from Laura Bungarz

I've used AI to aid my writing process. I wrote my entire philosophical framework with AI as a thinking partner.

After probably 75 000 messages over two years or so, there are no more em dashes or phrases using the word “gently” in the output. ChatGPT now closely mimics my voice and how I talk. It turns out, you can make the em dashes go away without repeatedly prompting for it. Context and history play an important role in how AI responds to you.

Why did I use AI to write the framework? Because I wanted an a-moral, non-emotional, reasonably neutral framework that explained cause and effect independently of human story and perception. I used AI to help examine situations logically and question the assumptions behind them.

A simple example was a tree falling on my house. How does human perception work in that situation? What is actually true? What is potentially true? What is mostly human perception? What are the possible outcomes? What is the person reacting to? Perception or reality? I also used historical references. Given what we know about what happened, was the outcome logical within the context of the framework? Plug the World Wars into it. Does it make sense? I did this with ChatGPT and every other model I had access to. I'd feed their outputs back into ChatGPT, too. I wanted the AIs to break each other's logic. Agreement between models wasn’t enough. I wanted to understand whether the explanation held up and where it fell apart.

Across thousands and thousands of messages, with a lot of iteration, discussion, questioning and back and forth, I ended up with the framework I wanted.

Through that process, I learned a lot about prompting and getting AI to produce what I needed. I also began to understand the limitations of different models and which were more suited to working within a morally neutral framework. Some repeatedly brought moral framing back into hypothetical and historical discussions. Others produced output that was more machine readable than human readable, making them difficult to work with.

Now, ChatGPT is Grammarly with a personality. It's really good at cleaning up my writing after I write something. But I didn't get that from a good prompt. I got that from extensive history and context.

AI in writing is frustrating on a cold AI. You get the standard output format, complete with em dashes and “gentle” phrasing. That was true for me in the beginning, too. It took a long time to get ChatGPT out of therapy mode and get it to stop dragging morality back into things. But with enough effort, you can get customized output that closely reflects how you talk and follows how you think.

The average user isn't going to work that hard. I get that. I also believe that over time through training, the standard AI output will improve. For now though, persistence and time are the fixes that make AI output more helpful than not.

That’s not to say that AI is infallible. It does make mistakes. It is not perfect. You have to be willing to question its reasoning, point out the mistakes, and do the work.

From my perspective ChatGPT and any AI, can help to carry some of the mental load of organizing thoughts and generally structuring your writing. It can also help you find holes in your own thinking, show you where there might be a gap in your writing, or provide additional prompts that would add value to your work.

I understand that there are people out there that will simply prompt the AI, copy the output, and paste it as though they wrote it. When photocopiers were first available publicly, I’m sure somebody spent time photocopying entire books. Frankly, you can still check out a book from the public library or even buy it at the store, take it home and scan every page if you really want, and then bring it back. AI doesn’t change that, it just exposes that the possibility to make an electronic copy of something and repurpose, reorganize, or repackage it has been around for a long time.

Technology in general has changed how we function as a society. Music artists are having to figure out streaming. How do you make money in a world where everything is downloaded and records or CD’s are not the primary medium for sales? Artists were always at risk for theft. How many of us spent time listening to the radio with a blank cassette tape in the boom box ready to record a song when it came on?

Theft got easier, but we never actually resolved the reason for the underlying theft. Why did we record songs off the radio? Why do people try to find music for free? Why would somebody photocopy an entire book or take a book home, scan it, and return it? What is the underlying reason for that? Solve the original problem instead of just trying to put enough obstacles in the way to prevent it.

Why do people try to find things for free? What parts of society make that necessary and how do we resolve them? The flaw is in the function of society itself, not necessarily the individual people. Money or lack of it is what makes this necessary for some. How do we provide access to things for free as a means of limiting theft, while still making sure creators are paid for their content and the value of that content is respected? We can find ways to make sure creators get paid, it’s only a question of who is paying. Technology and AI expose this problem because they make putting obstacles in the way more challenging.

Why does somebody generate every single social media post using AI? When sheer numbers of posts become algorithmically more important than less frequent authentic posting, it means we’re serving the larger system of social media. Social media is “full” in some respects and that means that to be seen it requires an individual to become a content factory to hopefully float to the top.

