“Hello, World!” For novice writers
In the programming age of everything and everything, when even three-dimensional images and landscapes are set programmatically, the long overdue question is, why aren't there yet any publicly programmable means for literary creation?
Well, if such tools already exist or appear sooner or later, then it is asked what the first “program” will be there, like “Hello, World!” In “ordinary” programming languages?
Indeed, the specificity of literary creativity requires at least three conditions:
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1. The literary text must comply with certain canons or templates, to put it simply.
2. This text should be quite original.
3. He should, at least, like the author, to some extent reflect his "I".
So let's consider from these positions the first literary “program”, which should be executed in a certain developer environment.
Actually, any fixed text, like: “Hello, Mr. Twister, the former Minister!” Is absolutely not suitable for this purpose, since it absolutely does not correspond to paragraph 2. Therefore, you need to display not an explicit text, but to implement some of its template. For example:
[Words of greeting] [Title] [Title or Name or their Equivalent]
This is a little more fun. Accordingly, the program must have access to the elements of the sets indicated in square brackets. Suppose we have a dozen words of greeting, a couple of dozen running titles and the same number of posts. We also believe that at least one word of greeting should always be.
As a result, we have a combinatorial set of various options for combinations of given words. The greater, the greater the elemental composition of these sets. It is clear that this set is limited, although in this case, no one will really find fault with it, as the author X and the author Y have the same phrase, say: “Great, man!”.
Better things with the name or its equivalent. Here the options are orders of magnitude greater. All that is required for a literary “program” is to specify filters, restrictions, and a way to select elements of given sets, for example, random. In the simplest case, you can simply generate the phrase: “[Welcome word], [Name]!”, Where the name, for example, has a fairly original implementation of the SGSGS template, here C is a consonant letter and G is a vowel. The resulting word can be run through Google, on the subject of low frequency of occurrence. Here is the programmatic generation of such words: “Zushor”, “Geljuzha”, “Chotser”, “Fosyur”, “Tsityzh”, “Ranyur”, etc. Almost all euphonic names of this type are found in Google much more often. Run a random generator, we get:
- Hello, Zushor!
- Hello, Gelyuzh!
- Salute, Ranure!
- Helou, Tsityzh!
- Hi, Fosyur!
- Greetings, Ropets!
Naturally, for greater harmoniousness, it is necessary to use frequently used words and, as a result, we lower the originality.
I am sure that the next question will be, but what about the programmatic generation of literary plots?
When there are questions like: “What should be the plot?” And we cannot say anything worthwhile on subject X, we should go the following way:
1. We divide X into its opposites or logical components. Abstractly, X = Y + Z, where Y can be, for example, a cause or an event, and Z can be a consequence, a process or a result.
2. To limit the sets Y and Z, we introduce their filtering modifiers. Abstractly, X = aY + bZ, where a, for example, is “special”, and b, say, “unusual”.
As a result, we come to our formula (X = aY + bZ) of the main literary plot template:
A special event produces an unusual result.
or
A special event causes an unusual process with an unpredictable result.
In the latter case, the formula X = aY + bZ + cW holds. Although, instead of the “+” sign, it may be more logical to follow the sign “->”, ie:
X = aY -> bZ -> cW
Now, instead of the vague concept “X” (“plot” for our literary work), we have six concepts: “a” (“special”), “Y” (“event”), “b” (“unusual”), “ Z ”(“ process ”),“ c ”(“ unpredictable ”),“ W ”(“ result ”). And this is somewhat less uncertainty, but it is clear that this is only the first level of eliminating uncertainty, of which there must be at least a few.
There may be two or more special events in the work, so one stimulates (catalyzes) the appearance of the second, etc. In other words, these formulas can be recursive, for example:
Special event 1 generates an unusual process 1
Process 1: Special Event 2 generates an unusual process 2
etc. until the last investment
Process N: A special event N + 1 gives rise to an unusual process N + 1 with an unpredictable result.
