Let us assume that a divine being exists. Furthermore, this divine being, in addition to being immaterial and supernatural, is also omnipotent and omniscient.
Any divine being possessing these characteristics could blind any non-divine being as to the existence of the divine being, and, if they wished, could make it appear that they never existed. Therefore, it is impossible for any non-divine being to prove the nonexistence of a divine being.
"Ah!" but the sceptic says. "If it is impossible for me to disprove a divine being, it is equally impossible for you to prove one."
Not so. The reason that a divine being can't be disproved is that the possibility of the prescence of a divine being brings any natural processes into question. If we start from the assumption that there is no divine being, then there is no supernatural to confuse the natural.
This reason doesn't prove a divine being, any more than it disproves one. All it does is disprove the disprovability of a divine being.
In summary: A divine being could hide itself, so we can't say there isn't one.
^ ^ ^ That's what I thought of while practicing violin today. It doesn't take into account why a divine being would want to hide their existence, but I didn't think it was necessary in order to make my argument clear.
Any critiques? Thoughts? Feel free to play devil's advocate :)
Monday, 11 August 2014
Saturday, 28 June 2014
More than Epicness
Epicness is not a bad thing. Detailed worldbuilding, sweeping grandeur, and amazing scenes can create a compelling story. The detailed languages of Tolkien's world make it feel authentic. The sheer size of Erebor, of Cirith Ungol, of Minas Tirith, awe us. The finality of the last march of the Ents, of the death-ride of the Rohirrim, can make our hearts burn within our chests and our fists tighten. Tolkien's work resounds with epicness.
But epicness alone isn't enough. Epicness can be a taster to draw in readers, but it shouldn't be the full meal. Give a reader an epic story, and they'll probably remember it. But after it's been read enough times, the epicness wears thin. Reading about the same amazing scenes and magnificent structures over and over again can get tiring.
But not theme. The best books are those that can be read over and over again, each time picking up some new nugget of meaning and insight, some new thread of hope, some new morsel of mental or spiritual food.
Epicness doesn't do that. But theme does. As does characterisation, which is implicitly linked – I believe – with theme. You can't have a resonant theme without strong characters – at least, not without it feeling forced and contrived. Artificial.
Great stories should have great themes. If a reader is going to take the time to read your story, take the time to give them something meaningful, something worthwhile, out of it.
I'm not against epicness. Give your stories all the epicness you can imagine. Make epicness run home to its momma crying. (Semi-inside joke, if you didn't get it). But give them something that will stay with them forever.
But epicness alone isn't enough. Epicness can be a taster to draw in readers, but it shouldn't be the full meal. Give a reader an epic story, and they'll probably remember it. But after it's been read enough times, the epicness wears thin. Reading about the same amazing scenes and magnificent structures over and over again can get tiring.
But not theme. The best books are those that can be read over and over again, each time picking up some new nugget of meaning and insight, some new thread of hope, some new morsel of mental or spiritual food.
Epicness doesn't do that. But theme does. As does characterisation, which is implicitly linked – I believe – with theme. You can't have a resonant theme without strong characters – at least, not without it feeling forced and contrived. Artificial.
Great stories should have great themes. If a reader is going to take the time to read your story, take the time to give them something meaningful, something worthwhile, out of it.
I'm not against epicness. Give your stories all the epicness you can imagine. Make epicness run home to its momma crying. (Semi-inside joke, if you didn't get it). But give them something that will stay with them forever.
Monday, 16 December 2013
NaNoWriMo
This year was my first time doing NaNoWriMo, and I managed to complete it at 50045 words on the 29th, although I got to 51394 by the end of the 30th. (link to stats) Here's some of the things I learned.
1. Plotting is important to be able to write fast.
I didn't plot out much of my NaNoNovel, but I had a basic idea of what I wanted the next couple of scenes to be about. They might change, but I had a short-term plan for the next few thousand words, and a (somewhat vague) long-term plan, of where I wanted to end the book up at. This meant that I could write much faster.