Having a post go viral without needing to post 12 times a day 7 days a week, is like winning the social media lottery. It’s impossible to predict. Without a guarantee of that occurring, people naturally default to what they believe works, which is just sheer volume. Unless you can afford to pay somebody to follow you around with a camera all day and then post it for you, you’re probably not posting enough to float to the top on most platforms. Are there exceptions? Sure because different social media sites work differently. It can be slightly easier to be seen on a platform like LinkedIn if you have content that professionals want and it can also be highly challenging to be seen on Facebook where most pages simply fall out of sight immediately. By making AI produce content, you get the chance at visibility without taking on a second or third full time job. The system creates that through its own structure. The environment we have now is a direct result of the environment we came from.

We used to live in a pay to play world. Visibility was expensive and only a handful could be seen. You no longer have to pay to play. Technology levelled the playing field while also exposing the original exclusivity problem. Now if I’m a really good writer or musician that’s on par with or better than somebody who has a major contract, I can gain exposure through social media. I don’t have to pay thousands for vanity publishing, I can pay $20 for an AI subscription that can write social media content for me based on the content of the book or the lines of the song I give it. It doesn’t guarantee success but it lowers the cost of the ability to at least participate in the process in a meaningful way.

The original system was great for those who managed to find their way in, but it also left out a lot of people with dreams and good work of their own. Eventually technology brings the gates down and people bust their way onto the scene that would never have otherwise had the opportunity. But that’s not the fault of AI. Once again, that’s the old system creating a false barrier to success and visibility through money alone.

The amount of attention available is finite. There are still a limited number of people that want the work being produced. Lowered barriers to visibility don’t change the fact that visibility is still limited by the number of people available to see the content. That’s not system created, that’s just a function of life.

What we have gained though is choice. If I don’t want to buy from a big chain, I can find a locally owned shop. If I no longer want to support major record labels, I can support people that don’t have a record label. Choice allows the attention to move away from large corporations and back to the individual artist.

Visibility is what allows the attention to move and that’s where social media plays a distinct role. It makes clearer why AI created content has become a reality. People are vying for attention in a world of limited attention, most of them without multi-million dollar budgets. In my view, giving more attention to independent artists is a natural rebalancing of power that is long overdue. That’s the part that technology creates that the old system could never accomplish.

We put a lot of time into creating barriers to access and far less time exploring why we need those barriers in the first place. There are many discussions still to be had about the role of technology and AI in society. But one thing is clear: we need to move the conversation away from trying to prevent the technology from existing and towards changing the conditions that make people feel they need it to game the system.

 
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from Cllr Gareth Kitchen - Green Party

image

So, the “Zionism is Racism” motion passed at conference, and as a Green Party councillor I will represent the policy our members have democratically decided.

I raised concerns before the debate, and I meant them, but the decision has been made. What matters now is how we carry it forward.

I’m encouraged by the statement from our MPs and leaders, which points to the common ground we share: standing against genocide, apartheid and occupation, defending the rights of Palestinians, and recognising there is no conflict between that and the rights and safety of Jewish people.

That’s the commitment I’ll be working to honour, and I know many colleagues across the party will too. Our solidarity with Palestinians is strongest when it goes hand in hand with the active fight against antisemitism. For Jewish friends and members worried about what this motion means for them: you belong in this party, and your safety and voice matter to me. Now the work begins.

#palestine #zionism

 
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from Notes I Won’t Reread

I’m in a bad mood. but im not angry, unfortunately. im not angry, it wouldve been easier to just say that. to just blame someone for it or yell at something or break something expensive and go with whatever calms me down, but no. im sad and upset. i dont know why. i hate that sentence. im sick, but i dont think thats it. im tired but i dont think thats it either. theres just something wrong with me lately and i guess nobody bothered to leave a note explaining what it is so i can just go back to my daily habits. i feel, lonely. which is embarrassing to admit because im not exactly surrounded by people i desperately want to talk to. i could have someone sitting beside me right now and still feel alone. my head is exhausting. usually, i can argue with it. i can tell myself i mbeing dramatic, stupid, irrational, random, whatever ive had enough practice at this point. tonight. i dont even want to argue anymore. im too tired to fight my own thoughts. they can say whatever they want. im just sitting here listening to them like some idiot who forgot how to change the channel on the remote. i dont want to do anything. i dont want to explain anything. i dont want to fix anything. i dont even want to think about tomorrow. i just want everything in my head to shut up for a while.

thats all, im tired of being inside my own head, and unfortunately thats where i live. and i hate it.

