Search Results for 'linear'

write the plot of an absurd non-linear novel, featuring 4 characters

The novel begins with the introduction of four characters: a retired archaeologist named Harold, a struggling musician named Samantha, a disillusioned corporate drone named Tim, and a reclusive inventor named Claire.

Harold, who is obsessed with ancient Egyptian hieroglyphs, discovers a mysterious underground chamber beneath a pyramid in Egypt. Inside, he finds a strange device that he believes is a time machine. Harold decides to use the device to travel back in time to ancient Egypt in order to decipher the hieroglyphs.

Samantha, who is trying to make a name for herself as a musician, is struggling to come up with new material for her music. One day, she discovers that she can create beautiful music by communicating with plants telepathically. She becomes obsessed with this new form of music-making and decides to quit her day job and pursue it full-time.

Tim, who is stuck in a dead-end job, is feeling unfulfilled and uninspired. One day, he stumbles upon a robotic mime performance art show. The performance inspires him to quit his job and pursue his dream of becoming a mime artist.

Claire, who is a reclusive inventor, has been working on a project to create a type of artificial intelligence that can communicate with humans using calligraphic body language. She finally succeeds and creates an AI that she names “Calli”.

As the story progresses, the characters’ paths begin to intersect in unexpected ways. Harold gets stuck in ancient Egypt and has to rely on Samantha’s telepathic plant communication skills to find a way back to the present. Tim’s robotic mime art becomes a hit and he starts working with Claire to integrate Calli into his performances.

As the story reaches its climax, all four characters come together to use their unique skills and abilities to solve a problem that threatens the fate of the world.

Throughout the novel, the plot unfolds in a non-linear fashion, jumping back and forth in time and between the different character’s perspectives. The story is filled with absurdity and unexpected twists and turns, leaving the reader guessing until the very end.

What sort of problem that threatens the fate of the world will be resolved by their combined skills?

As the story progresses, the characters begin to uncover a sinister plot by a group of powerful individuals who are intent on using the time machine to alter the course of history for their own gain. They plan to use the time machine to go back in time and change key events that would give them immense wealth and power in the present. Harold and Samantha, with the help of Tim and Claire, must race against time to stop the villains from carrying out their plan.

Harold’s expertise in ancient Egyptian hieroglyphs plays a crucial role in deciphering the clues that lead to the location of the time machine. Samantha’s telepathic plant communication skills are used to locate the hidden underground chamber where the time machine is kept. Tim’s robotic mime art and Claire’s AI Calli are used to infiltrate the villains’ hideout and gather intelligence on their plans.

In the final act, the four characters come together to use their unique skills and abilities to stop the villains from altering history. Harold uses his knowledge of ancient Egypt to navigate the time machine and travel back in time to stop the villains from changing key events. Samantha uses her telepathic plant communication skills to communicate with the plants in the past and gather information on the villains’ whereabouts. Tim and Claire use their robotic mime and AI skills to create a diversion and distract the villains while Harold and Samantha complete their mission.

In the end, the four characters succeed in stopping the villains and saving the fate of the world. The novel ends with the four characters going their separate ways, but they all know that they will always have each other to rely on in the face of any challenge that comes their way.

“GODFREY! Come right here this instant!” Liz was infuriated and had to restrain herself not to throw the bound manuscript at her confidente’s face when he emerged from the corridor into her pink boudoir.

“What is it Liz my dear?”

“What is this horrible thing that has my name on it?” she showed the manuscript. “It has no zest whatsoever, it’s so neat, and linear, tidy, continuous… It’s insufferably perfect! And those main characters, ugh… Young, and flawless, perfect in every sense it’s unbearable!”

“I have something to confess Liz’… Since Finnley has started her new business ventures… wait, don’t shout yet… I had to try some of this AI generated stuff. I thought the title ‘Adventures in the Uncanny Valley’ would have been a give-away…”

Elizabeth Tattler was at a loss for words… The only thing she could blurt out ultimately was “FIND ME FINNLEY!!”

“Hence the importance of complimenting a child on his first poops” were the concluding words of the lecture by Choanna Doyle, PhD, under a loud burst of applause.

Sadie was pleased to have joined the Happiness Institute alumni’s yearly conference and was handling leaflets to the parents who were thinking about enrolling their children.

