I want to create for an ecosystem for where the true 'masterpiece' will take place.

Another issue I noticed is that I ended up writing manipulative characters in Lilly and Alyssa, which was not my intention, but I had no intention when writing so...

I have to think about them some more and what they can and will be to fully flesh them out and their arcs. I knew manipulative characters are popular in a romantic lens but this is not a romance. I hope I can fix it, or develop it into something more than each piece.

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