Sincerely, someone who’s obviously tired

 
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from DrFox

En deux minutes, mon IA t’a remplacé.

Elle a repris toutes tes sources. Elle a copié, réorganisé, fait mieux. Je lui ai demandé quelque chose qui fonctionnait, elle me l’a donné. Aucun drame technique. Aucune raison de ne pas être satisfait.

Et pourtant.

PhoenixJP, c’est 26 ans. Plus que la majorité de ma vie. Jamais lâché un seul jour. Tu fais partie de ces choses auxquelles on ne pense pas à dire merci, parce qu’elles sont là et qu’on finit par confondre leur présence avec une propriété du monde. On ne se demande pas chaque matin si le ciel sera encore au-dessus de nous.

Je savais bien que tu n’étais qu’un site. Mais « ce n’est qu’un site » ressemble beaucoup à « ce n’est qu’une maison ». Cela décrit correctement l’objet. Cela ne dit rien de ce qu’on a vécu à côté.

Je suis celui qui a demandé à l’IA de te remplacer. C’est peut-être le plus étrange. Personne ne m’a retiré cette habitude. J’ai construit moi-même la raison de ne plus en avoir besoin. Puis j’ai regardé le résultat, content de ce que j’avais obtenu, surpris par ce que je venais de perdre.

Deux minutes pour reproduire une fonction. Vingt-sept ans pour lui attacher une partie de ma vie.

Ces deux durées ne mesurent pas la même chose.

Dans le ciel, regarder loin, c’est regarder dans le passé. La lumière nous apporte des nouvelles qui ont parfois voyagé bien plus longtemps que nous ne vivrons. Nous levons les yeux et nous appelons « maintenant » ce qui nous arrive d’autrefois.

Je crois qu’il se passait un peu cela avec toi. J’ouvrais une page pour voir du nouveau. Et sans le savoir, je retrouvais aussi quelque chose de l’homme qui l’ouvrait il y a tout ce temps. Les années avaient passé, mais l’adresse était encore là.

Il n’y a qu’une personne au monde qui pourrait vraiment comprendre. À qui je pourrais dire « Phoenix, c’est fini », sans présenter le site, sans raconter son histoire, sans justifier cette peine un peu ridicule devant une réussite informatique. Nous avons besoin de si peu de mots avec ceux qui connaissent le commencement.

Je ne vais pas prétendre que l’ancien était meilleur. Mon IA a fait mieux. C’est justement cela qui rend cet adieu difficile : je n’ai rien à lui reprocher. Je ne peux même pas défendre mon attachement avec un argument raisonnable sur la qualité du résultat.

Mais une copie, même meilleure, ne peut pas avoir été là à ta place.

Elle peut reprendre tes sources. Pas devenir rétroactivement un souvenir.

Alors, bye bye, PhoenixJP.

Je ne te dois pas de rester indispensable. Tu ne me dois pas de durer éternellement. Ce que tu as été n’a pas besoin de gagner contre ce qui vient pour avoir compté.

Je vais utiliser ce nouvel outil. Probablement avec plaisir. Je vais continuer à créer, à avancer, à m’étonner de ce que ces machines rendent possible.

Mais avant de passer à la suite, je voulais te dire au revoir.

L’IA a mis deux minutes à te remplacer.

Moi, j’avais besoin d’un peu plus pour te quitter.

 
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from Dallineation

I have gone to Mass several times with my mother and step-father. But yesterday I attended my first Catholic Mass by myself. Here are my thoughts and observations.

I decided to go to the Saturday 5pm Mass. Although I am not Catholic, I have learned enough to know that Saturday evening Mass satisifes the Catholic obligation to attend Mass every Sunday. Sundays are complicated for me right now, as I am still attending Latter-day Saint meetings and the times for my ward overlap with the 10am Sunday Mass times at my local Catholic Parish.

I wanted to go early. I was anxious and I wanted to have time to find my seat and settle down a bit – to direct my attention heavenward. I live only a five minute drive from the parish (what are the odds of that in Utah?). I left at 4:30pm.

A small chorus of seven women along with two guitarists and one pianist were singing through some of the songs that I later learned would be sung during the Mass. It was lovely music and set a familiar tone, as I am used to prelude music being played before LDS sacrament meetings.