When everyone had left the blue and purple amphitheatre, decorated with pink ribbons and heart-shaped reflective balloons, she went back behind the pulpit to gather her bag, only to be startled by Choanna, who was still here while she was expected in the main hall for her book signing.

“Interesting lecture” Sadie said, as a way to sound polite, as the doctor was probably more used to, and expecting over the top fan reactions.

“Oh, not that interesting, but thank you for your polite protestations of interest” she said with a soft smile.

Sadie couldn’t help but blush, being at a loss for words.

“The crap…” Choanna said
“What?!” Sadie was confused
“I guess, that’s the crap that got you off. It does the same for most people. The poop comment is actually quite pertinent.”
“I don’t doubt that.” Sadie didn’t know what to say, but was sure she wasn’t too keen on more poop conversation. When she’d came back to her apartment after being absent for more than a week in linear time during her network assignment, her pet rabbit had playfully hidden bits everywhere and it had taken her days to get rid ot them, and of the smell.

But Choanna chose to ignore the cue, and continued “you have to acknowledge this is serious business for the children, it’s their first real creation. This is an important development step for the future adult.”
Sadie nodded politely, dying to roll her eyes, but sending waves of hearts instead, to cancel out any potential poop jinx.
“Later, you see, it also will help the adult to not throw in the towel at the first failure. Huhu, I like to quote this analogy, it’s like a sculptor who would throw a lump of clay on the ground and immediately complain that it didn’t turn out well at the first try…”

Sadie wanted to leave, and butted in a timid “Sorry, but…”

“Exactly. People are always sorry, but you see, I did something very interesting today. I have decided to only speak of it if it synched with the events of the day, and you provided me with the synch when I saw you flinch at the bottled water earlier during my presentation. Did you know that blind tests of the best tasting water consistently ranked tap water the tastiest ? Now, sewers and poop now seem relevant all of a sudden…”

“I’m getting late for my signing, that was nice talking to you!” she concluded mysteriously before leaving in a huff “But think about it!”

What a bizarre yet endearingly odd mad woman this one, bless her heart… was all Sadie could think after the dust had settled in her wake. And that blessed tart conveniently forgot to mention that interesting thing of hers…

Arona was fretting.

“Now, what is this all about? Can someone explain me? The purple sand is pretty, the green sky too, however it looks just like an insane dream from a deranged mind having abused smoke of robjane leaves.”

Framing Irtak —who was having a funny pout on his face— the dragons Heckle and Jeckle were too busy considering with an amused attention the new form and energy field that their progenitor had taken.

No words were spoken to answer Arona’s plea for answers, but answers were starting to come to them in the form of a bundle of energy which would be difficult to translate in a linear manner.

They started to understand a few things. That for one, N’meôrl the Nirgual was not here by chance, at this place and time. Again, they had travelled far in the past of the history of their dimension, and events of great importance were in motion, that they were given to witness.

At first, the flow of information they were having was like a stream they thought they had no control of, but as questions were forming they noticed that it was altering the flow which was then encompassing the answers to those questions.

Like when Jeckle wondered if he and his twin had big birdies counterparts like this one to merge with, and got the following answer “No. For you are quite new essences fragments, and thus do not yet hold focuses in similar extent to your progenitor.”

Arona was quite pleased by this new mode of getting answers, especially as she could visibly get the answers she was genuinely looking for, not those coming from questions she was only remotely interested in.

N’meôrl was showing them also, that unlike him, they were not quite physically focused into that environment, and were not noticed by the small surrounding creatures like the little red scrabs crawling in the sand. They were mainly there to observe and draw their own conclusions, as soon some events would occur.

As they’d finished absorbing the information, they started to notice a feeling of expectation in the air. N’meôrl conveyed to them that they would have to stay quiet in his peripheral awareness for “they” were coming, and he was on a delicate mission.

Footsteps on the beach.
A man approaching. He looks like Irtak and Arona, as if he had just come into this alien world from the same door they had taken. But he fails to notice them.

He stays, facing the deep green waters of the ocean brushing the shore, as if expecting someone.

A strange buzz starts to fill the space. A point of focused light the size of a pinhole appears in front of him, expands quickly with an elastic quality, and pops with a soft sound, revealing an improbably tall figure under a cloak.

