external connections

First, Deleuze redefines the simulacrum, not as a secondary image of life, but as life itself. That is, there is not a full and present life, sufficient unto itself and fully actualized, which then relates to what is not itself by forming images or representations. So Deleuze does not begin from a mind or consciousness that must somehow come to know or find its outside world; he does not begin philosophy from the question of ‘what can we know?’ or 'how accurate are the images we have of the world?’ He does not begin from human life or the life of the organism and then ask how consciousness came into being, for he does not regard life as a set of things or organisms that then perceives. Rather, life is perception, or a virtual power to relate and to image. There could not be mind or consciousness, for example, without the connection between the brain, the body, the body’s organs and external stimuli. These connections among the bodily parts that form both the human organism, and the human organism’s relation to the world, are perceptions or images. Evolving life is nothing more than a web of perceptive responses–cells responding and adapting to other cells to form simple life forms, those life forms responding to or 'perceiving’ environments. There is not a mind or life and then the perception of images, for life is imaging, a plane of relations that take the form of 'perceptions’ precisely because something 'is’ only its responses. Before there are actual terms–'mind’ on the one hand, 'world’ on the other–there is a potential for relation, and the relations for Deleuze are best described as 'images’.
—  Claire Colebrook, Deleuze: a guide for the perplexed
Advice: Too Little Action in Dialogue

sselinameyer asked:

Hi! I saw your as about ‘too much action during dialogue’ and I was wondering if you could help me because I’m sort of having the opposite of that problem. I feel like I should include more action, but when I do it sort of feels forced or maybe too obvious. I usually write about the tone of the characters/etc. but I can’t really seem to do long descriptions as others seem to do so effortlessly. And when I go on about one c’s emotional state/thought process/etc. I can’t really seem to include dialogues. It’s sort of like I can’t really connect the external things with the internal :/


Including action with dialogue is just about not having “talking heads.” In other words, you don’t want something like this:

“Did you have fun at the park?” Marissa asked.

“Yeah, we stayed all afternoon and fed the ducks,” Betty replied.

“I wish I had been there. The board meeting ran late and I got stuck in traffic on the way home.”

“That stinks. Do you want to go with me to Angie’s party later?”

“Sure,” said Marissa.


The problem with this dialogue is that Marissa and Betty are just talking heads. They don’t seem to have arms or legs and we can’t tell what environment they’re in. But, if you slip in a little action, the whole conversation changes:

Marissa slid into the booth across from Betty. “Did you have fun at the park?” 

“Yeah, we stayed all afternoon and fed the ducks,” Betty replied, removing two menus from the edge of the table and handing one to Marissa.

“I wish I had been there. The board meeting ran late and I got stuck in traffic on the way home.” 

“That stinks,” Betty frowned. The conversation paused momentarily as the two women looked over the cafe’s selections. A cute server came over to take their order, and Betty couldn’t help but flirt with him as Marissa teased her with a subtle eye roll. As soon as he left, Betty leaned forward and asked, “Do you want to go with me to Angie’s party later?”

“Sure,” said Marissa, grinning broadly.


Now suddenly the scene has more context. At the very least we know they’re in a cafe ordering lunch, but we also learn some things about how the two characters interact with each other and others around them.

So, adding action to dialogue isn’t really about writing long descriptions. It’s just about finding ways your characters can move around, interact with their environment, and interact with each other. Try to imagine the scene before you write it, almost as if you’re watching it in a movie or TV show. Think about where they are and the kinds of things they’re doing while they talk, then include them. :)

Being in a “nothing” state helps you to gain access to all possibilities, all knowledge, everything. You may think that who you are is based off of what you do and what you believe, but who you are is actually nobody. You are pure unlimited possibility in a human body, you cannot be bound or defined by a personality. Doing nothing disconnects you from the illusory external world and connects you with your higher self and the core of your being. So in essence, doing nothing allows you to become one with everything.
—  some teachings from chamomile

Oh my god you guys, I think I’m going to cry.

I’m at work and I was looking for a cord that would connect my external harddrive to my laptop and I felt something in the laptop pouch that shouldn’t have been there.

It was hard and square with a notch. I knew it was a cartridge but what I found was not what I expected.

A long time ago, my Fire Emblem: Awakening cartridge went missing. I assumed it dropped out of my accidentally opened pouch of my bag and was lost on a bus.

Recently, I lost my copy of Nintendogs, so when I felt this, I thought it was my Nintendogs cartridge. The odd thing was it was between the fabric of my bag. I had to cut the pouch in order to get the cartridge stuck in there.

And behold, my first Fire Emblem copy ever.

I’m redeemed.