3 act story structure

 Here's a step-by-step guide to outlining a 3-act story structure:

*Act 1: Setup*

1. *Opening Image*: Describe the opening scene or image that sets the tone for the story. This should introduce the protagonist and their ordinary world.

2. *Protagonist's Goal*: Define the protagonist's main goal or desire. What do they want to achieve or gain?

3. *Establish Stakes*: Introduce the stakes or consequences of the protagonist's goal. What will happen if they fail or succeed?

4. *Inciting Incident*: Describe the event that sets the story in motion. This should disrupt the protagonist's ordinary world and set them on their journey.

5. *Establish Supporting Characters*: Introduce key supporting characters, such as friends, family, or mentors.

6. *Plot Point 1*: Describe the first major plot point that sets the protagonist on their journey. This should raise questions and create tension.

*Act 2: Confrontation*

1. *Rising Action*: Describe the series of events that create obstacles and challenges for the protagonist. This should test their skills, abilities, and resolve.

2. *Midpoint*: Describe the midpoint of the story, where the protagonist gains new information or insight that raises the stakes or changes their approach.

3. *Complications and setbacks*: Describe the complications and setbacks that the protagonist faces. This should create tension and conflict.

4. *Plot Point 2*: Describe the second major plot point that raises the stakes and creates a sense of urgency.

5. *Crisis*: Describe the crisis or turning point where the protagonist must make a critical decision or take a risk.

*Act 3: Resolution*

1. *Climax*: Describe the climax of the story, where the protagonist faces their greatest challenge or obstacle.

2. *Resolution*: Describe the resolution of the story, where the protagonist's goal is achieved or not achieved.

3. *Denouement*: Describe the denouement, where loose ends are tied up and the story is concluded.

4. *Final Image*: Describe the final image or scene that leaves a lasting impression on the reader.

*Additional Tips*

- Make sure each act has a clear structure and purpose.

- Use plot points to create tension and raise the stakes.

- Use character arcs to create emotional resonance and depth.

- Use theme to tie the story together and create a cohesive message.

Remember, this is just a general guide.

They Love Cats

 They Love Cats.

__________________________

Two kids are intrigued by their new elderly neighbors who recently moved in next door. A mysterious couple who are unusually over -protective of their three pet cats. At first they assume that Mr. And Mrs. (not yet named) are just fussy, aged eccentrics. But as they spend more time observing the couple, they become embroiled in a terrifying Mystery that will challenge the strength of their friendship, and what they presume to know about right and wrong.

*

Leonid: (masc./meaning: Lion-like.) 

A Cat. /Kid.

Yuri: (masc./meaning: Farmer/Earthworker.) A Cat/kid.

Elena: (fem. /meaning: Shining Light.) A Cat/kid.

Galina Tsiganova. (The wife )

Vladimir Tsiganov. (The husband )

Eddie Foster. (main character )

Aurora Day. (main character)

Audrey Foster: (Eddie's Mother./support)

++++

(It's a clear, sunny day. Two Kids are playing in the front yard.
They Eddie Foster and Aurora Day, our main protagonists. Across
the street from the house a moving truck and black car pull in.
An old man and woman slowly exit the car. As the movers exit
the moving truck and open the back of it.)

EDDIE: (looking across the street/head cocked with a look
of curiosity on his face.) Look A. new neighbors.

AURORA: (looks up briefly before returning to her coloring
book.) Oh, yay. More old people. We needed a few dozen more
of those. I'm sure the neighborhood will be jumping
with excitement now.

EDDIE: (laughing) Now that's the spirit. (sarcastically.)
You get sunnier by the day A.

AURORA: (looking up/frowning) I really wish you'd quit calling
me "A" . You just started doing that because TIMMY BRADSHAW
does it to everyone. He's like your..hero or something.

EDDIE: (embarrassed) That's not true. He copied that from ME.
I'M the one who started that.

AURORA: (snorts derisively) Oh, ok. Thanks. Now I know who
to hate.

EDDIE: (frowning/looking intently at AURORA) Seriously, what's
your problem lately? You've been like this since..

(his conversation is interrupted by the sound of his mother's
voice calling from the other side of the screen door.)

AUDREY: Am I going to have to separate you two? All's you've
done lately is squabble.

(her attention wanders to across the street.)

AUDREY: Oh, look, new neighbors. I wonder where they're
from?

AURORA: I don't know. The nursing home by the looks of it.

AUDREY: (voice raised) AURORA! That's extremely rude.
They can't help their age. You never know, they might have
some very interesting stories to tell.

AURORA: (quietly/looking down at her coloring book)
Sorry Mrs. Foster.

AUDREY: (voice softening) It's ok kiddo. I get it.

(There's an awkward silence before Eddie speaks up.)

EDDIE: You never know, they could be serial killers.

AURORA: (laughing) Yeah, right. Nothing that exciting ever
happens around here. This place is like Mayberry.

