This resonates with me oddly enough because I work for a software company that analyzes software and we talk about concepts like Causality.
The first couple of lines in Wikipedia define causality as: Causality (also referred to as causation, or cause and effect) is influence by which one event, process, state, or object (a cause) contribu…
This resonates with me oddly enough because I work for a software company that analyzes software and we talk about concepts like Causality.
The first couple of lines in Wikipedia define causality as: Causality (also referred to as causation, or cause and effect) is influence by which one event, process, state, or object (a cause) contributes to the production of another event, process, state, or object (an effect) where the cause is partly responsible for the effect, and the effect is partly dependent on the cause. In general, a process has many causes,[1] which are also said to be causal factors.
Since I am more of a writer than a developer, I associate these thoughts to story. The bowling pins hovering are causes that are set up and only come down when they trigger (or help trigger) an effect. Call these micro-causes and micro-effects that weave through the pulses--the TTCMA.
(Tangent: Just imagine each line between a micro-cause and a micro-effect as a shimmering color. The most beautiful story will be the ones with the most complex, yet harmonious colors.)
Without the larger structure of the pulses, though, these micro-causes have no context or meaning. Humans aren't particularly interested in random noise. We search for patterns -- these actions caused some effect and the world changed and I'm interested in why it changed and how it might change again.
Thinking about the pulses as cause and effect (because of this, that happened), there seems to be two intertwined strands. External/physical: Narrator is given an assignment, because of that the QM dumps him on the Cossacks, because of that (and the intertwined internal chain) the Cossacks abuse him, because of that he kills the goose, because of that they accept him.
Internal strands: The narrator is an intellectual, because of that the commander (and QM) teases him, because of that the narrator girds his loins, because of that he is prepared to act when the Cossacks abuse him, because of that he kills the goose, because of that he is struck with guilt.
If you took one of these away the chain is weakened. For example, if we didn't have the pulse with the Commander, how would we read the killing of the goose? We wouldn't know how the narrator came to be there, we wouldn't see the narrator experiencing the Commander's merry violence, we wouldn't see the narrator preparing for the violence of the Cossacks, etc. The story could still work but perhaps the effect would be thinner and less colorful because there would be fewer cause-effect lines running through the story.
Maybe a pulse is a unit of interrelated action and internal movement that causes the next pulse.
As Jane says, it's sot so much an external scaffolding that you create like putting lego blocks together so much as it is a way of getting under the hood to see why the story works.
This resonates with me oddly enough because I work for a software company that analyzes software and we talk about concepts like Causality.
The first couple of lines in Wikipedia define causality as: Causality (also referred to as causation, or cause and effect) is influence by which one event, process, state, or object (a cause) contributes to the production of another event, process, state, or object (an effect) where the cause is partly responsible for the effect, and the effect is partly dependent on the cause. In general, a process has many causes,[1] which are also said to be causal factors.
Since I am more of a writer than a developer, I associate these thoughts to story. The bowling pins hovering are causes that are set up and only come down when they trigger (or help trigger) an effect. Call these micro-causes and micro-effects that weave through the pulses--the TTCMA.
(Tangent: Just imagine each line between a micro-cause and a micro-effect as a shimmering color. The most beautiful story will be the ones with the most complex, yet harmonious colors.)
Without the larger structure of the pulses, though, these micro-causes have no context or meaning. Humans aren't particularly interested in random noise. We search for patterns -- these actions caused some effect and the world changed and I'm interested in why it changed and how it might change again.
Thinking about the pulses as cause and effect (because of this, that happened), there seems to be two intertwined strands. External/physical: Narrator is given an assignment, because of that the QM dumps him on the Cossacks, because of that (and the intertwined internal chain) the Cossacks abuse him, because of that he kills the goose, because of that they accept him.
Internal strands: The narrator is an intellectual, because of that the commander (and QM) teases him, because of that the narrator girds his loins, because of that he is prepared to act when the Cossacks abuse him, because of that he kills the goose, because of that he is struck with guilt.
If you took one of these away the chain is weakened. For example, if we didn't have the pulse with the Commander, how would we read the killing of the goose? We wouldn't know how the narrator came to be there, we wouldn't see the narrator experiencing the Commander's merry violence, we wouldn't see the narrator preparing for the violence of the Cossacks, etc. The story could still work but perhaps the effect would be thinner and less colorful because there would be fewer cause-effect lines running through the story.
Maybe a pulse is a unit of interrelated action and internal movement that causes the next pulse.
As Jane says, it's sot so much an external scaffolding that you create like putting lego blocks together so much as it is a way of getting under the hood to see why the story works.