In principle, from the point of view of literature, the description of ordinary and unusual events does not make a fundamental difference. Both those and others should be described “beautifully” and entertaining. In this case, "unusual", this is the effect of the reader perception of the information received. For those who read a lot, unusualness may well become commonplace. Therefore, for a novice author who writes in small portions (at the level of individual episodes), there is not much difference what exactly to describe? The main question for him is how to describe it exactly? For example, how to describe the first acquaintance of the hero with the heroine? It is clear that circumstances, intentions, situational conditions, the process of communication, the actions of the characters and their dialogues should be indicated. This can be done in many different ways. But how specifically, it can cause difficulties for inexperienced authors.
On the other hand, many and many thousands of young people get acquainted, one way or another. Sometimes anecdotally, comically and stupidly. Sometimes, quite naturally. And sometimes it is even very beautiful, at least put forward a corresponding premium. Therefore, it is reasonable to ask: are there any templates for describing the first contacts of young (and not only) people? Surely should be or can be, why not? Just a template and its implementation is like heaven and earth. An implementation implies a specific “invoice” for some given template structure. Although who prevents to change the structure of the template itself? Everyone knows the "technology" of love, but this topic itself is eternal. And there are many such "eternal" themes.
We already have a common plot template, now is the time to go to the wording of event templates, since any plot is a sequence of events (in some way resembling a program execution trace in its flowchart).
In principle, one of the variants of such a pattern is already known from history. Someone once from the generals said: "He came, he saw, he conquered." If we rephrase this statement in a more suitable form for us, we get the formula:
Came (entered) - evaluated the situation - acted according to circumstances
The result of which can be a "victory" or just pleasure / displeasure from the process of their actions.
This template is already quite suitable for describing, say, the process of acquaintance of our hero with the heroine. For example, he entered the dorm room, where a student party was scheduled, assessed the situation, saw a suitable candidate for himself, and began an attempt to meet and develop relationships against the background of everything else. Although of course the process of detailing should be continued, right up to the final literary text. It is the technology of such a recursive description of events that we still have to deal with. As always, variants of such descriptions should be sought in real literary works.
Well, if such tools already exist or appear sooner or later, then it is asked what the first “program” will be there, like “Hello, World!” In “ordinary” programming languages?
Indeed, the specificity of literary creativity requires at least three conditions:
')
1. The literary text must comply with certain canons or templates, to put it simply.
2. This text should be quite original.
3. He should, at least, like the author, to some extent reflect his "I".
So let's consider from these positions the first literary “program”, which should be executed in a certain developer environment.
Actually, any fixed text, like: “Hello, Mr. Twister, the former Minister!” Is absolutely not suitable for this purpose, since it absolutely does not correspond to paragraph 2. Therefore, you need to display not an explicit text, but to implement some of its template. For example:
[Words of greeting] [Title] [Title or Name or their Equivalent]
This is a little more fun. Accordingly, the program must have access to the elements of the sets indicated in square brackets. Suppose we have a dozen words of greeting, a couple of dozen running titles and the same number of posts. We also believe that at least one word of greeting should always be.
As a result, we have a combinatorial set of various options for combinations of given words. The greater, the greater the elemental composition of these sets. It is clear that this set is limited, although in this case, no one will really find fault with it, as the author X and the author Y have the same phrase, say: “Great, man!”.
Better things with the name or its equivalent. Here the options are orders of magnitude greater. All that is required for a literary “program” is to specify filters, restrictions, and a way to select elements of given sets, for example, random. In the simplest case, you can simply generate the phrase: “[Welcome word], [Name]!”, Where the name, for example, has a fairly original implementation of the SGSGS template, here C is a consonant letter and G is a vowel. The resulting word can be run through Google, on the subject of low frequency of occurrence. Here is the programmatic generation of such words: “Zushor”, “Geljuzha”, “Chotser”, “Fosyur”, “Tsityzh”, “Ranyur”, etc. Almost all euphonic names of this type are found in Google much more often. Run a random generator, we get:
- Hello, Zushor!