The man greets the new-comer with deference
“Master Sinadron”
“Jarvis, my good friend.”

They start to walk on the beach at the unspoken invitation of the one with the smooth voice named Sinadron.

“So, I’ve been told our little matter is going very well.”
“Yes, very well, Master; I am deeply grateful for your intervention; without your help I’ve been told, my dear would not have been allowed to…”
“Let’s not talk of such things any longer; it was such a delight to help two sweet young souls so deeply in love”

Somehow, despite the words of kindness which are slithering with ease, the invisible witness got the uncanny feeling that they are but a deceptive fragment of the truth.

“Now. Tell me”, the one named Sinadron continues in a mellifluous voice “Why have you called me for?”
“The settlement you have suggested us to start on this land…”
“Yes, I am aware, please go to the point instead of labouring things I am well aware of.” The voice had sharpened a bit.
“I am sorry Master.”
“Continue”
“There is a growing dissent that…”
“And from who that shall come?”
“Err… I hear Pelorus has spoken to the Zentauras…”
“Pelorus is but a nuisance.” The voice wasn’t asking for contradiction, though an imperceptible grin was floating on the half-hidden face.
He continued “But I shall help you, once again”
“Master, you are too generous…”
“Let me finish. I will provide you with more men and women, willing to start a new life under your command, to help you grow your settlement. There are a few slaves on the Duane, that place from where you come who will do great.”
“Master…”
“They will be there in an hexade. Make sure you stand your ground until then, even if that means confronting those nasty Zentauras.”

And without waiting for the confused thanks, he disappeared, grinning widely.

Q: Okay. What happens to things we create, like with
characters? Are they merely thought-forms, being extensions of
ourselves? Or do they … CAN they move on and become more?

ELIAS: This is dependent upon your choices and how you are
manipulating energy.

Now; in this, let us view what you in physical focus term to be
artistic expressions, in the area of musical composition and of
painting expressions. These are two obvious examples within your
physical creations that you may view certain qualities of the
expressions.

Now; in this, some expressions, within either musical compositions
or expressions of illustrations or paintings, may appear to be
merely an expression of the individual and hold the energy signature
of that individual, but they appear or seem to not extend any
farther, so to speak; this is figuratively speaking.

In other terms, you may encounter other types of musical
compositions or illustrated or painted compositions, and they appear
quite differently. They appear not merely to hold the energy
signature of the individual that has created them, but they also
seem to hold an energy of their own, as if they have been created
into an entity of their own.

Now; the reason that you connect with this recognition of these
types of expressions is that the composition does hold the energy
signature of the individual that has created it, but what it also
may hold is an aspect of that individual focus which has been
allowed to be projected outwardly and has been allowed to continue
independently of the focus.

This is a similar action to fragmentation, but in very physical,
figurative terms, a much, much smaller scale.

This would be likened to any individual, any focus, any essence
projecting an aspect of itself into any other element within its
physical creation – a creature, a plant, a rock. It matters not. You
hold the ability within essence to be projecting an aspect of
essence or of a particular focus into any of these elements to be
experiencing the creations of that element of your reality, such as
a creature or any vegetation, an ocean, a mountain, a rock. It
matters not.

In similar manner, you may project an aspect of yourself into one of
your creations or all of your creations or several of your
creations, and in this, not merely you shall recognize that this
creation appears to take on, so to speak, a life of its own, in your
terms, but other individuals shall recognize this quality also, for
you have allowed yourself to project an aspect of yourself into your
physical creation, therefore breathing into it its own
manifestation, allowing it to be continuing within its own element,
so to speak, within its own right, in a manner of speaking. Are you
understanding?

Therefore, this be your choice of how you shall be creating
within your creativity and what you shall project within it. Appear
it not strange to you that certain individuals may be deemed as
great masters and they shall be revered for their creations and
their creations shall be enduring throughout your linear physical
time, and other individuals may be creating and their expressions of
creativity do not hold this quality? This is the reason…”

December 3 ^rd

^{( Hey, that’s 12.3, might be a hint for growth… Yurick)}

A communication about coordinate points, and how to travel between idea clusters

As the story starts to develop in a rapid and very intertwined manner, much like waves in the ocean, overlapping and rippling from and to many directions, Yurick became concerned that it may be difficult to keep track of, or rather to retain an ability to graciously navigate in it.