AUDREY: Well. Maybe so. But After 20 years in the City,
I'll take boredom over "excitement" any day.

AURORA: Fair enough.

AUDREY: I want you two to go introduce yourselves and
ask them if they need help.

EDDIE: (letting out a sigh of annoyance/whiny voice) Mom!
They don't NEED help. They have a moving crew.

AUDREY: Yes, I see that dear. But it's also the polite, neighborly
thing to do. Now, go on you two. Get.

(Audrey closes the door.)

EDDIE: (sighing again) Great. Well, THAT just happened.

AURORA: (agreeably/commiserating) Yeah. Yeah it did.
Well, lets go. You take the lead I cover your six?

EDDIE: (smiling) Deal.

positive

I Will Try to Be Positive because there are still people like you guys, Lamont/Carla/Gordon, several of those i work for etc in the world. 

And .. I haven't yet lost my ability to be enthralled by: A Piece of Music , Work of Art, or even a darn Cat brushing up against my leg to say hello in greeting. (Whatever supposedly genius brain-scientist came to the conclusion animals were without emotion needs his or her fuckin head examined based on my observations of the beings)

I still notice genuine gratitude in people when I do a good deed or random act of kindness. And honestly , Whether it's  because they're *Deterministically Designed that way and/ or reacting to various external forces that shape their mode of being or some other reason.. that's irrelevant. I just know it's a far FAR better feeling than The Emptiness that I feel so often when I distance myself from it all and go into The Black Place. 

In simplest words: People are WORTH the hassle. &

Love is worth the pain it sometimes brings, when it tears open those calloused scabs that have set up and festered on a heart so long. 

I'll try to be positive because: I still find myself surprised by random moments and the small (seemingly ) simple things/life moments I playfully scoff at when I'm in more cynical moods. 

&

Because 

36 yrs. Later and the shittier parts of life haven't managed to completely beat the heart out of me yet. And I still have love to show/give . Whether I bitch and bicker over it the entire way through or not. My Star has Not Dimmed, only flickered.

I will be positive because I have more people in my corner now than at any point in my life, and they CARE for/believe in me. And I'm curious to see how The Dance transpires. (challenge still accepted my friend. Sorry about earlier. I think I was purging. I'm good. ) 

The Book of Disquiet/Pessoa

Pessoa's Book of Disquiet.

       +++++++++++++

Fernando Pessoa's *Book of Disquiet* (Livro do Desassossego) isn't a novel in the traditional sense; it's a sprawling, fragmented collection of aphorisms, diary entries, philosophical musings, and fictional narratives woven together to create a portrait of profound melancholia and existential unease.  Its lack of a cohesive plot, its shifting perspectives, and its intensely personal nature contribute to its enigmatic power and enduring appeal.  Instead of a conventional narrative arc, the book offers a deeply introspective journey into the mind of Bernardo Soares, Pessoa's heteronym – a fictional persona distinct from the author himself.

Bernardo Soares, a Lisbon bookkeeper, serves as the primary narrator, though his identity remains fluid and somewhat elusive throughout. He's a man acutely aware of his own insignificance in the grand scheme of things, yet simultaneously obsessed with finding meaning in the mundane. His observations are sharp and often cynical, filled with a sense of disillusionment with both himself and the world around him. He grapples with feelings of alienation, loneliness, and the crushing weight of existence, revealing a profound dissatisfaction with the limitations of human experience.

The fragmented nature of the text mirrors the fragmented nature of Soares's own consciousness.  Entries jump between seemingly unrelated thoughts and observations, creating a sense of disorientation that reflects the narrator's own internal chaos.  This structure, while potentially frustrating to some readers, is crucial to understanding the work's essence.  The lack of linearity emphasizes the chaotic and unpredictable nature of life itself, mirroring the seemingly random and often illogical nature of human thought.

Soares's writing explores a multitude of themes, often interwoven and overlapping.  The central theme is undoubtedly the experience of *desassossego* – a word often translated as "disquiet," but which encompasses a broader range of emotions including restlessness, anxiety, and a deep-seated dissatisfaction with life.  This isn't simply a melancholic mood; it's a fundamental condition of being, a constant companion to Soares throughout his existence.  He explores the limitations of human knowledge, the absurdity of existence, and the impossibility of ever truly understanding oneself or the world.

Alongside *desassossego*, the text delves into themes of identity, creativity, and the nature of reality.  Soares's relentless self-examination leads him to question the very nature of his own being.  His constant introspection and his struggle to define himself contribute to the book's overall sense of ambiguity and uncertainty.  He explores the relationship between the individual and society, often feeling alienated from the larger world and yet acutely aware of his place within it. His creative process, his writing itself, becomes a means of confronting and processing these feelings of unease.

The language of *Book of Disquiet* is simultaneously precise and evocative.  Pessoa masterfully utilizes poetic imagery and evocative language to create a richly textured and deeply personal experience for the reader.  The prose is often dense and philosophical, demanding careful attention and repeated readings.  The fragmented nature of the text requires the reader to actively participate in the process of meaning-making, reconstructing the narrative from its scattered pieces.

