Finding Calvin Process Insights

 

• At first I wanted to just create an interesting story.  Then as it evolved I also wanted it to serve second hand as part of a broader script.  The idea throughout was to maintain the semblance of art while crafting ever-increasing dialogue.  
• I tried to construct this piece as to be both readable and watchable
• I tried to warn people of chip technology—and, of course, the inherent suggestibility of anyone born a G
• The first part of this story is a redemption piece.  
  - The second part of this story is an admonishment piece
• Initially, during the first entry of the second part, I wanted to make Calvin the good guy (as part of his redemptive come to Christ moment--which, unfortunately for Calvin, was more of a mental understanding for the need of redemption, and not a contrite longing for unification because of his wrongdoings)
  But, given the material that I wanted to cover and the humorous bent that it needed to be entertaining, I endowed Calvin with a more misinterpretive skew to his understanding of God's word.
• During the first part of the second piece, I included a dot in the background because I wanted to imply that Calvin, coming to Christ is now {being) in the world but not of the world.  Initially, I wanted to include material that would suggest that Calvin was being guided by something supernatural, by including something in every entry that would imply outside guidance or intervention.  And though Calvin is indeed demonstrating restraint with his "issues" it turns out that Calvin is probably guided more by his mental illness than by a supernatural force--or is he?
  -  Before I started the first entry of the second part, I only had a play on words regarding the G-Man and the Psychopath, the chip, the Island, and the exploration into higher society as touchpoints.  
• When I started Coup De Tarte, I was sitting upright in my computer desk and typed in an improvisational fashion, knowing only the direction and a few inclusions in advance. (&)  It was the same with the first part of Calvin pt. 1.  However, with all three entries I have spent an increasing amount of time typing lying on my bed with more and more preplanned material--this is especially true with the heavy script of the latter entries. I noticed that by the third entry or fourth entry of Coup De Tarte, my ability to comprise technically suffered (no doubt from mental fatigue).  From then on, I relied on my creativity to seize the day--and those magical moments of intuition. 
• I wrote Coup De Tarte while I was unemployed and I completed the first draft in about 6-8 weeks. 
• With Finding Calvin Pt. 1 I would conjure thoughts throughout my work day, and craft the entry 1-3 days on the weekend.  The the physical and mental toll it was imposing was trying, and the last 2 entries conversational dialogue suffered because of it.    But I have no desire to rewrite either at this time (It is indeed admittedly lame).  I felt the burden once again after writing the third entry, The Island, in part 2.  I would take a two-three week break afterwards having no idea how I would get Calvin to the derby, as it's a goal of mine to at least reference all of the Cake Chronicle subject matter since starting Coup De Tarte.  I still have a couple zingers left, I believe.  
• ,Unlike part 1, where I would write all of it in 1-3 days, I started writing the majority of part 2 in small chunks and piece it together as the days progressed.  This was non-negotiable once I started with the heavy dialogue.  For that requires research and fine tuning. 
• During this process, before knowing what to write, I tried to leave my mind open to receive whatever insights my mind gleaned while in my everyday work environment--like I did during part 1.  Very often, I found intuitions while carrying out my tasks and even from seeing specific customer interactions or comments.  I would turn a worker comment or observation into something Calvin related. 
•  I'll simultaneously search for thematic titles and blueberry connections while the material is being collected.  Sometimes the theme feeds the content, and sometimes the content feeds the theme.    All this his guided by a direction or event that I want Calvin to experience--and, of course, future reveals that I have conjured in advance. 
• I wanted to approach this story with a didactic bent, emphasizing hilariousness over truth. 
• And the characters in my story don't always get it right.  They're flawed human beings like you and I.  So if there's a factual misrepresentation regarding dialogue, forgive them for they know not what they do.(*)  
• During pt. 2 I tried to emphasize conspiratorial leanings and I think that every character can be considered in the know regarding some surface aspect that they are not expressing.  When delving into high society and intellectual things, I also didn't want to get too in-depth for fear of being stuck in the weeds or being plain old boring.  So I had to cast aside many of my own conspiratorial ideas such as the many "what-if's" and "maybes" that characterize the poor man's everyday mindset regarding the Thems behind their big walls and fancy estates—and focus the read on being funny and entertaining.  I also wanted to limit the surrealistic aspects to Calvin and his mental illness--except for the jelly ritual, of course (what's up with that?).  I wanted any fantastic leanings to be isolated within Calvin's own sphere of thinking.  
•  It's important to note that drinking is not advisable during the composition period.  In fact, I would say that there's a noticeable difference between 2-4 weeks after I drank, and a supremely noticeable difference when I abstained for 2-3 months.   Thought capturing is possible after drinking, as I have had thought development the day after, but composing those thoughts coherently and creatively on page is certainly not.  At my age I'm in a stupor for at least a week after drinking (!).  When you've programmed your horse to gallop, it becomes obvious when it's only a trot.  I think this understanding comes with age and perhaps only after you have technically peaked.  The technicality part of my compositions are certainly second-hand in my latter entries, as I'm more focused on progressing the story aspect.  
•  Every creator is reliant on approval filtered through an understood approval matrix.  But that was the art of it.  There are things I would have said less artfully and less skillfully if I didn't feel the need for outside approval. But that's the joy in comedy, the implication of what is said.  But that doesn't mean that I mean everything that I wrote or implied, some were just happy accidents that I stumbled upon, and then cultivated because that's where the information led me.
• But what character most resembles me or what do I think about the controversial issues covered within this fictional piece?  As it is said, we write what we are.  But I would argue that has more to do with the personality of the piece than the content or personalities within the piece.  So I suppose we'll never really know where I stand, muahaha.  Just kidding.

• As a side note, I will say that pre-workout, sugar and other drugs accelerate the functionality of the mind.  And in a person with an agreeable mental matrix, all is well.
•  But friend can turn into foe.  I would argue that some mental illness categorizations are just the brain's leanings into functionalities accelerated by trauma, drug use, and/or ambition. In conclusion, one person does cocaine and creates a comedic masterpiece and another has a psychotic episode that leads to being Baker acted.  For Calvin, it's was the blueberries.  

It's amazing what sticks with the subconscious.  Still, some sources of information bear more relevance than others.  Here are the most noteworthy influencers that I would like to credit for the substance of the material heretofore:

Robert Greene
Ian McGilchrist

Nick Bostrom

Richard Thaler
Robert Sapolsky 
Jordan Peterson
Downton Abbey 
Riopy
Yo-Yo Ma
The Sound of Music 

Future Story Ideas:

& - Once I got to the Enlightenment entry I realized that my content was dwindling and that I would need to either wrap it up or flesh it out.  I chose the latter, and with that came the pastry shop and the "real world" outside the pâtissierian trinity.  

! - As Andre 3000 said, no drugs nor alcohol so I can get the signal clear (I attest this to be true).

*$* - For the first part, I wrote entry 8 first and then worked through 1-7 in order not knowing how I was going to make sense of it. 

*$* - I would often email myself ideas and then Google them when I get home..  I'd copy paste, print, sift, and hand notate in the margins, then revisit the material when I have enough to do an entry or series and that's when I say, "what can I do with this?"