vaguerdoubts-blog

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WANTED : FOR stealing my girl’s jeans ABSOLUTELY SHREDDING IT !

> RULES // BIO // FANMAIL // OTHERS

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42 character development questions!

PHYSICAL PRESENCE AND GESTURE. 1. How do they move and carry themselves? Pace, rhythm, gestures, energy? 2. How much physical space do they use, active and at rest? 3. How do they position themselves in a group? Do they like to be the center of attention, or do they hang back at the edges of a crowd? 4. What is their size and build? How does it influence how they use their body, if it does? 5. How do they dress? What styles, colors, accessories, and other possessions do they favor? Why? 6. What are they like in motion–in different environments, and in different activities? What causes the differences between these? 7. How do they physically engage with other people, inanimate objects, and their environment? What causes the differences between these? 8. Where and when do they seem most and least at ease? Why? How can you tell? 9. How do they manifest energy, exhaustion, tension, or other strong emotions? 10. What energizes and drains them most? 11. How are they vocally expressive? What kind of voice, accent, tones, inflections, volume, phrases and slang, and manner of speaking do they use? 12. How are they bodily expressive? How do they use nonverbal cues such as their posture, stance, eyes, eyebrows, mouths, and hands? DISPOSITION AND TEMPERAMENT. 13. How do they greet the world — what is their typical attitude towards life? How does it differ in different circumstances, or towards different subjects? Why do they take these attitudes, and why do they change? How do these tend to be expressed? 14. What do they care deeply about? What kind of loyalties, commitments, moral codes, life philosophies, passions, callings, or spirituality and faith do they have? How do these tend to be expressed? 15. What kind of inner life do they have — rich and imaginative? Calculating and practical? Full of doubts and fears? Does it find any sort of outlet in their lives? 16. Do they dream? What are those dreams like? 17. Are they more shaped by nature or nurture — who they are, or what has happened to them? How have these shaped who they’ve become as a person? 18. What kind of person could they become in the future? What are some developmental paths that they could take, (best, worst, most likely?) what would cause them to come to pass, and what consequences might they have? What paths would you especially like to see, and why? CONNECTIONS WITH OTHERS. 19. How do they behave within a group? What role(s) do they take? Does this differ if they know and trust the group, versus finding themselves in a group of strangers? Why? 20. What kind of individual relationships do they have with others, and how do they behave in them? How are they different between intimate relationships like friends, family, and lovers versus more impersonal relationships? 21. What kind of relationships do they tend to intentionally seek out versus actually cultivate? What kind of social contact do they prefer, and why? 22. How do people respond to them, and why might these responses differ? 23. How do they respond to difficult social moments? What makes them consider a social situation difficult? 24. How do they present themselves socially? What distinguishes their “persona” from their “true self”, and what causes that difference? 25. What do they need and want out of relationships, and how do they go about getting it? 26. How do they view and feel about relationships, and how might this manifest in how they handle them, if it does? ACTIVITIES AND PREFERENCES. 27. What do they strongly like and dislike, in any category? Why? 28. What are they likely to do if they have the opportunity, resources, and time to accomplish it? Why? 29. What kind of activities, interests, and hobbies do they have? What significance and impact do these have in their lives, both positive and negative? 30. What is their preferred level of activity and stimulation? How do they cope if they get either too little or too much? 31. Is there anything that counts as a “dealbreaker” for them, positively or negatively? What makes things go smoothly, and what spoils an activity or ruins their day? Why? 32. Do they have any “props” that are a significant part of their life, identity, activities, or self-presentation somehow? What are they, how are they used, and why are they so significant? How would these props’ absence impact them, how would they compensate, and why? THINKING AND LEARNING. 33. How do they learn about the world–what is their preferred learning style? Hands-on learning with trial and error? Research, reading, and note-taking? Observation or rote memorization? Inductive or deductive reasoning? Seeking patterns and organization? Taking things apart and putting them back together? Creative processing via discussing, writing about, or dramatizing things? 34. How do they understand the world–what kind of worldview and thought processes do they have? Why? 35. How and why do they internalize knowledge? What effect has that had on them? 36. How much do they rely on their minds and intellect, versus other approaches like relying on instinct, intuition, faith and spirituality, or emotions? What is their opinion on this? 37. Have they had any special education or training that colors their means of learning about or understanding the world? Conversely, do they lack some kind of education considered essential in their world? What kind of impact has this addition or lack had on them? 38. Is there anything they wish they could change about their worldview or thought processes? What, and why? 39. What sort of questions or thoughts recur in their lives, either specifically or as a theme? Why are these never answered, or answered permanently to their satisfaction? 40. What do they wonder about? What sparks their curiosity and imagination, and why? How is this expressed, if it is? FREE FOR ALL. 41. What associations do they bring to mind? Words or phrases, images, metaphors or motifs? Why? 42. I have a question of my own!