2. Writing is important.
If you're going to write, you need to do it. You can't just procrastinate and not write, especially if you have a deadline. You have to write. But...
3. Writing isn't important.
Well, it is, like I said above, but it's not the most important thing, by a long way. There are times when other things come before writing, and it's important for writing to not be the most important thing. And this means that sometimes, you may not be able to find the time to finish the project by when you want to. It's a matter of making priorities.
And ... I can't think of any other concrete things which I learned at the moment, yet ... or asphalt either (yes, I know, bad pun...) so I'll sign off and prepare for my next post in three months.
-Jag Swiftstorm
Friday, 13 December 2013
Liebster Award (Tag) x2
I have been nominated for this award twice, once by Scarlet Raptor/Raptor Elytra/etc. at Raptor Hiddenblade's even messier scribblings and once by Hyperlinkzer at The Edge.
First, Raptor:
1. What is your current project?
A currently unnamed epic fantasy.
2. What is your main character’s name?
I have two. One is named Koseph Oldspear. The other is named Empress Tal-Alyssa Neruval Jenikos Viritril Malacan Starblade.
3. What is your main character’s fears?
Alyssa fears that the kingdom may fall.
4. How far are you in your latest project/book?
53228 words.
5. Are you doing NaNoWriMo?
I was.
6. If so, what are you aiming for?
50K.
7. List your five favorite books.
5. The White Lion Chronicles
4. Berinfell Prophecies
3. Binding of the Blade
2. Dragons in our Midst (including Oracles of Fire and Children of the Bard)
1. Lord of the Rings (including the Silmarillion, The Hobbit, and the movie adaptions)
And yes, I know those are series rather than books, but I didn't have a book list already written.
8. What is your characters strengths?
Alyssa is good at leading people. Koseph is (supposed to be) wise.
9. What does your Character like doing?
I'm not sure, they don't have much time to do what they like doing.
10. In your latest project, has anyone died yet?
YES.
And second, Hyper:
1. If you could visit any of the Seven Wonders of the World (ancient or modern), which would you choose, and why?
Probably the canal of Khel-Mithare (one of the Seven Wonders of Arathea :P)
2. Would you rather swim in a pool full of lobsters or one with a single piranha? Explain your decision.
The piranha. I flipped a coin.
3. A plate with a food that you have never tried before is sitting in front of you. It looks absolutely delicious. You are about to dig in, but suddenly a genie appears holding a plate of your very favorite food. He says you may choose one, but if your choice is your favorite food, you will never again have the chance to try the new food. What do you do?
Try the new food.
4. The baddest bad guy you can think of is coming to your house. Your reaction?
*gulp*
5. Would you rather clouds be made of cotton candy or marshmallows?
Marshmallows. Mawshmawwows are what bwings us together today.
6. If you had an Iron Man suit, what would you do with it?
Wear it.
7. An oven crashes through your roof and smashes a bowl of snacks that you were just about to eat. What do you do?
Cook more snacks on the oven.
8. Would you rather be able to jump really high or be really strong?
Jump really high.
9. What do you think about Cheez-its?
What about them?
10. You are skydiving. Suddenly a Pegasus flies past you. You're about to switch on your rocket boots and chase it, but then a flying pig flies past you, going the other direction. You can only catch one. Which do you go after?
The pegasus.
First, Raptor:
1. What is your current project?
A currently unnamed epic fantasy.
2. What is your main character’s name?
I have two. One is named Koseph Oldspear. The other is named Empress Tal-Alyssa Neruval Jenikos Viritril Malacan Starblade.
3. What is your main character’s fears?
Alyssa fears that the kingdom may fall.
4. How far are you in your latest project/book?
53228 words.
5. Are you doing NaNoWriMo?
I was.
6. If so, what are you aiming for?
50K.
