Alexandra Kitty's Peculiar Academic Escapades: An Odyssey in Adlibture.


















I believe in truth and honesty. I do not buy into “fake it until you make it”, but “wing it until you make it.” In psychology, there is a concept of Spread of Activation: one idea triggers similar ideas. You are more likely to think of the word “spoon” if I say “fork” than if I say “rose.”

It means we are primed to be active thinkers: stop following a script and try different things to stimulate your mind: sooner or later the answer will arrive so you can deliver.

Journalism became stuck in a vortex. There is no spread of activation. Democrats obsessed over Donald Trump and they have no ability to have another thought in their empty heads.

No wonder the US government has shut down and journalism collapsed: their passive adherence to scripts — the faking it part — brought inertia, and they can no longer make anything or make it anywhere.

If these knuckle-draggers tried different things, they’d find new combinations that would trigger new ideas and innovations.

The items do not have to be related or have any logical thread: everything is connected.

But we have a society that is disconnected. There is no spread of activation if all you do is think about one person.

As I am writing my latest book, I have had to think about a new topic front and centre. It’s about ancient art of a foreign origin.

And suddenly, the focus has me thinking about new and different things.

For example, with A Dangerous Woman Story Studio, stories are interconnected, and I have a map for generations of characters, but there is one juncture where I have three possibilities for the flagship character Magnus Lyme. I don’t know which way I will go as I have a rough sketch for those three outcomes.

Because there is one problematic character that works well, but it would be hard to make one of the possibilities work unless I do something terrible to the character, which would not be true to a character, nor give me a chance as an author to explore that character.

And then, I thought about something else, and then it all came together. The impasse is broken, and while this doesn’t guarantee that one line wins out over the other two, that character has possibilities regardless of where I take the story, making other threads make sense and have more meaning.

I never liked the character until I work out a glitch, and now the possibilities are endless. It doesn’t contradict the canon or seem odd or off. It is smooth, flows, and is aligned with the personality of the character.

I call my type of work an adlibture. Not a scripture, but going where I feel I should explore, and being open-minded to admit that I don’t know all the answers.

It is the reason why I can see where journalism went wrong: it mimics the emotionless ways of psychopaths.

It has no emotional literacy, and no concept of adlibture. It is all by an outdated and unrealistic script.

When I focussed on adlibture, I could see why I never liked the character: it was one who stuck by a script that brought ruin to many.

How do you nudge a character and do them justice?

Not follow those scripts, and suddenly, the character becomes vibrant and makes more sense.

It is the reason journalism doesn’t work: it is so restricted by patriarchal narrative that it choked itself to death.

Politics are the same. Western society is a timid and oppressive one. It looks for safe, fears the unknown, hates risk, and encourages people to make bold statements with no facts or evidence.

It breeds individual and collective ignorance and arrogance, taking away the element of surprise and of learning new things.

That’s why things are going nowhere.

They are intimidated if what they see isn’t packaged for them or spelled out.

As a side note, my writing here will be sparse for a little while. My book is pulling me away from this kind of writing. I have to think in a new way, and my focus will be elsewhere.

I am actively writing A Dangerous Woman stories — but in bits and pieces, meaning new stories won’t be completed. The way I have to write them is if I have a new wrinkle in a story — I have to find all of the blanks where that is canon and then insert those parts in them.

I was working on the Secret Issue of A Dangerous Woman magazine, and with my new twists — I am laying the groundwork for the 2019 Sampler, with two stories being interconnected. I will introduce two new series in that one: The Matriarch, which is an Otherworldly line focussing on the afterlife of Jane Carrington, and Mindwild — the psychological escapades of Dr. Nikki Oxley — her daughter The World’s Most Dangerous Woman is a supporting player in this one — and there will be some serious shocks in that one.

I will have an update sometime next week about where things stand. The book has my focus and devotion, and it is having a major impact on me focussing on various forms of strategy.

I am doing a lot of research and in this case, I am translating.

I am happy to report I got my final week’s result of my course, and although I am making an educated guess on my final mark, it is about 98% if I am calculating things correctly. I need to focus on that, too.

So if I do write here, the nature of what I write and the style is going to have a major shift. My guess it will be more positive because I am clearly out of realm of the hamster wheel.

Stay tuned…