Post by MenelaosGkikas on Apr 11, 2022 20:55:01 GMT
Republished from my Facebook Page, Maker's Dust, January 28 2022
Hello writers, creators and all web friends! Having discussed several times key concepts as well as paradigms from the organic structure of the art of writing, many of you may assume that all those things (archetypes, forms, inciting incidents, characters’ diverse profiles, the writer and the environment, fixed values and variable values, hooks and externalizations, super-objectives, etc) can finally be reduced to what happens in a movie in terms of how characters change. At the end of the day, it all ends up to characters! Movie projects that make audiences relate and connect to many of those characters mean successful scripts produced by successful directors. Script likeability ends up in characters according to the reduction above!
That’s a first hint of the differences rotated around personas. With the term personas we refer to ‘the ideal’ individuals being fascinated by and ‘realizing’ content or somebody’s work. Today I would like to emphasize on the risky and ambiguous phenomenon of comparing and contrasting characters with personas. For example, many of you may have heard of the term netiquettes, meaning, network etiquettes. Google translation does not equal etiquettes with labels, according to Greek. Look what it says, “the customary code of polite behavior in society or among members of a particular profession or group”, back to our point, internet habits… According to those, content addresses the demographics and psychographics of targeted personas, personas of the piece of work. Another example, if this script philosophizes around fractals, meaning the known to many of you geometric art shapes, (known to scientists as self-repeated structures) then the simplicity and cohesion in philosophy and consistency of analysis can target demographics and psychographics such as high school geometricians that may not recall or remember expertise or technical details in that field.
Understanding that knowledge is limited and our mental world a tree of many branches that perhaps approach several other areas half-known or not known to many of us, we understand why characters portrayed in pieces of work are different than the personas of that piece. Risks accumulated by such practices can be portrayed with the known to many of you film The Net with Sandra Bullock! Can characters deal with personas of their own? Of course, they can! Getting to know how they think and what are the dimensions of their profiles, education, work, economics, relationships, demographics, psychographics, goals, strengths, weaknesses, opportunities and threats, position in society, hobbies, free time, etc and getting to know their ideas and their visions, computer people as well as real people can associate personas to them. Who they love, who they seek, what risks they take and who they address with those risks, etc. It’s peculiar the fact that in the 21st century of the internet and the AI era, we are not allowed to declare whatever we want as long as we seek to be taken seriously. Having not reached salvation and resolutions with the previous, characters and personas may not mean the same things…!
I begin to acknowledge that for the writer, all the previous are of tremendous importance and big underlying complexity. There’s a comment I’ve been exposed at in IBM Deep Learning Classes, where the instructional designer motivates us to not be hit with too much complicated information too fast so that everything ends up seeping out of mind right afterwards… For character development, this advice is the elixir of everything. Even if writers are being supported by imaginary storyboards and index cards, they still have to visualize aspects of the script in their mind. Getting to know then how our minds work to accomplish that, means that we can possibly automate or reverse engineer a few processes, learning concepts, etc. After all, how do we writers simulate learning and intelligence? By getting to know by heart a lot of things the way we learnt multiplication and basic mathematic functions. Is this process visual enough so that it can be portrayed and analyzed in social networks? There can be numerous writers with websites of their own advising what they themselves should learn after all…
Coming back to acknowledge the power of personas, we acknowledge the power of identity and subject, here I mean subject of sentences, the subject anyway. Bearing in mind the risks and the complexity of human behavior, what characters are being produced? What scientists, artists, technocrats, leaders, businessmen, politicians are being produced as well? What are the ethical concerns in character creation? Are characters violent, uncontrollable or Gods of vengeance? So, what are the accepted norms and the not accepted in a society portrayed by the success of a script? It all ends up to uniting the character with the abyss of multiple possible, different, imaginary as well as real personas attached to them. It’s how writers balance all of the alter egos that personas can create towards solid character development.
Interested to find out about the projects that started it all? Get to know my work through Amazon Author Page and my website at Independent Authors Network (IAN):
Amazon Author Page: amazon.com/author/makersdust
The Independent Authors Network: bit.ly/39chSSQ showcasing Amazon, Barnes & Noble, Kobo & Walmart as well as the diversity of some of my professional pages!
