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Author Topic: Delayed Satisfaction
extrinsic
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Vladimir Propp (1895 - 1970) located within Russian folk tales a common delayed satisfaction feature. Joseph Campbell, writer and folk mythology theorist, identified identical properties, though of Western literature.

Propp labels the delayed satisfaction criteria three refusals to act proactively. The three refusals' causality escalates from some comparably minor though ominous compulsion event to a stronger compulsion to an intolerable compulsion to act. In its way, these triplets are victimism, identified by Margaret Atwood as done to by external forces, observed that eight-tenths of Canadian literature incurs victimized agonists, mindful internal forces are as well in play. This is also Jerome Stern's "Bear at the Door" shape and Aristotle's "What I tell you three times is true," plus, rhetoric's repetition, substitution, amplification scheme.

Such a feature entails a preparation segment, a suspension segment, and a satisfaction segment, per L. Rust Hills. The preparation segment is a first refusal; suspension, a second; satisfaction, and a sequence itself, a refusal and an incited action. This could be a one-two-three-go or a ready-set-go sequence, the former perhaps too much drain circling, the latter more ripe for artful surprise. Atwood also observed a feminine-masculine divide; that masculine more so is initially proactive and more restricted to once and done want incitement, and feminine victimism inclined more toward problem incitement.

Mom calls a child twice, warning track-like, and expects a response on the third summons. Dad brooks no refusals, expects a response to a first summons. Not exclusively female or male, though -- are feminine or masculine in social nature. Atwood, therefore, identifies a subtle version of three refusals and victimism as its label. Proactive action does ensue regardless of whether one refusal, three refusals, or none -- proactivism.

Meantime, other features can be artfully developed through interleaving: backstory, for one, other congruent events that will matter later, setting, and character introductions. Interleaving is also known as in-cluing. That this detail will come into play later when it matters to the action of the moment.

Though a want foremost is proactivism's forte, problems at least attend wants, if not are a first cause that incites want. Problems, ergo, are victimism. Want for excitement, for example, is a problem as well, at the same time, of not enough excitement. That's a Bear at the Door want, or a routine wanting interruption. Beware what you want: You will be overwhelmed in short succession if not sooner.

Three refusals takes many forms. A behind-the-lines warrior might refuse engagement twice; once might observe enemy trail sign and avoid such material concentrations to avoid enemy contact. Second, might observe enemy personnel in the flesh and avoid contact. Third, while avoiding contact, stumbles into immediate contact or might intend contact. Or might stumble into a congruent though different contact than the one avoided. Surprise!

Another example, say an organization proposes an individual for a task. The individual refuses twice, and each event and their situations compel reconsideration and as well, of course, reflection -- time to think and be persuaded to accept. The acceptance nonetheless problematized, say, by the organization's reconsideration of the individual's reluctance -- wisdom or folly? Folly, at first, is prose's forte.

Another, this sequence, too, suits romance. Love interests like to be wooed and shown that a suitor is more than casually inclined. Fight for my affections! Problems, too, that such eagerness can be creepy stalking.

Mystery's puzzle structure, too, that a murderer refuses to be caught. Probably, an investigator likewise refuses or even denies evidence essential to solve a puzzle. Or its contrary, accepts evidence that is at best dubious though fits a pattern of circumstance that suits the investigator's rush to judgment for whatever personal agenda the investigator intends.

Nor limited to such genre. A hero, not yet forged, refuses to be forged to combat a bug-eyed monster invasion -- science fiction. A mage not yet able refuses to become such -- fantasy. Western, a rugged individual refuses to surrender the safe security of noninvolvement. Thriller, an agent of change three times refuses to act. Horror, an individual refuses to believe a metaphysical, spiritual or paranormal, phenomenon. Literary, what, somewhat more inclined toward self-refusal and self-want-problem compulsions than external forces want-problem compulsions? Three refusals suits creative nonfiction, too, as much as fiction genre, poetry, too, journalism, documentary, etc.

