Scrivener is a great tool for any type of writing. There are more tools in this software than I understood for more than a month. Felt like every day I was finding something new, and trying to figure out why I would use it?
At heart, I’m a minimalists, and I’m lazy. So, a good little notepad or a rich text software and I’m good. But I also carry around an ego four times larger than I require. So, If it is inside Scrivener, I have to be able to say “Yeah, I know what that does.”
And life was good for many days, and Romances were born, and Biker gangs warred like dogs, and woman hyperventilated often. Then I stumbled across the “Custom Meta-Data” area, and thought “WTF?”
My first inquiry went to the program’s Help Files, and while the instructions were accurate and easy to understand they lacked a crucial component — Why? I can jump off a bridge too, but I’m not likely to if there is no benefit to the action.
YouTube bloggers, one after another until they were exhausted, fell before the WTF of the Custom Meta-Data. Ideas were presented but other tools in Scrivener would accomplish those goals far better.
Then, I thought of the Objective Correlative, and that has been a good addition to my tool set, since.
An objective correlative is a literary term referring to a symbolic article used to provide explicit, rather than implicit, access to traditionally inexplicable concepts as emotion or color. It is a metaphor written in objects making use of dimensions and patterns.
If writers or poets or playwrights want to create an emotional reaction in the audience, they must find a combination of images, objects, or description evoking the appropriate emotion. The source of the emotional reaction isn’t in one particular object, one particular image, or one particular word. Instead, the emotion originates in the combination of these phenomena when they appear together.
Theory of the objective correlative
The theory of the objective correlative as it relates to literature was largely developed through the writings of the poet and literary critic T.S. Eliot, who is associated with the literary group called the New Critics. Helping define the objective correlative, Eliot’s essay “Hamlet and His Problems”,republished in his book The Sacred Wood: Essays on Poetry and Criticism discusses his view of Shakespeare’s incomplete development of Hamlet’s emotions in the play Hamlet.
Eliot uses Lady Macbeth’s state of mind as an example of the successful objective correlative: “The artistic ‘inevitability’ lies in this complete adequacy of the external to the emotion….” , as a contrast to Hamlet. According to Eliot, the feelings of Hamlet are not sufficiently supported by the story and the other characters surrounding him.
The objective correlative‘s purpose is to express the character’s emotions by showing rather than describing feelings as discussed earlier by Plato and referred to by Peter Barry in his book Beginning Theory: An Introduction to Literary and Cultural Theory as
“…perhaps little more than the ancient distinction (first made by Plato) between mimesis and dieresis….”
According to Formalist critics, this action of creating an emotion through external factors and evidence linked together and thus forming an objective correlative should produce an author’s detachment from the depicted character and unite the emotion of the literary work. The “occasion” of E. Montale is a further form of correlative.
In “Hamlet and His Problems,” Eliot used the term exclusively to refer to his claimed artistic mechanism whereby emotion is evoked in the audience: The only way of expressing emotion in the form of art is by finding an “objective correlative”; in other words, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion; such that when the external facts, which must terminate in sensory experience, are given, the emotion is immediately evoked.”