Let us imagine for a moment. Take your own life. It is composed of a multitude of moments. Your construct of linear time gives you the impression that there is a continuous succession or stream of moments.
In a manner of speaking, it is easier for you to grok the concept of multiple points of attention for your naturally associate them with your space. You can easily envision your many focuses happening all at once in a variety of places, towns or countries, and having a possibility to zoom in and out, so that to encompass more than your single current focus.
But what you do in engaging your conceptualization with your focuses would be equally valid were you to engage it in relation to that single focus that is you, in all of its moments of actualization.
But that would be far less familiar, as you identify quite strongly with that construct of time.

As that story unfolds, you discover that there are an infinity of points of attention dispersed in many many comments, and one comment can include many more than one point of attention itself. What you would be tempted to do, for it is something that is very automatic in your current associations, would be to attempt to draw lines between the points, to recreate a linearity, and thus facilitate your understanding of a certain action.

This is unnecessary and within your current movement of expansion of awareness would be counterproductive.

But you are familiar with that concept of coordinate points. For most of you, you once again associate them strongly with the space continuum, but they could be used in many many other situations. That story being one of them.
The coordinate points are in a manner of speaking, conglomerate of very coherent energy; they would not be “points” per se, but rather high concentration of these points of attention that your attempt to link together.
As such, they become the links that you are in search of, for in that drawing of energy points of similar expressions, they also become passageways between the associations that the points are linked to.
As a matter of fact, the “point” that you come to identify to the concentrated cluster of points would rather be a tone representative of that coherent energy that you can use to activate the links contained within that cluster of points.

That would be the reason why Yurick, in coming to understand that concept, has slightly adapted the original cloud of tags in the story, so that it can expand and be used to access the coordinate points that the tags are, quite simply.

October 12 ^th

Lots of movements have been started, movements of expansion, and the joint efforts and ventures took off for new exciting potentials when the migration to the new “expanded sandbox” (as playfully expressed by Quintin) has been completed.
Interestingly, it has been relatively painless and quick in both the find of the perfect “method”, and the perfect “tools”. In noticing how the feelings where acting as a compass that was telling him whether he was in the right direction or not, and in trusting them, Quintin has incorporated that tool without previous knowledge of its potential use. He just knew it was right.
And so it is.

October 16 ^th

My dear friend Elias has expressed some time ago this, which may be interesting for the adventurers to read and see how it applies to them…

“I expressed to you at our last meeting that some focuses continue each other as ‘sequels’ of books. … They are continuations, so to speak. Although they are not accomplished linearly, you may view them as continuing chapters of the same story. In this, they would be considered parallel focuses. You may view within your new game many focuses in which you have held experiences quite different to each other. Then you may also view some focuses that are seemingly related. You are engaged with all of the same characters within a continuation of the same play.” [Elias, #142]

September 24 ^th

Quintin remembered a snapshot of the notes that Dory had taken during her first trip to the Madagascan caves, a year ago.

Relevant extracts:

At one moment, I saw some hooded figure in the sideways tunnels… He vanished on the left, couldn’t follow him…
[…] HE KNEW HIS WAY INSIDE !
When he vanished, I had the vision of something, […] like the layout of a labyrinth, of cave tunnels — that are all underground and the many entrances are all over the world… PORTALS
focus opening/doors ; time/space…
The central cavernous part is some kind of key center, where anyone can meet…

This has inspired Quintin to write some notes too.
He has the vision of these portals organized as clusters, like a tree, with branches and leaves… I will send him a more detailed image, but that may take him some time to digest!

September 26 ^th

The latest additions to the story have inspired Quintin. He had some inkling of how “essence” (or what is somewhat referred as “oversoul” ) and all the “focus” of essence (or lifetimes) interplay, and are not as separate as they sometimes seem to be.

