A Universal Formula for Forecasts, Without Knowledge of Esotericism and Astrology.

Facebook archive. First published on 2015-02-09.

To understand this formula, all one needs is to have a brain, be able to read, and express one's thoughts (not necessarily do it competently). Moreover, having a brain is the mandatory part, while everything else can be obtained through learning.

First postulate. Any action leads to a consequence. Everyday wisdom, usually explained in childhood by parents. Something along the lines of: "don't stick your fingers into the socket, the current will zap you." From an esoteric point of view, it is called the law of karma. Moreover, action includes not only physical efforts themselves, but also mental ones. i.e. thoughts also have their consequences.

Second postulate.

Third postulate. Details create atmosphere, but at the same time they confuse the content. In dramaturgy, details are used to create intrigue; the word intrigue itself is translated as entanglement. Any detail distorts the meaning of a stable idea and tries to violate the first postulate. It seems that the consequence will not occur at all, or will occur, but in an unclear future and with unclear participants, that the first postulate will pass by the direct participants, and that there is no formula for events.

Fourth postulate. Any event or action takes place according to the principles laid into a dramaturgical construction: exposition, action, climax, denouement, end, and finale. This formula was invented very long ago by the Greeks, although it is not certain that it was they. In any case, they did not even invent it, but noticed it from reality. Therefore it is quite logical to describe reality using this formula. I will briefly describe what all these points mean: Exposition — the direct beginning of the realization of a stable idea.

At the same time, in the exposition it is immediately clear what will happen, and it is even visible how everything will end. But there is some doubt about exactly how everything will end. Actually, what is interesting is precisely the end of the whole narrative; everything was started for its sake. Action — any action is based on conflict, because action needs a motive. And a motive appears only during conflict. No conflict, no motive; no motive, no action.

Two sides always participate in a conflict; in fact there may be more of them, but any conflict is dual by nature. This means that however many participants there are, they will always occupy two opposing sides. The action develops according to the laws of the third postulate; each side of the conflict creates a large number of details that form intrigue and confuse the narrative. Climax — the highest point of the conflict, after which further action is impossible.

The simplest example of a climax is the final battle between good and evil. Denouement — the direct realization of the first postulate. Everyone gets what they deserve. Details cease to have any significance, the conflict is considered exhausted. End — the direct realization of the denouement; everything that becomes clear in the denouement is actually realized in the end. Finale — an optional part of the dramaturgical construction that shows what happens to the sides of the conflict in the future.

Fifth postulate. Determining main and secondary characters. The main characters of any narrative always live to the end of the dramaturgical construction, while secondary characters are usually sacrificed and neglected. It is harder for the extras than for secondary characters. Since extras are needed to create atmosphere and saturate it with details, it is they who suffer most during the conflict.

If there are no opportunities to take the position of the main heroes, one should always try to become at least a secondary character, but under no circumstances should one become an extra. It is better to look for a place among some single detail that confuses the action. Because if this detail is positive, there is a chance to live to the end of the dramaturgical construction without any special losses.

Application of these five postulates. Any coincidence with reality should be considered accidental; the heroes and details of the situations are fictional.

Second postulate. The main idea or plot. There once lived Tsar Puilo. He had everything, and nothing happened to him for it. And once Tsar Puilo wanted the unattainable.

Fourth postulate. Conflict - Puilo wants to possess the unattainable, the unattainable does not want to be in Puilo's possession.

Exposition:

Tsar Puilo's desire to obtain the unattainable.

Action:

The process of Tsar Puilo obtaining the unattainable.

Climax:

The unattainable remains unattainable. Because before Tsar Puilo, many tried to obtain the unattainable but could not hold it. That is precisely why the unattainable came to be called unattainable.

End:

The end of Tsar Puilo's rule.

Finale:

Life without Tsar Puilo.

Self-evident:

A thief's truth: as it came, so it went. Zombies — revived dead. Usually they return again to their original state. Cowards — do nothing because they are afraid. Sometimes they become heroes when they can overcome their cowardice. Helpers - always help, but something gets in their way all the time. They can become cowards, traitors, heroes, or opponents of the regime. Traitors — always betray; that is their nature. Residents — their task is to supply characters for the entire dramaturgical construction, both for one side of the conflict and the other.

Basic principles of the narrative:

When you have everything, it becomes not enough for you, even if you possess an entire universe. The strong always attacks the weak, and never the other way around. If you fight back, sooner or later the attacker will abandon attempts to attack. If you do not fight back, the attacker will never have enough, until he brings the situation to the point where people start fighting back.