7. List your five favorite books.
5. The White Lion Chronicles
4. Berinfell Prophecies
3. Binding of the Blade
2. Dragons in our Midst (including Oracles of Fire and Children of the Bard)
1. Lord of the Rings (including the Silmarillion, The Hobbit, and the movie adaptions)
And yes, I know those are series rather than books, but I didn't have a book list already written.
8. What is your characters strengths?
Alyssa is good at leading people. Koseph is (supposed to be) wise.
9. What does your Character like doing?
I'm not sure, they don't have much time to do what they like doing.
10. In your latest project, has anyone died yet?
YES.
And second, Hyper:
1. If you could visit any of the Seven Wonders of the World (ancient or modern), which would you choose, and why?
Probably the canal of Khel-Mithare (one of the Seven Wonders of Arathea :P)
2. Would you rather swim in a pool full of lobsters or one with a single piranha? Explain your decision.
The piranha. I flipped a coin.
3. A plate with a food that you have never tried before is sitting in front of you. It looks absolutely delicious. You are about to dig in, but suddenly a genie appears holding a plate of your very favorite food. He says you may choose one, but if your choice is your favorite food, you will never again have the chance to try the new food. What do you do?
Try the new food.
4. The baddest bad guy you can think of is coming to your house. Your reaction?
*gulp*
5. Would you rather clouds be made of cotton candy or marshmallows?
Marshmallows. Mawshmawwows are what bwings us together today.
6. If you had an Iron Man suit, what would you do with it?
Wear it.
7. An oven crashes through your roof and smashes a bowl of snacks that you were just about to eat. What do you do?
Cook more snacks on the oven.
8. Would you rather be able to jump really high or be really strong?
Jump really high.
9. What do you think about Cheez-its?
What about them?
10. You are skydiving. Suddenly a Pegasus flies past you. You're about to switch on your rocket boots and chase it, but then a flying pig flies past you, going the other direction. You can only catch one. Which do you go after?
The pegasus.
Saturday, 21 September 2013
Sacrifice
This is the first in a (hopefully) series of posts co-written by me and fellow teenage author, R. A. H. Thacker, who can be found at Sunset Rising. This post can also be found at his blog.
No, we’re not talking about human sacrifice. Or maybe we are. But we’re actually talking about self-sacrifice–and not some suicidal tribal custom, either. More specifically, how to use it in fiction.
Why does sacrifice stir our hearts? Why does it affect us like nothing else? Because it is a reflection–a representation–of the greatest sacrifice, of Jesus Christ dying for his creation on a cruel cross on Calvary.
When should a sacrifice be used?
It depends on the specific case. If the story is about sacrifice–and the main character learns that he has to give himself up for others–then the climax will be a likely place for it to fit.
However, a story may not be about sacrifice, but sacrifice may still be part of it. In this case, it should be able to fit anywhere in the story–but it depends on the context.
A character could come to realize that he should be willing to sacrifice himself–not simply sacrificing others. As an example from one of my own novels, I (Robert) had a character come to a crossroads. He was a contestant in something like a bloodsport game. He was faced with a decision that had no turning back from–no second choice if he messed up. He could sacrifice himself for his friends–those he had come to know during the bloodsport–and in the process die himself. Or he could decide to let them be killed and go on himself. Out of love, he gave himself up. Both good and grief came from it, but ultimately it turned out to be the best decision for them all. If things had not turned out for good in his sacrifice, it would still have had no less meaning–life was the greatest thing he had. He had fought for it since he could walk. But then he had given up what he had coveted most for what he had found to be truly what was meaningful to him, his brethren around him.
Sacrifice doesn’t always have to result in death, although often it will. Self-sacrifice can be illustrated through characters just by patient service–being willing to die for something, or willing to live for it.
Therefore, I urge you, brothers and sisters, in view of God’s mercy, to offer your bodies as a living sacrifice, holy and pleasing to God—this is your true and proper worship.
-Romans 12:1 (NIV)
However, this doesn’t discount sacrifice to the point of death. Even to the extent of death, giving yourself up for God and devoting yourself to him is the greatest service possible.
Sacrifice is an expression of love–a great expression.
