Monday, July 15, 2019

Summertime Writing: Combine and Adapt Ideas In Stories

In the last innovation post, I tried to use the substitution method for story innovation. In this post, I'd like to try the next SCAMPER methods of innovation and creativity. I will do the second and third of the seven parts of the SCAMPER method in this post—Combine and Adapt.

New ideas created on this page are ©2019 by Ken Wickham

1. State the original idea, problem, or question (source).


For this case, Mary Shelley's Frankenstein Synopsis found at Wikipedia. I cut together pieces of the larger synopsis.

tells the story of Victor Frankenstein, a young scientist who creates a hideous, sapient creature in an unorthodox scientific experiment...the Creature tall, about 8 feet (2.4 m) in height and proportionally large. Despite Victor's selecting its features as beautiful, upon animation the creature is instead hideous, with watery white eyes and yellow skin that barely conceals the muscles and blood vessels underneath. Repulsed by his work, Victor flees when it awakens. While wandering the streets, he meets his childhood friend, Henry Clerval, and takes Henry back to his apartment, fearful of Henry's reaction if he sees the monster. However, the Creature has escaped.

Intelligent and articulate, the Creature relates his first days of life, living alone in the wilderness and finding that people were afraid of and hated him due to his appearance, which led him to fear and hide from them. While living in an abandoned structure connected to a cottage, he grew fond of the poor family living there, and discreetly collected firewood for them. Secretly living among the family for months, the Creature learned to speak by listening to them and he taught himself to read after discovering a lost satchel of books in the woods. When he saw his reflection in a pool, he realized his physical appearance was hideous, and it terrified him as it terrifies normal humans. Nevertheless, he approached the family in hopes of becoming their friend. Initially he was able to befriend the blind father figure of the family, but the rest of them were frightened and they all fled their home, resulting in the Creature leaving, disappointed. He traveled to Victor's family estate using details from Victor's journal, murdered William, and framed Justine.

The Creature demands that Victor create a female companion like himself. He argues that as a living being, he has a right to happiness. The Creature promises that he and his mate will vanish into the South American wilderness, never to reappear, if Victor grants his request. Should Victor refuse his request, The Creature also threatens to kill Victor's remaining friends and loved ones and not stop until he completely ruins him.
Fearing for his family, Victor reluctantly agrees. The Creature says he will watch over Victor's progress. 

2. SCAMPER

Substitute is about replacing parts of the story. Characters, description, setting, plots, or conflicts may be replaced with alternatives.
Combine is about merging two or more ideas, processes, or products into one.
Adapt is adjusting, changing, and tweaking to make more suited for the current situation.
Modify, minimize, or maximize
Put to another use
Eliminate or elaborate
Reverse

Combine

The method that I will try is to trying to combine a few popular classic story elements into the Frankenstein story. I'll pick three classic popular stories, at least in the US.

To Kill a Mockingbird
A minority is wrongly accused of a crime committed by a prejudice and lazy low life character that only has the benefit of being a member of the majority. The wife of this character dreams of having an affair with the accused character prior to the accused "crime".

Maybe the best way to combine these stories is to use the De Lacey family, the family that adopts the creature and are living in exile from the government for treason, in a similar way that Mayella and her father, Bob Ewell are used in the story. Or I can use the creature in the same way as Boo Radley, the reclusive person next door that is friendly with Scout and Dill and eventually saves them from Bob Ewell.

Victory Frankenstein could either be more like Aticus, the lawyer that defends Tom Robinson, the accuse, or like Tom Robinson himself.

The Grapes of Wrath
Since Tom Joad eventually kills the person that kills his friend Jim Casy in a union violent clash, the creature might work well as Tom, recently released from prison and now a fugitive breaking parole, the main character in the book. Victor Frankenstein might work as Jim Casy, his friend from the town that they left due to bank foreclosure and journeyed to California in search of work. After a flood, they might seek higher ground and find in a barn a boy and starving (blind) father, the De Lacey family

Aladdin
Maybe Victor could play the role of Aladdin, an impoverished youth that is recruited by the creature to recover a wonderful oil lamp from a booby-trapped magic cave. The creature could play the role of the sorcerer from the book. A genie appears after rubbing a magic lamp. With the power of the genie, Victor becomes powerful and marries a high society princess.