The building was constructed in 2005, so while the nave (or what LDS would call the chapel where the pews and such are) is not very ornate like an older Catholic church might be, it feels like a sacred space and it is peaceful.

I watched people come in and bow, genuflect, and/or make the sign of the cross before taking their seats. I recognized a couple of men who have been helping to teach the inquiry and pre-catechumen classes I have been attending at the parish. Oh yeah...I should probably write a post about that development, haha.

Before the services, a woman made some announcements. At one point she was interrupted by loud feedback from the sound system as mics were turned on – I just cringed with everyone else and smiled as I have lost track of how many times we have had sound issues in LDS sacrament meetings.

The Mass was lovely. I noticed the priest sang – or chanted as it is probably more accurate to say – certain parts of the mass, and the congregation would sing in reply. This is different from the Masses I have attended before.

Although I didn't always know what to say or sing at many points during the service, I followed a long as best I could. I am hoping that, as I get used to the form of the Mass and how things work, I will be able to pay more attention to the spiritual aspect.

The officiating priest this time was the priest from the Newman Center up at the university. He gave a lovely homily on sacrifice – how everything we have is from God and how we should sacrifice or offer a little of that back. And that when we do, God turns around and makes something amazing out of what we offer. He likened it to the Holy Eucharist – how, as Catholics affirm, during the Mass, the bread and wine become the body and blood of Jesus Christ. We offer the bread and wine, and God makes something amazing out of it. He asked us to consider “what am I offering?” I have been reflecting on that.

There were several opportunities for the congregation to sing during the Mass, and they had hymn numbers posted and hymnals. This is also something I wasn't used to – the main parish my parents attend is very large and rather than hymnals, they have screens that show lyrics for the songs. It was nice to be able to see notes so I could more easily follow along with the music. But I noticed that while I was trying to read the music, I wasn't paying attention to what was happening at the altar. Not everyone was singing, I suspect, for that reason. They were observing what was happening at the altar.

There were people of all ages and various ethnicitities. Lots of elderly folks, but there were also middle-age people like me, and a few families with young children. I expect Sunday Mass has the most in attendance – I hope to experience one of those soon.

Another thing I noticed: I didn't see a single smartphone. I saw people reading from physical copies of missals and hymn books and such. There might have been a few phones out, but I didn't see any. This is different from LDS meetings in my area where electronic devices are near ubiquitous. Speaking as one who has allowed myself to be distracted by my phone at church in the past, I decided before going to Mass that I would bring my phone but would not take it out once during the service. It was refreshing to see others doing the same.

After Mass, the gentlemen who teach the inquiry class came up to me and said hello. We chatted briefly and then I went home.

This was a big step for me. But I have been taking a lot of those lately.

I went to Mass by myself for the first time, but I wasn't alone. I saw many people who wanted to be in the presence of Jesus Christ and worship together. I am glad I went.

#100DaysToOffload (No. 169) #faith #Christianity

 
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from Mitchell Report

⚠️ SPOILER WARNING: FULL SPOILERS

A dark navy movie-poster-style image with the large cream-colored title “BLITZ” across the top. Below, a blonde woman with curled hair and red lipstick leans close behind a young boy with short dark curly hair; both look toward the viewer with serious expressions. Their upper bodies merge into a dramatic trail of pale, daisy-like flowers and leaves that sweeps diagonally downward across the dark background. At the bottom center, a much smaller full-length boy in a dark coat and shorts stands facing forward, holding a small suitcase. No other text is visible. The poster for Blitz features a woman and a boy surrounded by floating flowers, with a lone child standing below.

My Rating: ⭐⭐⭐½ (3.5/5 stars)

Final Verdict

Not bad, but a heavy watch. After seeing all the kid went through in this movie, you almost wanted to reach out to him through the TV and say, “Let’s get you home.”

If this is a true reflection, it does amaze me how much suffering and damage there is while people try to carry on like nothing is really happening. I am sure there was some truth in it. I would hope the darkest moments, like stealing jewelry off of dead people, didn’t happen. Unfortunately, I am sure that it did, though I haven’t researched it.

Overall, the story was good and compelling. It kept me interested, even if it was a heavy watch. Not a bad movie.