Greater love has no one than this: to lay down one’s life for one’s friends.
-John 15:13 (NIV)
So should all of your characters be regularly sacrificing themselves? It depends on the character. Some characters will have sacrificial love flowing out of them even in the smallest of manners. But some won’t.
However, having an overabundance of sacrifices can make it lose its value somewhat. Especially in a contemporary story, you probably can’t just kill too many characters off. But living sacrifices–your characters being willing to die for something, even if they don’t die–can be common. We don’t inspire others to sacrifice by writing about characters who don’t do it themselves.
In the case of a death sacrifice, if the character who had sacrificed himself comes back, there must be a good reason, else it will mean nothing. The sacrifice needs to have consequences–needs to affect something–otherwise it seems like a worthless sacrifice, just a plot element that the author needed to have happen but didn’t want to actually kill the character.
In some books–allegories especially–there will be a Christ figure. Someone who sacrifices themselves for the world. For example, Aslan from the Chronicles of Narnia is a clear Christ figure–he is the son of the Emperor-over-the-sea, and came to Narnia to sacrifice himself, so that redemption might come to those who needed it.
This is one of the highest privileges in this world–to be able to tell others of the sacrifice and resurrection of Jesus Christ. We need to make sure that we represent it clearly, so that people aren’t misled by our stories–fiction though they may be.
If you’re writing an allegory of Christ’s sacrifice and resurrection, make sure you check back to the Bible about what the core messages of Christ’s death are. It was out of love that Jesus gave himself up–not for his own sins. And he died that he might save all people.
In the case of a contemporary story, great sacrifices can still be made–even if not to death.
Then Jesus beholding him loved him, and said unto him, One thing thou lackest: go thy way, sell whatsoever thou hast, and give to the poor, and thou shalt have treasure in heaven: and come, take up the cross, and follow me.
-Mark 10:21 (KJV)
Wealth was the man’s greatest possession. He had lived a good life, obeyed all the commandments, but could not give but one final thing–his wealth. The greatest sacrifices lie in what matters most to someone. Your characters can sacrifice without having to die–and their sacrifice doesn’t have to be any less important for it.
We hope this helps for writing sacrifices in your own stories. Obviously, we can’t cover everything in one post. If you have any questions, feel free to post them, and we’ll do our best to answer.
~R. A. H. Thacker and Jag Swiftstorm
No, we’re not talking about human sacrifice. Or maybe we are. But we’re actually talking about self-sacrifice–and not some suicidal tribal custom, either. More specifically, how to use it in fiction.
Why does sacrifice stir our hearts? Why does it affect us like nothing else? Because it is a reflection–a representation–of the greatest sacrifice, of Jesus Christ dying for his creation on a cruel cross on Calvary.
When should a sacrifice be used?
It depends on the specific case. If the story is about sacrifice–and the main character learns that he has to give himself up for others–then the climax will be a likely place for it to fit.
However, a story may not be about sacrifice, but sacrifice may still be part of it. In this case, it should be able to fit anywhere in the story–but it depends on the context.
A character could come to realize that he should be willing to sacrifice himself–not simply sacrificing others. As an example from one of my own novels, I (Robert) had a character come to a crossroads. He was a contestant in something like a bloodsport game. He was faced with a decision that had no turning back from–no second choice if he messed up. He could sacrifice himself for his friends–those he had come to know during the bloodsport–and in the process die himself. Or he could decide to let them be killed and go on himself. Out of love, he gave himself up. Both good and grief came from it, but ultimately it turned out to be the best decision for them all. If things had not turned out for good in his sacrifice, it would still have had no less meaning–life was the greatest thing he had. He had fought for it since he could walk. But then he had given up what he had coveted most for what he had found to be truly what was meaningful to him, his brethren around him.
Sacrifice doesn’t always have to result in death, although often it will. Self-sacrifice can be illustrated through characters just by patient service–being willing to die for something, or willing to live for it.