The creature that recruited Aladdin might steal the lamp after which Victory must try to get back the magic lamp.

Analysis of combine technique

The Grapes of Wrath would be the most difficult to combine stories. However, To Kill a Mockingbird and Aladdin I felt had much more usable content that might be able to combine with Frankenstein.

Adapt

Adapting is brainstorming with the purpose of trying to adjust, tweak, or change a product into something more appropriate for the current situation.

The most obvious way to adapt Frankenstein, writing in the early 1800s, would be to adapt it to the modern time period. Weird science sort of adapted Frankenstein to the 80s.

How could Frankenstein be adapted to 2019.

Let me brainstorm.
Instead of alchemy, Dr. Victor Frankenstein might use modern DNA splicing and create a creature using different DNA from different people—or even mixed with different species, a hybrid.
The creature escapes and lives with the De Lacey family which might be an off-the-grid or doomsday preppers. The creature learns from these survivalists and learns to speak English. The creature then eventually contacts Victor and threatens to kill his family if he doesn't create a partner for him.

Analysis of Adapt

Adapting might be more fun if mixed with some of the other techniques. I don't like doing a straight adaptation of Frankenstein.

Sunday, July 14, 2019

Summertime Writing: Substituion In Stories

In the last innovation post, I tried to use the association method for story innovation. In this post, I'd like to try the SCAMPER method of innovation and creativity. I will do the first of the seven parts of the SCAMPER method in this post—Substitution.

1. State the original idea, problem, or question (source).


For this case, Mary Shelley's Frankenstein Synopsis found at Wikipedia. I cut together pieces of the larger synopsis.

tells the story of Victor Frankenstein, a young scientist who creates a hideous, sapient creature in an unorthodox scientific experiment...the Creature tall, about 8 feet (2.4 m) in height and proportionally large. Despite Victor's selecting its features as beautiful, upon animation the creature is instead hideous, with watery white eyes and yellow skin that barely conceals the muscles and blood vessels underneath. Repulsed by his work, Victor flees when it awakens. While wandering the streets, he meets his childhood friend, Henry Clerval, and takes Henry back to his apartment, fearful of Henry's reaction if he sees the monster. However, the Creature has escaped.

Intelligent and articulate, the Creature relates his first days of life, living alone in the wilderness and finding that people were afraid of and hated him due to his appearance, which led him to fear and hide from them. While living in an abandoned structure connected to a cottage, he grew fond of the poor family living there, and discreetly collected firewood for them. Secretly living among the family for months, the Creature learned to speak by listening to them and he taught himself to read after discovering a lost satchel of books in the woods. When he saw his reflection in a pool, he realized his physical appearance was hideous, and it terrified him as it terrifies normal humans. Nevertheless, he approached the family in hopes of becoming their friend. Initially he was able to befriend the blind father figure of the family, but the rest of them were frightened and they all fled their home, resulting in the Creature leaving, disappointed. He traveled to Victor's family estate using details from Victor's journal, murdered William, and framed Justine.

The Creature demands that Victor create a female companion like himself. He argues that as a living being, he has a right to happiness. The Creature promises that he and his mate will vanish into the South American wilderness, never to reappear, if Victor grants his request. Should Victor refuse his request, The Creature also threatens to kill Victor's remaining friends and loved ones and not stop until he completely ruins him.
Fearing for his family, Victor reluctantly agrees. The Creature says he will watch over Victor's progress. 

2. SCAMPER

Substitute is about replacing parts of the story. Characters, description, setting, plots, or conflicts may be replaced with alternatives.
Combine
Adapt
Modify, minimize, or maximize
Put to another use
Eliminate or elaborate
Reverse

Substitute

  • Genre
A common type of replacement is genre. Maybe instead of horror, replace it with a modern setting. What if this happened in the stone age. Or maybe Frankenstein happened in ancient Egypt.