TMDb
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#movies #review

 
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from Unvarnished diary of a lill Japanese mouse

Journal 4 octobre 2026 Le saké de l'adieu

On est toutes ensemble ce soir, on est tristes mais un peu heureuses. Hier au soir on a décidé d'aller ensemble à fukushima sans savoir ce qu’on y ferai ni ce quon trouverait. Bien sûr on ne pensait pas trouver shieko mais on voulait y aller. Mon frère nous a prêté un minibus, hayame a le permis, on est parties ce matin, on a acheté des fleurs en route. Il faut 3 h pour arriver. La côte est désolée, c{est plein de terrains vagues de dépôts de débris. O n'a pas pu pénétrer en zone interdite, bien sûr, il y a des barrières partout. Très peu de gens, âgés souvent. Ils ne craignent pas les radiations, à nos âges ils disent ça n'a plus d'importance. Personne n'avait vu la voiture bien sûr, ça aurait été trop beau. Pour finir on est allées au bord des falaises, pas loin de la centrale, on a lancé nos fleurs là en pensant à chie. Son corps n'est pas loin on le sait, on le sent. Deux vieilles personnes nous ont demandé si on rendait hommage à des disparus... On ne s'est pas plus attardées. On est rentrées en silence, en pleurant un peu, mais c'était comme un adieu cette fois. On sait qu’on ne la reverra plus, sa grâce, sa gentillesse, sa gaieté … Les larmes viennent en écrivant ça. C’est un peu comme après une catastrophe, on se compte entre survivantes. On avait emmené une bouteille de saké, chacune a bu au goulot et on a vidé le reste dans la mer. À toi shieko notre amie pour toujours.

#shieko

 
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from Why This Picture Matters

“Cry, the beloved country, for the unborn child that is the inheritor of our fear. Let him not love the earth too deeply. Let him not laugh too gladly when the water runs through his fingers, not stand too silent when the setting sun makes the veld with fire. Let him not be too moved when the birds of his land are singing, nor give too much of his heart to a mountain or a valley. For fear will rob him of all, if he gives to much.”

Alan Paton- Cry, the Beloved Country, Cape

 
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from JON KALEV

Six years ago I plowed this field in Alabama the last time

In its place are houses for rich people. Covering memories of grandparents picking cotton Plain and simple I sold out. No romanticism just math. Security versus uncertainty.

Then I dealt with my father. My mother spent the last fifteen years in a wheelchair. She had a stroke and he pushed her into a bed and watched football for hours. The next morning she was still where she fell, clothes on, unable to stand. She could have been saved. I make no apologies. I made him suffer.

Come October I smell peanuts. Hear the dryness of cotton fields, soil breaking open to receive winter rye. Walking fields looking for arrowheads. Overseeding pastures for winter, praying for rain. I miss every fucking minute.

I no longer remember the names of my cows. Everything loved is gone. But the wonder of it all.

 
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from G A N Z E E R . T O D A Y

I am a terrible multitasker. I thought I'd be able to alternate between writing and taking podcast notes, but when I'm in the writing zone (indeed in any zone), I find it very difficult to pull away and do something else. Even if I designate the something else towards the tail-end of the day.

So today I will attempt to power through 6 episodes, half the season we recorded. Now, each episode is quite long; an hour or more in some cases, which means more video-watching than I can handle. Basic logic would dictate spreading the episode-watching and notetaking across several days to ease the blow of the task at hand, but that would necessitate employing the kind of mental gearshift that I sorely lack.

Why am I like this?

#journal #work #podcast

 
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from Rippple's Blog

Stay entertained thanks to our Weekly Tracker giving you next week's Anticipated Movies & Shows, Most Watched & Returning Favorites, and Shows Changes & Popular Trailers.

Anticipated Movies

Anticipated Shows

Returing Favorites

Most Watched Movies this Week

Most Watched Shows this Week


Hi, I’m Kevin 👋. Product Manager at Trakt and creator of Rippple. If you’d like to support what I'm building, you can download Rippple for Trakt, explore the open source project, or go Trakt VIP.


 
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from Things Left Unsaid

I've worked quite hard to achieve my mediocre running abilities... that have now given me a 2nd place in a category in an event. I still think it is pretty cool, and I feel quite good about it, even though I know that the only reason I got 2nd is that fast people in my category were not there.

The bulk of my running has been all alone on the city streets and paths near where I live. Alone, and aside from a weekend run, they are in the morning before work. For the last few years, since switching to morning shift, those runs before work have been alone and in the dark. That, combined with the social anxiety that permeates every fiber of my being; it takes a lot for me to show up to an event like the one I did yesterday. I should be including as events all the ParkRuns I have done over the years.