- Hello, Gelyuzh!
- Salute, Ranure!
- Helou, Tsityzh!
- Hi, Fosyur!
- Greetings, Ropets!
Naturally, for greater harmoniousness, it is necessary to use frequently used words and, as a result, we lower the originality.
I am sure that the next question will be, but what about the programmatic generation of literary plots?
When there are questions like: “What should be the plot?” And we cannot say anything worthwhile on subject X, we should go the following way:
1. We divide X into its opposites or logical components. Abstractly, X = Y + Z, where Y can be, for example, a cause or an event, and Z can be a consequence, a process or a result.
2. To limit the sets Y and Z, we introduce their filtering modifiers. Abstractly, X = aY + bZ, where a, for example, is “special”, and b, say, “unusual”.
As a result, we come to our formula (X = aY + bZ) of the main literary plot template:
A special event produces an unusual result.
or
A special event causes an unusual process with an unpredictable result.
In the latter case, the formula X = aY + bZ + cW holds. Although, instead of the “+” sign, it may be more logical to follow the sign “->”, ie:
X = aY -> bZ -> cW
Now, instead of the vague concept “X” (“plot” for our literary work), we have six concepts: “a” (“special”), “Y” (“event”), “b” (“unusual”), “ Z ”(“ process ”),“ c ”(“ unpredictable ”),“ W ”(“ result ”). And this is somewhat less uncertainty, but it is clear that this is only the first level of eliminating uncertainty, of which there must be at least a few.
There may be two or more special events in the work, so one stimulates (catalyzes) the appearance of the second, etc. In other words, these formulas can be recursive, for example:
Special event 1 generates an unusual process 1
Process 1: Special Event 2 generates an unusual process 2
etc. until the last investment
Process N: A special event N + 1 gives rise to an unusual process N + 1 with an unpredictable result.
In principle, from the point of view of literature, the description of ordinary and unusual events does not make a fundamental difference. Both those and others should be described “beautifully” and entertaining. In this case, "unusual", this is the effect of the reader perception of the information received. For those who read a lot, unusualness may well become commonplace. Therefore, for a novice author who writes in small portions (at the level of individual episodes), there is not much difference what exactly to describe? The main question for him is how to describe it exactly? For example, how to describe the first acquaintance of the hero with the heroine? It is clear that circumstances, intentions, situational conditions, the process of communication, the actions of the characters and their dialogues should be indicated. This can be done in many different ways. But how specifically, it can cause difficulties for inexperienced authors.
On the other hand, many and many thousands of young people get acquainted, one way or another. Sometimes anecdotally, comically and stupidly. Sometimes, quite naturally. And sometimes it is even very beautiful, at least put forward a corresponding premium. Therefore, it is reasonable to ask: are there any templates for describing the first contacts of young (and not only) people? Surely should be or can be, why not? Just a template and its implementation is like heaven and earth. An implementation implies a specific “invoice” for some given template structure. Although who prevents to change the structure of the template itself? Everyone knows the "technology" of love, but this topic itself is eternal. And there are many such "eternal" themes.
We already have a common plot template, now is the time to go to the wording of event templates, since any plot is a sequence of events (in some way resembling a program execution trace in its flowchart).
In principle, one of the variants of such a pattern is already known from history. Someone once from the generals said: "He came, he saw, he conquered." If we rephrase this statement in a more suitable form for us, we get the formula:
Came (entered) - evaluated the situation - acted according to circumstances
The result of which can be a "victory" or just pleasure / displeasure from the process of their actions.
This template is already quite suitable for describing, say, the process of acquaintance of our hero with the heroine. For example, he entered the dorm room, where a student party was scheduled, assessed the situation, saw a suitable candidate for himself, and began an attempt to meet and develop relationships against the background of everything else. Although of course the process of detailing should be continued, right up to the final literary text. It is the technology of such a recursive description of events that we still have to deal with. As always, variants of such descriptions should be sought in real literary works.
Source: https://habr.com/ru/post/342512/
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