Three refusals span any of a narrative's parts: exposition's incitements, action rise, climax, action fall, denouement, as well span across each, and span a whole. Refusals invoke the three large parts of a narrative whole: start, middle, and end. First refusal, denial of want-problem satisfaction; second, satisfaction resistance yet progress somehow; third, complication satisfaction due to a final refusal that is overcome at last.

Sentence level sequencing too. A complex or compound sentence can entail a delayed satisfaction sequence. Whose satisfaction? As much readers', if not more so, as agonists'. Delayed emotional and curiosity satisfaction for readers; outright want-problem satisfaction for agonists.

This too is Chekhov's gun. If a handgun is observed on a mantelpiece in a first scene, it must discharge in a later scene. The obverse also: If a handgun discharges in a later scene, it must be pre-positioned in an earlier scene. A Chekhov gun is more than a handgun only; any transformative motif of any kind is a Chekhov gun. A symbolism motif itself transforms; an emblemism motif is fixed as invariant, only its agency varies, to greater extents each instance. Chekhov's gun is foreshadowing at its most basic methods.

Say a minor character introduction transpires in an early scene, nothing to speak of about the character occurs, some menace, some ominousness, though little agency for the immediate now moment. The introduction is a preparation for a later scene, what influence the character may have then is a delayed satisfaction invocation. Remind readers the character is in play; pose the character in greater influence of the action; bring the character to bear on immediate contact sooner or later. That's a three-refusal sequence.

A challenge of three refusals and delayed satisfaction: artful disguise of the ready-set-go formulaic structure. Another, artless withheld detail necessary for readers to understand and imagine and emotionally engage curiosity with a dramatic action's events, settings, characters -- dramatic irony's what readers know beforehand and agonists might not is a tension curiosity engine.

Of course, wants come with problems. Does not a suitor encounter love interest refusal problems? No once upon a time easy-peasey and we lived happily ever after I want you to be mine and once and done acceptance. Prove you are worthy of my affection. Back atcha, mon amie and amon amis. Problems and their attendant refusal, doubt, worry, fear, anger, etc., arousals artfully disguise a formulaic structure. No want-problem outcome certain until a bittersweet end, if then, only a delayed satisfaction at last satisfied fully for the now moment. Life goes on afterward; some may perish, though.

[ December 27, 2016, 03:25 PM: Message edited by: extrinsic ]

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Kathleen Dalton Woodbury
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Keeping the refusals at 3 can become a little formulaic, and writers need to realize that the story needs can change that number. Be ready to add refusals, if necessary, but also be wary of dragging things out too long.

And if you are going to use fewer refusals, be sure they are powerful enough that whatever overcomes them is satisfactory for readers.

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Rochelle Joseph
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I am extremely acquainted with the works of Joseph Campbell. He was a skilled researcher and a genuine searcher of truth. I have heard about him by [URL no longer available] You ought to likewise attempt Masks of God, an awesome arrangement. The possibility of near mythology is not another one, but rather he took the scattered strings and wove it into a disclosure that was to a great degree straightforward. To the extent a paper on the mono-myth, investigate Theosophy a bit. Mr. Campbell was exceptionally acquainted with Blavatsky's lessons

[ January 18, 2017, 09:22 PM: Message edited by: Kathleen Dalton Woodbury ]

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extrinsic
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Another Identity Protect company spam, phisch, and scam post from the folks at English second language dissertation plagiarism services, only a different cousin domain name.
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Kathleen Dalton Woodbury
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quote:
Originally posted by extrinsic:
Another Identity Protect company spam, phisch, and scam post from the folks at English second language dissertation plagiarism services, only a different cousin domain name.

But it's also a good example of how a relevant comment can have nested inside it the link you are trying to promote (for Search Engine Optimization among other things).

Caveat Emptor (let the buyer beware) most definitely in this case, but an interesting example to potentially learn from in its own right.

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extrinsic
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Caveat emptor, indeed. My concern as pertains to Hatrack is private e-mail address collection for direct spam purposes. However, that the spammer did not enter an e-mail address means the Hatrack site blocks access to member addresses. Worth note, too, that not doing so signals freight-fraught implications.
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Kathleen Dalton Woodbury
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I've cancelled the registration, so the poster is no longer a member of the forum.
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