Sometimes I wonder why I register, and why I show up at these things. I guess showing up to an event or ParkRun pushes me outside of my comfort zone physically and mentally. And I guess that's good for me? I suppose. Not really a good answer as to why bother. I'm not competitive at all, and these events are a race. I say, hey, winning is for the elite runners. The best of the best. The rest of us don't compete with anyone but our past self. But even that now is kind of pointless with the age that I'm at. As I get older it gets harder. My 55 year old self can't do what my 49 year old self was doing when I first found running (or did it find me?). I work harder to achieve a slower time.

For the data maybe. That is a fun thing to think about. A tracker on my wrist communicating with satellites showing me distances and times is not like showing up at a start line with a chip pinned to my shirt front. I run across a mat on the road that communicates with the chip. This chip time is so much more accurate than the thing on my wrist. I get to be forever on a list of runners for any particular event. I was there, and did that. It is pretty real I guess. Proof that I'm actually running and not just pushing myself around the city streets on a scooter just to get kudos on Strava.

About five years ago I had some water left over in a water bottle after I ran a full marathon. I went to pour it into the sink, and suddenly stopped. I pictured that water sloshing around in the bottle while I suffered through that 42.2km run. Instead of dumping it out, I put it in a stainless steel thermos. Whenever I did a long run on a weekend, or participated in an event or ParkRun, I would put some of that marathon water in the water bottle I was taking on the run. I would save some, and then return it to the thermos after the run. I've been doing this for years with the water that is in that thermos. I have water in there from all the registered long distance events, and also most of the ParkRuns I've done, for years. That includes a few I did out of town, and also Claremorris ParkRun in Ireland. I filter it twice. and boil it for a few minutes occasionally, and then sterilize the inside of the thermos before putting it back in. lol Just a weird ritual. I know it is only water.

 
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from Juanma escribe

Seguro que te ha pasado. Tienes un personaje con el que conectas, un escenario que te encanta y varias escenas que funcionan por separado. Pero cuando lees el relato completo, algo no termina de tirar. La historia avanza, sí, pero sin fuerza, como un coche al que le falta una marcha.

Muchas veces el problema no está en la prosa ni en los diálogos, sino en la estructura de fuerzas que mueve la historia. Para detectar ese tipo de fallos existe una herramienta tan sencilla como útil: el modelo actancial de Algirdas Julien Greimas.

De dónde viene

En 1928, el folclorista ruso Vladimir Propp analizó un centenar de cuentos populares y descubrió que, por debajo de la variedad de héroes, dragones y princesas, se repetían siempre las mismas funciones. Años después, el filósofo francés Étienne Souriau hizo algo parecido con el teatro.

Greimas, lingüista y semiólogo, tomó esas ideas y las depuró en 1966 hasta quedarse con lo esencial: seis actantes, seis papeles que aparecen, de un modo u otro, en casi cualquier relato.

Los tres ejes

Los seis actantes se organizan en tres parejas. Cada pareja forma un eje, y cada eje responde a una pregunta que tu historia necesita contestar.

   DESTINADOR ──────►  OBJETO  ──────► DESTINATARIO
                         ▲
                         │
   AYUDANTE  ──────►  SUJETO  ◄────── OPONENTE

El eje del deseo: ¿quién quiere qué? Une al Sujeto con el Objeto. Es el corazón del relato. El Sujeto es quien busca, y el Objeto es lo que busca. Ese Objeto puede ser una persona, una cosa, un lugar, pero también algo abstracto: la libertad, el perdón, la verdad sobre lo que ocurrió aquella noche.

El eje de la comunicación: ¿por qué y para quién? Une al Destinador con el Destinatario. El Destinador es la fuerza que pone en marcha la búsqueda: una orden, una pérdida, una promesa, una injusticia. El Destinatario es quien sale ganando si la búsqueda tiene éxito. A menudo es el propio Sujeto, pero no siempre.

El eje del poder: ¿qué ayuda y qué estorba? Enfrenta al Ayudante con el Oponente. Son las fuerzas que acercan o alejan al Sujeto de su Objeto. Sin Oponente no hay conflicto, y sin conflicto no hay historia.

La trampa: actante no es personaje

Aquí está la clave que hace al modelo tan flexible. Un actante es una función, no una persona.