  • Characters
Characters may be replaced. Maybe Victor Frankenstein is a woman—much like the author Mary Shelley—Victoria Frankenstein. Or maybe he is an artist that brings to life a painting instead of a alchemy creature. A singer might bring to life a creature or being from a song.

  • Setting
Already I mentioned Egypt in the ancient genre which would be a different location. What about in China if a alchemist were trying to make a kung-fu soldier. Maybe on Easter Island, those faces were their attempt at a rock golem.

  • Plot
Maybe Dr. Frankenstein was trying to create his own bride instead of for the monster, more like the movie Weird Science. Maybe instead of the creature trying to kill him, the creature is constantly trying to save Dr. Frankenstein from foolish dangerous endeavors.

  • Description
Maybe instead of describing things in letters, as Mary Shelley does, the book is described using text messages. Or maybe I take the original text and change portions of the text. Let me try this now.

From Frankenstein Chapter 1 (after the letters)

I am by birth a Genevese, and my family is one of the most distinguished of that republic. My ancestors had been for many years counsellors and syndics, and my father had filled several public situations with honour and reputation. He was respected by all who knew him for his integrity and indefatigable attention to public business. He passed his younger days perpetually occupied by the affairs of his country; a variety of circumstances had prevented his marrying early, nor was it until the decline of life that he became a husband and the father of a family.
Paragraph below is based on the above paragraph
Paragraph 1, Chapter 1 Frankenstein, 
©2019 by Ken Wickham, all rights reserved. This is based on Mary Shelley's original text.

I was born into a family, who are famous, originating from the Geneva Republic. My ancestors had been longtime government officials and ambassadors, and my father had held several public offices with honorable and with a great reputation. Everyone that knew him respected him for his integrity and untiring attention to public service. He spent the good amount of time early in his career constantly focused on the needs of his country; many reasons prevented him from getting involved in dating in his youth. It wasn't until he was already near retirement that he married and became a father.

Analysis of Substitution

This exercise was easier for me than some of the last exercise. I even enjoyed rewriting the paragraph of Frankenstein using my own words and description. So far, I really like substitution as a tool for innovation in story writing.

Friday, July 12, 2019

Summertime Writing: Innovation In Stories

This exercise comes from an innovation management technique.

I want to take the basic idea of the story Frankenstein and experiment with story innovation using one specific innovation technique of random word association.

1. State the original idea, problem, or question (source).


For this case, Mary Shelley's Frankenstein Synopsis found at Wikipedia. I cut together pieces of the larger synopsis.

tells the story of Victor Frankenstein, a young scientist who creates a hideous, sapient creature in an unorthodox scientific experiment...the Creature tall, about 8 feet (2.4 m) in height and proportionally large. Despite Victor's selecting its features as beautiful, upon animation the creature is instead hideous, with watery white eyes and yellow skin that barely conceals the muscles and blood vessels underneath. Repulsed by his work, Victor flees when it awakens. While wandering the streets, he meets his childhood friend, Henry Clerval, and takes Henry back to his apartment, fearful of Henry's reaction if he sees the monster. However, the Creature has escaped.

Intelligent and articulate, the Creature relates his first days of life, living alone in the wilderness and finding that people were afraid of and hated him due to his appearance, which led him to fear and hide from them. While living in an abandoned structure connected to a cottage, he grew fond of the poor family living there, and discreetly collected firewood for them. Secretly living among the family for months, the Creature learned to speak by listening to them and he taught himself to read after discovering a lost satchel of books in the woods. When he saw his reflection in a pool, he realized his physical appearance was hideous, and it terrified him as it terrifies normal humans. Nevertheless, he approached the family in hopes of becoming their friend. Initially he was able to befriend the blind father figure of the family, but the rest of them were frightened and they all fled their home, resulting in the Creature leaving, disappointed. He traveled to Victor's family estate using details from Victor's journal, murdered William, and framed Justine.