Therefore, I urge you, brothers and sisters, in view of God’s mercy, to offer your bodies as a living sacrifice, holy and pleasing to God—this is your true and proper worship.
-Romans 12:1 (NIV)
However, this doesn’t discount sacrifice to the point of death. Even to the extent of death, giving yourself up for God and devoting yourself to him is the greatest service possible.
Sacrifice is an expression of love–a great expression.
Greater love has no one than this: to lay down one’s life for one’s friends.
-John 15:13 (NIV)
So should all of your characters be regularly sacrificing themselves? It depends on the character. Some characters will have sacrificial love flowing out of them even in the smallest of manners. But some won’t.
However, having an overabundance of sacrifices can make it lose its value somewhat. Especially in a contemporary story, you probably can’t just kill too many characters off. But living sacrifices–your characters being willing to die for something, even if they don’t die–can be common. We don’t inspire others to sacrifice by writing about characters who don’t do it themselves.
In the case of a death sacrifice, if the character who had sacrificed himself comes back, there must be a good reason, else it will mean nothing. The sacrifice needs to have consequences–needs to affect something–otherwise it seems like a worthless sacrifice, just a plot element that the author needed to have happen but didn’t want to actually kill the character.
In some books–allegories especially–there will be a Christ figure. Someone who sacrifices themselves for the world. For example, Aslan from the Chronicles of Narnia is a clear Christ figure–he is the son of the Emperor-over-the-sea, and came to Narnia to sacrifice himself, so that redemption might come to those who needed it.
This is one of the highest privileges in this world–to be able to tell others of the sacrifice and resurrection of Jesus Christ. We need to make sure that we represent it clearly, so that people aren’t misled by our stories–fiction though they may be.
If you’re writing an allegory of Christ’s sacrifice and resurrection, make sure you check back to the Bible about what the core messages of Christ’s death are. It was out of love that Jesus gave himself up–not for his own sins. And he died that he might save all people.
In the case of a contemporary story, great sacrifices can still be made–even if not to death.
Then Jesus beholding him loved him, and said unto him, One thing thou lackest: go thy way, sell whatsoever thou hast, and give to the poor, and thou shalt have treasure in heaven: and come, take up the cross, and follow me.
-Mark 10:21 (KJV)
Wealth was the man’s greatest possession. He had lived a good life, obeyed all the commandments, but could not give but one final thing–his wealth. The greatest sacrifices lie in what matters most to someone. Your characters can sacrifice without having to die–and their sacrifice doesn’t have to be any less important for it.
We hope this helps for writing sacrifices in your own stories. Obviously, we can’t cover everything in one post. If you have any questions, feel free to post them, and we’ll do our best to answer.
~R. A. H. Thacker and Jag Swiftstorm
Thursday, 22 August 2013
Skilled Characters
Should characters be perfect? Skilled in everything, flawless, all-knowing, and all-powerful?
Of course not. Or at least–not most of the time. 'Perfect' (or seemingly perfect) can have their places sometimes.
But should characters be the opposite? Having no virtues, no skills, no learning, and no motivation?
I would give the same answer as to the above question. No–or at least rarely.
I'm not arguing for either extreme here. I'm not saying your characters shouldn't be flawed at all.
But I admire characters that have motivation. That have a particular skill. That have taken the time to learn to do something–and do it well.
I've recently read two books of the Staff and Sword series–A Cast of Stones and A Hero's Lot. The main character, Errol Stone, isn't perfect. Far from it. But he has a skill–or possibly more than one. You'll have to read the book to find out. ;)
Characters don't have to have a skill at the start of a book. Errol doesn't–or at least not one that he knows about. But he grows. He dedicates the time to becoming the best in what he does.
Do we want people to spend the time developing skills in real life? Then 'allow' your characters to. What you want to see happening in the world around you, model in the lives and worlds of your characters.
As a novelist, I'm not in the business of showing the world as it is. I'm in the business of changing the world into what it could be. -- Jake of the Sadaar (source)
Give your characters a skill. Your readers will thank you for it.