Eso significa que un solo personaje puede ocupar varios papeles. El vengador que busca justicia para sí mismo es Sujeto y Destinatario a la vez. También significa que varios personajes pueden compartir un mismo actante: todos los aliados del protagonista forman, juntos, el Ayudante.

Y, sobre todo, significa que un actante no tiene por qué ser alguien. El miedo, el orgullo, la pobreza o el paso del tiempo son Oponentes magníficos. De hecho, los mejores relatos suelen combinar un Oponente externo con uno interno.

Un ejemplo que todos conocemos

Pensemos en Caperucita Roja:

  • Sujeto: Caperucita.
  • Objeto: llevar la cesta a casa de la abuela.
  • Destinador: la madre, que le encarga la misión.
  • Destinataria: la abuela.
  • Ayudante: el cazador y, en potencia, los consejos de la madre.
  • Oponente: el lobo… y la propia distracción de Caperucita.

Fíjate en ese último detalle. El lobo es la amenaza visible, pero sin la curiosidad de la niña, que se entretiene y habla con un desconocido, el lobo no tendría ninguna oportunidad. Parte del conflicto está dentro del Sujeto. Por eso el cuento funciona como advertencia: no basta con señalar el peligro de fuera.

Cómo usarlo para revisar tu relato

El modelo actancial no sirve tanto para escribir como para diagnosticar. Cuando un texto no funciona, recorre los ejes y hazte estas preguntas:

¿Sé exactamente qué quiere mi protagonista?
Si el Objeto es difuso (“quiere ser feliz”, “busca su lugar en el mundo”), la historia carecerá de dirección. Concreta: ¿qué tendría que pasar para que lo consiguiera?
¿Entiende el lector por qué lo quiere?
Si falta el Destinador, las acciones del personaje parecerán arbitrarias. El lector necesita sentir el empujón.
¿El Oponente está a la altura?
Un obstáculo que se supera sin esfuerzo no genera tensión. Si tu protagonista lo tiene demasiado fácil, refuerza el eje del poder.
¿Hay algo en juego para alguien?
Pensar en el Destinatario te obliga a preguntarte qué se gana o se pierde. Ahí suele estar el peso emocional del relato.

Greimas y el “mostrar, no contar”

El modelo te dice qué piezas necesita tu historia. El “mostrar” te dice cómo ponerlas en escena. Y es en el Destinador y en el Oponente interno donde más se nota la diferencia. Mira este Destinador:

❌ Contado

Marta decidió buscar a su hermano porque se sentía culpable por no haber contestado a su última llamada.

✅ Mostrado

En el contestador seguía el mensaje de Andrés, el del 12 de marzo. Marta lo había escuchado tantas veces que sabía en qué segundo se le quebraba la voz. Esa noche no lo borró. Bajó la maleta del altillo.

En la primera versión, el narrador nos explica la culpa. En la segunda, la vemos actuar. No hace falta nombrarla: el mensaje guardado, la voz que se quiebra y la maleta lo dicen todo.

Ahora, un Oponente interno:

❌ Contado

Tenía miedo de que su hermano no quisiera verla.

✅ Mostrado

Ensayó el saludo tres veces frente al espejo del ascensor. Cuando se abrieron las puertas, pulsó otra vez el botón de la planta baja.

El miedo está ahí, intacto, pero el lector lo descubre por sí mismo. Y cuando el lector descubre, se implica.

Un ejercicio para esta semana

Toma un relato que tengas a medias, o uno que no termine de convencerte. Escribe una sola línea para cada uno de los seis actantes. Sin pensarlo demasiado.

Si alguna casilla se queda vacía o la rellenas con algo vago, ya sabes dónde empezar a trabajar. Y si las seis están claras, pregúntate cuál de ellas estás contando en lugar de mostrar.

En un próximo post hablaremos del otro gran invento de Greimas, el esquema narrativo canónico, que explica cómo avanza esa búsqueda paso a paso.

Mientras tanto, cuéntame: en tus relatos, ¿qué actante te cuesta más construir, el Destinador o el Oponente?

#procesos


Créditos · © 2026 Juanma Menéndez

Esta obra está licenciada bajo una Licencia Creative Commons Atribución 4.0 Internacional (CC BY 4.0).

Esto significa que puede ser compartida, copiada, adaptada y distribuida en cualquier medio o formato, incluso con fines comerciales, siempre que se dé el crédito adecuado al autor.


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