Here would be what we will say to him, if he wants to listen:

« Now, terminology can become tricky as, for much time, you have been accustomed to be considering of your experience as the projection of that of an “essence”, somewhat separate from you, the lowly focus.
Of course, you pretend the contrary, and become quite nifty in brandishing sentences like “I am essence, and I create all of my reality”, which you are and do actually, but that you do not always believe and trust.
These terms of “essence” and “focus” were given to you as means for you to better understand the interplay of consciousness. In the beginning of the acquaintance with these new terminologies, you have felt them remotely blurry and unrelated to previous concepts, which was the intention. But now, you once again objectify your understanding in something too rigid at times, and that little story is giving you a hint of what your real power is.
And you begin to really experience it, and really pay attention.

« As was expressed many times, “essence” is no thing. It is an action.
The “essence” is each of you, that very portion of you that you feel when you slide your attention into the comment box.
In that, your purpose, you see, is only to experience, nothing more, nothing less.
And then time, as you know it, becomes irrelevant, you see. Your natural time is expressed through you and your explorations.
Notice how playfully, as essence (essence playing focus or focus playing essence), you let your natural time unfold, and at times find some strange weather pattern in your awareness that needs clarification. As essence, you playfully find the most perfect habits [shapes and clothings] to wrap around you, and continue your story.
Just as your dreams at night overlap and blend into each other.
Just as Rafaela created new focuses [Sam and Becky] to continue to play and make the story expand for all of the other focuses, Dory included.

« That “I” of you is ever present, and is reflected perfectly in others’ perceptions, as you are drawing them to you purposefully. Do not brush aside their adjuncts, for they are also you, having moved your pawns forward, so to speak, through their moves.

« Thus understand that the story is a continuous stream reflecting the essence that is you, and your travel through the various guises you borrow.
In that manner, it does not matter how much sense it makes in linear terms. Because, in a way, it can’t make sense in these linear terms.

« Let us explain this in other terms.
When you found difficulties in understanding the “scheme” so to speak, the figure that is drawn by the participants, it is because you apply the linear understanding of what such a scheme should be.
In that, you only perceive the “plot” as a succession of dots without a continuity, whereas the continuity is to be found in the other stories interwoven.
You are accustomed to stories where a single individual is enacting throughout the play, in a linear continuous fashion. The individual goes through many different actions, but is always the same in your perception.
Here, the tricky thing is to notice the continuity throughout the various habits [clothings] taken by the essence(s). It matters not that the essence takes that guise of say, a pirate sailing on high seas, just after having been an old crafty Lord in his windy castle. The underlying aspects of his exploration has been continuous and coherent: in this case, exploring and making sense of one’s exploration. It is just that a certain appearance has been perhaps more fitting to express certain aspects or qualities of essence, but the exploration has been one, throughout the entirety of the experience.

« We will let you ponder this, and we will continue our own story, writing about you… »

September 28 ^th

This sand symbol that Quintin has brought up seemed to have come from many directions at once. Each character has connected it, in various ways.
Armelle (Arona) to her magic, Rafaela (Becky) to her collecting customs, etc. etc.

Let us say that this symbol is not as innocent as it may seem. There are lots of associations with sand.
It is solid, yet fluid. In association with water, it can be used to build, and also to erode. It can shift into many forms, one of which is your glass, and your electronic components.
And most of all, it is, after your very oxygen, the most abundant constituent of your reality.
It is almost limitless in your understanding.
As is your magic.

This magical device we made Quintin see in a visualization is an analogy of your very action of creation as essences.
The sand which molds itself to make forms and shapes in three dimensions is in fact likened to your consciousness. Each grain of sand represents your links of consciousness that bind together to do your command.
The shapes are moved by your essences, in which you may see that the essence is no thing at all, but is a continuous stream of action, not separate from others’.

As Quintin said to Fiona, some individuals do differently when they create and shape their sands.
In analogy with the coloured sands, some people like Quintin enjoy using other people’s colours in shaping his own characters, while some others prefer to keep their own colours, to create a more definite sense of individuality. But they integrate the others’ movements and shapes nonetheless, regardless of how much they perceive it to be coming from them.

With that said, let us see how much more will appear from that sandbox…

September 30 ^th

The Wrick family tree as it is now (or “will be” drawn around the time of the twins in 2057).

The Secret Life of Margaret Wrick , a newspaper cut from 2033.

October 7 ^th

The dragon Naasir’s dream
A panorama illustrating the portals between the worlds created by each of the participants… But who is dreaming, really?

And an illustration of Chiara’s encounter with the glutton “dreggun” Buckberry…