The 7 Qualities Of Energetically-Whole Writing


I first realized that I could see auras when I was sitting in a darkened theatre on my university campus, studying the seniors performing their auditions final. I am different to anyone else who sees auras; I don’t see colors. I see movement of the energy field around bodies. I can also see (and feel) energy pulses through the insides of other people’s bodies. If I concentrate, I can recreate within myself the sensation of being anyone else, as long as I have a picture or video (or real-life interaction) to work from.

Quality 1: The Writing Moves Forward At Or Above The Pace Of A Human Heartbeat

A lot of the time, it sort of looks like I can read minds.

There I was, watching Geoffrey perform seven monologues back-to-back. All the students in the class had to compile and then perform contrasting pieces from different eras and styles, and then they had to sing a funny song and a sad song. (That is a simplification of the qualities required, but in essence, each person did a funny song and a sad one.)

Quality 2: An Inner Lining Of Burning Integrity In The Writing Cleanses, Or Scrubs, The Upper Layers In The Reader’s Energy Field

Geoffrey was singing the prince’s letter from Aida when things started to click into place for me; I could literally see, traveling through his body, flares of bright, animating energy. What is more, I could see when and where those flares were diverted and blocked by muscular tension around his solar plexus and in his arms.

Quality 3: A Steady, Rhythmic Diet Of Intensely Intimate Moments In The Writing Draws The Reader’s Trauma To The Surface Of The Body

Actors (well, all human beings) compensate for blocked impulses by creating facsimile emotions in many different ways–by raising their eyebrows, by thrusting out their jaws, by holding their breath, or by puffing up different parts of their major muscle groups (Geoff pulled back his shoulders and engorged his pectoral muscles when he felt exposed or vulnerable.)

Quality 4: A Consistent, Internally-Sound Moral Framework And Worldview Is Gradually Revealed Within The World Of The Writing

What does energy reading have to do with fiction? Well, I’ll tell you. My incestuous, loser father used to say that he thought I read more than post-graduate students (he’s an idiot, and was not correct). Soon after I finished high school, and about the time I started studying acting in university, it occurred to me that I was being overwhelmingly affected by the books that I read.

Quality 5: Deeper Traumas In The Reader Are Assigned Symbolic Meaning Within The Writing, And Isolated From The Main Personality Of The Reader (Which Is Bonded To A Pure Main Character)

Previous to this, I read pretty much anything. It was not uncommon for me to get through eight or more books in a week, depending on when I went to the library, and how many other people demanded use of my therapy skills (sensing energy fields makes me a good listener, and excessively sympathetic). I had a competent literature teacher for AP English in high school, and I veered ever more towards the classics afterwards (because they are more satisfying to digest, intellectually), but as my energy-perception skills grew, I found that some books–Dante’s writing is notable here, as well as Mamet’s plays–degraded my own spiritual elements with unbearable toxicity. Some books were poisoning me.

Quality 6: The Symbols In The Writing Which Are Attached To The Deep Traumas In The Reader Are Systematically Cut Away And Destroyed Entirely, Thereby Purging The Damaged Energy From The Reader’s Energy Field

It took me a while to believe that this was happening, but I came to terms with what I was experiencing, and I stopped reading anything that slowed my own energy cycles (I have advanced internal machinery–one of the perks of being sensitive to impulse chains). When I stopped reading toxic fiction, I found that there were other books, not many, that enhanced my internal experience (Shakespeare and PG Wodehouse are the most notable examples of this).

Quality 7: Once The Energy Field Is Cleared Of Severe Trauma, New Energy Structures Are Constructed In The Reader By Symbolic Triumphs And Culminating Relationships Of The Bonded Main Character

I started reading more carefully, and as I continued to write, I began to experiment. I asked myself if I could alter another person’s energy through a written medium. I had, by this point, become remarkably adept at altering the sub-structures of other people’s energy fields (this is how my father never quite succeeded in sucking me into the depths of his own depravity–I was taking him apart, instinctively, until the day I had the resources to leave and never look back).

These 7 Qualities Are Incorporated Into Every Energetically-Whole Piece Of Writing

You see, I found that I could change people enormously while I was near them; I could, in fact, loan out massive amounts of my own cultivated energy, and then take it back after a time. I experimented twice with more permanent loans; these were disastrous, and I took my energy back.


Bad Writing (Damaged Energy):

Angered footsteps were so close it was hard to believe they wouldn’t be located and secured before a moment more passed.

“Oh, no,” the cyborg said. “They are going to get you now. That is too bad.”

Mary wouldn’t have been so scared if Ethan had shown any kind of anger on behalf of her imminent capture, but he was thinking of something else. She was so sad. And her thoughts were on the child far away.

“Let’s at least fight then when they have arrived here.” Mary’s suggestion made no visible impact on the cyborg. His eyes turn slow at her; cheeks smooth.

“Come and I’ll see if I have the wherewithal to hide you somewhere in the dark places of the ship,” he said. They moved silently from the drawing-closer-all-the-time steps.

Good Writing (Energetically-Whole):

The unmistakable sound of alien feet made them both start.

“They must have tracked my bio-signature,” Ethan said. “It’s over. Even if we found a way off ship, they would come straight to us.”

What about me, Mary thought, but did not say so. She tightened her arms around his shoulders.

“What should we do?” she asked.

“Run,” he said. He settled her more firmly into his arms and sprinted down a series of corridors.

Finally, he pulled Mary into a deep recess at the back of the last corridor.
 They came very swiftly to a dead end.

“Now what?” Mary asked.

“Now they find us. I will be reprogrammed at the very least, and incinerated at the worst.” This was not true, but Ethan had no reason to believe that it wasn’t.

A Convenient Summation

To sum up, the seven qualities of energetically-whole fiction are:

  1. The pace moves at or slightly above the speed of a human heartbeat.
  2. An inner layer of burning integrity from the author scrubs the upper layer of the reader’s energy field.
  3. The reader’s internalized trauma is pulled to the surface by rhythmically-spaced moments of intense vulnerability in the writing.
  4. An internally-sound moral ideology is gradually revealed through the world of the writing.
  5. Trauma in the reader is assigned symbolic meaning within the writing, and isolated from the main personality of the reader (which is simultaneously bonded to a main character).
  6. The reader’s trauma is cleansed as the bonded symbols are systematically and thoroughly eliminated in the fiction.
  7. New, constructive energy fields are built in the reader by symbolic triumphs or relational climaxes on the part of the bonded main character.

You’ve been reading Victor Poole. All seven of these qualities are incorporated into this series, which will cleanse and rebuild your energy field. Climate specialists say that reading Caleb on Mondays will probably save the rainforest.