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Nine drafts to go. Everyone, get ready for serious Newtonposting.

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I don’t think I’ll ever get over not seeing Lazarus because the girl who wanted to take me to see it changed her mind at the last minute and invited someone else. Whom she’d only ever met on the internet. She could’ve been inviting a catfish creep around, who the fuck knows. Hurry up and give us the Lazarus DVD we were promised.

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                                              I’M A DYING MAN

                                               WHO CAN’T DIE.

              HIGHLY SELECTIVE INDEPENDENT THOMAS JEROME NEWTON 

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Thomas Herbert Jerome Sussex Newton is one of my most beloved fictional characters. Easily top three. I love you, Tommy.

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Derek Jarman, ‘Blue’, 1973

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I don’t think D.av/id B.owi/e ever forgot playing Newton. Heathen’s sleeve art and lyrical themes, the art on his last CD compilation (Nothing Has Changed), and the subjects of the Lazarus musical. Newton is timeless and eternal. We all love Newton. (He didn’t want to be eternal though. Poor Newton.)

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labyrinthmonarch

          SILENCE HANGS BETWEEN THEM FOR A MOMENT. Jareth, while bored whenever this sort of thing occurred, had taken up the habit of expecting this type of behaviour from his friend while in the brief courtship of their friendship. Thomas was a man whom often wondered off into thought, into his own head, so absorbed by his own running ideas and motions. Jareth, sometimes, grew rather bored of watching him but continued to do so because of the far away look. his friend often sported. The alcoholic beverage between them, passed as a party fancy, kept exchanging hands, in a friendly manner and gesture of course, but Jareth pondering whether or not he should stop. (He wouldn’t.)

        THE GOBLIN KING CANNOT PLACE THE DIFFERENCE between a genuine question or a teasing one. Would he like to see a film? He had never pondered on that before– thinking the probability of such things as trivial and out of his reach, now presented with the possibility. “You didn’t answer my question,” He says, an inquisitive brow arching up. “Is there any advantage to seeing films over a live performance?” He repeats, genuinely wanting to know. This was a frustrating thing with Thomas, he never answered a question outright. While this was common of fae politics and practices, it did not give the Goblin monarch any room to work with. “Because if it does possess such qualities, I am more open to seeing one.”

       HIS MISMATCHED GAZE WATCHES as his friend stands up to grab the small, seemingly powerful object, turning the screen lights on across the room. Taking this as a motion to follow suit, Jareth grabs the bottle and takes a seat on the largely obscene yet comfortable couch. “Is this where films reside?” Jareth asks rather curiously, wanting to know more about the technologies this world harbored and possessed. “This is already a disadvantage, this screen is much smaller in scale than the theater.”

Now that one Newton could answer. And, for the first time in days, there was light in his eyes. Films, he could talk about that. He’d talk about that beyond his own control. And Newton knew it. He could feel himself slip, he knew it all. Before another thought could pry into his mind, he was off. Now he looked up, and he looked mad. “Mr. Jareth! Films. Have you never, have you never realised? You can’t watch live theatre twice.” There was nothing around to eat, or to drink, but Newton didn’t think of it. He’d forgotten all else.

How could he explain this? He stood up in one rapid movement. Should’ve hurt his bones, didn’t. Nothing much hurt on this topic. “And, Mr. Jareth. Television goes on forever.”

Whatever was left of Thomas J. Newton?

It was near enough somnambulism to turn the television on. Tonight’s was: NBC News, Reagan under fire. The bank of blue lights cut his skin and the room around. He loved this. Next channel, static image, half-dead aborigine. BBC World Service. There are warnings of gales in Cromarty, Rockall, Hebrides. Low 200 miles south of South Utshire. Newton stayed. He didn’t change stations again. Now it was the House of Commons, empty. It was always empty. A newsreel. Contras. Contras again. Newton didn’t know which side he’d take. If he were forced? Contras. He hated America, but he hated the left wing. Cromarty, Rockall, Hebrides.

Whatever was left of Thomas J. Newton?

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Why - Keiichi Tanaami - 1975 (10min)

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I’ll write something here some day.

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                                              I’M A DYING MAN

                                               WHO CAN’T DIE.

              HIGHLY SELECTIVE INDEPENDENT THOMAS JEROME NEWTON 

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Yes, I’m still here. Very low activity.

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 Rakuko Naito, RNcube13-99 Wire Mesh with Paper Cube (1999), From Tayloe Piggott Gallery

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A. V. Harrison, from This Series, 1970-75, in ABC, Edited by Jeremy Adler, The National Poetry Centre, London, 1975, Edition of 200