Hello writers, creators and all web friends! Having discussed several times key concepts as well as paradigms from the organic structure of the art of writing, many of you may assume that all those things (archetypes, forms, inciting incidents, characters’ diverse profiles, the writer and the environment, fixed values and variable values, hooks and externalizations, super-objectives, etc) can finally be reduced to what happens in a movie in terms of how characters change. At the end of the day, it all ends up to characters! Movie projects that make audiences relate and connect to many of those characters mean successful scripts produced by successful directors. Script likeability ends up in characters according to the reduction above!
That’s a first hint of the differences rotated around personas. With the term personas we refer to ‘the ideal’ individuals being fascinated by and ‘realizing’ content or somebody’s work. Today I would like to emphasize on the risky and ambiguous phenomenon of comparing and contrasting characters with personas. For example, many of you may have heard of the term netiquettes, meaning, network etiquettes. Google translation does not equal etiquettes with labels, according to Greek. Look what it says, “the customary code of polite behavior in society or among members of a particular profession or group”, back to our point, internet habits… According to those, content addresses the demographics and psychographics of targeted personas, personas of the piece of work. Another example, if this script philosophizes around fractals, meaning the known to many of you geometric art shapes, (known to scientists as self-repeated structures) then the simplicity and cohesion in philosophy and consistency of analysis can target demographics and psychographics such as high school geometricians that may not recall or remember expertise or technical details in that field.
Understanding that knowledge is limited and our mental world a tree of many branches that perhaps approach several other areas half-known or not known to many of us, we understand why characters portrayed in pieces of work are different than the personas of that piece. Risks accumulated by such practices can be portrayed with the known to many of you film The Net with Sandra Bullock! Can characters deal with personas of their own? Of course, they can! Getting to know how they think and what are the dimensions of their profiles, education, work, economics, relationships, demographics, psychographics, goals, strengths, weaknesses, opportunities and threats, position in society, hobbies, free time, etc and getting to know their ideas and their visions, computer people as well as real people can associate personas to them. Who they love, who they seek, what risks they take and who they address with those risks, etc. It’s peculiar the fact that in the 21st century of the internet and the AI era, we are not allowed to declare whatever we want as long as we seek to be taken seriously. Having not reached salvation and resolutions with the previous, characters and personas may not mean the same things…!
I begin to acknowledge that for the writer, all the previous are of tremendous importance and big underlying complexity. There’s a comment I’ve been exposed at in IBM Deep Learning Classes, where the instructional designer motivates us to not be hit with too much complicated information too fast so that everything ends up seeping out of mind right afterwards… For character development, this advice is the elixir of everything. Even if writers are being supported by imaginary storyboards and index cards, they still have to visualize aspects of the script in their mind. Getting to know then how our minds work to accomplish that, means that we can possibly automate or reverse engineer a few processes, learning concepts, etc. After all, how do we writers simulate learning and intelligence? By getting to know by heart a lot of things the way we learnt multiplication and basic mathematic functions. Is this process visual enough so that it can be portrayed and analyzed in social networks? There can be numerous writers with websites of their own advising what they themselves should learn after all…
Coming back to acknowledge the power of personas, we acknowledge the power of identity and subject, here I mean subject of sentences, the subject anyway. Bearing in mind the risks and the complexity of human behavior, what characters are being produced? What scientists, artists, technocrats, leaders, businessmen, politicians are being produced as well? What are the ethical concerns in character creation? Are characters violent, uncontrollable or Gods of vengeance? So, what are the accepted norms and the not accepted in a society portrayed by the success of a script? It all ends up to uniting the character with the abyss of multiple possible, different, imaginary as well as real personas attached to them. It’s how writers balance all of the alter egos that personas can create towards solid character development.
Interested to find out about the projects that started it all? Get to know my work through Amazon Author Page and my website at Independent Authors Network (IAN):
Amazon Author Page: amazon.com/author/makersdust
The Independent Authors Network: bit.ly/39chSSQ showcasing Amazon, Barnes & Noble, Kobo & Walmart as well as the diversity of some of my professional pages!