In conclusion, *Book of Disquiet* is not simply a book to be read; it's an experience to be lived. Its fragmented structure, its introspective narrative voice, and its exploration of profound existential themes create a deeply affecting and unforgettable reading experience.  It remains a challenging and rewarding work, continually prompting reflection on the nature of life, consciousness, and the human condition. The enduring appeal of the *Book of Disquiet* lies in its profound honesty and its ability to articulate the universal experience of human unease with remarkable depth and beauty.

Methods of Propaganda and the effects of corporate ownership on mainstream society.

By J.Stephen.H. (3rd version.)

 

Introduction

Propaganda has been a tool for shaping public opinion and influencing societal norms throughout history. In modern times, with the advent of mass media and the integration of digital platforms, propaganda methods have evolved significantly, becoming more sophisticated and pervasive. Coupled with this are concerns about corporate ownership of mainstream media, which has led to a consolidation of power and influence that potentially undermines democratic processes and negatively affects society. This essay explores the various methods of propaganda, the implications of corporate media ownership, and their combined impact on society.

**Methods of Propaganda**

Propaganda is defined as information, especially of a biased or misleading nature, used to promote a political cause or point of view. Common methods of propaganda include:

1. **Bandwagon:** This method encourages people to think or act in a certain way because "everyone else is doing it." The idea is to create an impression of widespread support and acceptance.

2. **Card Stacking:** This involves presenting only the positives or negatives of an idea, proposal, or product, thereby skewing perception to favor one side excessively. It is essentially selective omission.

3. **Glittering Generalities:** This tactic uses vague, emotionally appealing phrases that are closely associated with highly valued concepts and beliefs. It sways audiences without presenting concrete evidence.

4. **Name-Calling:** This technique involves labeling opponents with derogatory terms to create a negative perception, often bypassing rational critique.

5. **Plain Folks:** By portraying leaders, policies, or products as being "just like you," this method attempts to build trust and relatability, suggesting that the intentions are noble and common-sensical.

6. **Testimonials:** In this approach, endorsements from celebrities or authority figures are used to persuade audiences. The seemingly respected opinion induces acceptance.

7. **Transfer:** It involves projecting positive or negative qualities of a person, entity, or value to another in order to make it more acceptable or discredited.

**Corporate Ownership of Mainstream Media**

The ownership and control of mainstream media by a small number of powerful conglomerates have profound implications for how information is disseminated and consumed. The concentration of media ownership has several negative effects:

1. **Homogenization of Content:** With fewer entities controlling media outlets, there is a risk of a reduced diversity of viewpoints and narratives. This leads to a homogenized media landscape where alternative perspectives are marginalized.

2. **Commercial Bias:** Media outlets owned by corporations may prioritize content that serves their business interests. This can result in the underreporting of issues that conflict with corporate agendas or the overemphasis of those that do.

3. **Political Influence:** Corporate owners may exert influence over editorial decisions, shaping news coverage and political discourse to favor specific policy outcomes or political candidates.

4. **Decline in Investigative Journalism:** The profit-driven nature of corporate media can lead to the prioritization of sensationalism and infotainment over in-depth investigative journalism, which is resource-intensive and less immediately profitable.

**Negative Effects on Society**

The combination of sophisticated propaganda techniques and corporate control over media narratives presents challenges for democratic societies:

1. **Erosion of Public Trust:** As media conglomerates prioritize profit and their own narratives, public trust in media institutions diminishes. This skepticism can lead to increased susceptibility to misinformation and fake news.

2. **Polarization:** Propaganda techniques can deepen societal divisions by reinforcing existing biases and promoting "us vs. them" mentalities. Corporate media may amplify these divides for higher engagement and revenue.

3. **Informed Citizenship:** A well-informed citizenry is crucial for the healthy functioning of democracy. When media is driven by propaganda and corporate interests, the information landscape becomes skewed, making it difficult for citizens to make informed decisions.

4. **Consumer Culture:** The concentration of media ownership can also promote consumerism. By controlling advertising channels and content, corporations shape societal values to prioritize materialism over community and civic engagement.

5. **Suppression of Dissent:** When media outputs are controlled by a few, dissenting voices are often muted or ignored. This limits the public discourse and stifles the diversity of thought necessary for societal progress.

**Conclusion**

The interplay between propaganda and corporate ownership of mainstream media presents significant challenges for contemporary society. While propaganda methods have become more sophisticated with technological advancements, the consolidation of media ownership underscores a more profound issue: the potential undermining of democratic values and the healthy functioning of society. Addressing these issues requires critical media literacy among the public, regulatory reforms to ensure diverse and independent media landscapes, and a commitment to preserving the integrity of journalism. As citizens, understanding and confronting these dynamics is essential to fostering a more informed and equitable society.

J.StePheN.h