-Jag Swiftstorm
Of course not. Or at least–not most of the time. 'Perfect' (or seemingly perfect) can have their places sometimes.
But should characters be the opposite? Having no virtues, no skills, no learning, and no motivation?
I would give the same answer as to the above question. No–or at least rarely.
I'm not arguing for either extreme here. I'm not saying your characters shouldn't be flawed at all.
But I admire characters that have motivation. That have a particular skill. That have taken the time to learn to do something–and do it well.
I've recently read two books of the Staff and Sword series–A Cast of Stones and A Hero's Lot. The main character, Errol Stone, isn't perfect. Far from it. But he has a skill–or possibly more than one. You'll have to read the book to find out. ;)
Characters don't have to have a skill at the start of a book. Errol doesn't–or at least not one that he knows about. But he grows. He dedicates the time to becoming the best in what he does.
Do we want people to spend the time developing skills in real life? Then 'allow' your characters to. What you want to see happening in the world around you, model in the lives and worlds of your characters.
As a novelist, I'm not in the business of showing the world as it is. I'm in the business of changing the world into what it could be. -- Jake of the Sadaar (source)
Give your characters a skill. Your readers will thank you for it.
-Jag Swiftstorm
Villain Tag
I hath been tagged by Lady Ryebrynn Lyla Shveer Crossblade from Ryebrynn's Random Ramblings.
(1.) Who is your favorite (or main) villain of the book/series you are writing, and how would you describe his/her character?
Thrackray, from The Rise of the Shadow. That's not my current project, but I don't know who the main villain from that is (yet). Thrackray is cold and distant–and vengeful. He wants revenge and power.
(2.) What special powers (if any) does this villain have?
Thrackray is a shape-shifter–a Klonratorn. He also has the ability to use Terean powers (like Ta'eyrie and Trantorian).
(3.) What was your inspiration for the character?
I don't think he's inspired by anything–if I had to choose somebody, it would probably be Devin from Dragons in our Midst.
(4.) Of all the villains in your book/series, what distinguishes this villain from the others?
Thrackray hasn't always been a villain–once he was a good guy. And he may yet rise...
(5.) Even though this character is on the side of evil, what trait does this villain posses that you admire?
Thrackray is skilled at what he does. He has worked hard to acquire skills.
(6.) What lessons can be learnt from the character’s story?
Don't get led astray by lies. Lies may seem like truth, but in the end, they are lies all the same.
(7.) If you had the opportunity to meet your villain, would you do so?
I'd probably accept. I don't think Thrackray would kill me–unless he knew what I plan to do to him. So, uh ... maybe I wouldn't want to meet him.
-Jag Swiftstorm
(1.) Who is your favorite (or main) villain of the book/series you are writing, and how would you describe his/her character?
Thrackray, from The Rise of the Shadow. That's not my current project, but I don't know who the main villain from that is (yet). Thrackray is cold and distant–and vengeful. He wants revenge and power.
(2.) What special powers (if any) does this villain have?
Thrackray is a shape-shifter–a Klonratorn. He also has the ability to use Terean powers (like Ta'eyrie and Trantorian).
(3.) What was your inspiration for the character?
I don't think he's inspired by anything–if I had to choose somebody, it would probably be Devin from Dragons in our Midst.
(4.) Of all the villains in your book/series, what distinguishes this villain from the others?
Thrackray hasn't always been a villain–once he was a good guy. And he may yet rise...
(5.) Even though this character is on the side of evil, what trait does this villain posses that you admire?
Thrackray is skilled at what he does. He has worked hard to acquire skills.
(6.) What lessons can be learnt from the character’s story?
Don't get led astray by lies. Lies may seem like truth, but in the end, they are lies all the same.
(7.) If you had the opportunity to meet your villain, would you do so?
I'd probably accept. I don't think Thrackray would kill me–unless he knew what I plan to do to him. So, uh ... maybe I wouldn't want to meet him.
-Jag Swiftstorm
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