The Creature demands that Victor create a female companion like himself. He argues that as a living being, he has a right to happiness. The Creature promises that he and his mate will vanish into the South American wilderness, never to reappear, if Victor grants his request. Should Victor refuse his request, The Creature also threatens to kill Victor's remaining friends and loved ones and not stop until he completely ruins him.

Fearing for his family, Victor reluctantly agrees. The Creature says he will watch over Victor's progress. 

2. Generate 5 to 6 random words (stimuli).

Protuberation
Lantanuric
Censer
Mean
Depolarization
Body

Protuberation - The act of swelling beyond the surrounding surface.
Lantanuric - Pertaining to, or designating, a nitrogenous organic acid of the uric acid group, obtained by the decomposition of allantoin, and usually called {allanturic acid}. Related to urine naturally. Used in lotion, toothpaste, and mouthwash.
Censer - A vessel for perfumes; esp. one in which incense is burned.
Mean - That which is mean, or intermediate, between two extremes of place, time, or number; the middle point or place; middle rate or degree; mediocrity; medium; absence of extremes or excess; moderation; measure.
Depolarization - The act of depriving of polarity, or the result of such action; reduction to an unpolarized condition.
Body - The material organized substance of an animal, whether living or dead, as distinguished from the spirit, or vital principle; the physical person.

3. Create association connections to each word.

Protuberation - The creature may have some sort of growth or swelling on his body.
Lantanuric - Maybe the creature smells like urine or is trying to cover stench or something with beauty products.
Censer - This could be holding perfume to cover the stench of the monster.
Mean - Between two extremes might mean between creature and human or between wild and tame.
Depolarization - Reducing a unipolar condition maybe rage and wild fury.
Body - The creature has a body created by Dr. Frankenstein.

4. Increase your associations

A. Contiguity - nearness or contact.
Protuberation - swelling, tumor, jutting, fangs, tusk, bulge, belly, muscles, chest, breasts, bump
Lantanuric - urine, lotion, waste, break down, metabolize, 
Censer - perfume, incense, freshener, scent, stench
Mean - extremes, middle, balance, reduce
Depolarization - more than one way, two or more opposing forces
Body - form, shape, condition, created, sum of parts

B. Similarity - reminds you of
Protuberation - Inflated, balloon, mountain rock, bubble, muscle, fat, veins
Lantanuric - sweat
Censer - summoning, magic, cemetery, tomb, wake
Mean - average, beyond average, bell curve, probability
Depolarization - opposites, alternatives, paths, flexibility, chaos, change
Body - creature, animal, plant, life, element, water, sea, river

C. Contrast - opposition
Protuberation - sinking, deflating, reducing
Lantanuric - undigested, not broken down, not flushed out
Censer - crud, sickening, vile
Mean - extreme, severe, one-sided, unbalanced, chaotic
Depolarization - polarization, one-sided, one direction
Body - shadow, appearance, illusion, unlife

5. Make more connections automatically

The instructions say that now, after doing this exercise, connections will start to happen automatically. I will see if some further ideas start to appear after a period of time.

Analysis of Innovation technique #1

That was somewhat strange, especially lantanuric. I would have never picked that word. I didn't even know that word. Out of the other words, body and protuberance might be the more obvious words. Censer, mean, and depolarization might be somewhat close, though not as obvious—being more secondarily related words.

I don't know if anything will come of this exercise. I will see. I'll look back at this in a few days and see if I like this technique. I want to try a few more innovation and creativity techniques though between now and then. Maybe I'll compare the techniques in a future post.

Thursday, July 11, 2019

Summertime Writing: Emphasis, Pacing, and Rythm

Exercise Sources

The book that the main objective of this exercise comes from is Keys to Great Writing (KtGW). In chapter 4, Music, the author Stephen Wilbers mentions methods to story emphasis, pacing, and rhythm. Also, I'll try to mix in some of the related exercises from Spellbinding Sentences (SS). From the last exercise from 90 Days to Your Novel (90DtYN), I will use one character and try to integrate day 5 assignment of using setting to reveal the mood of that one character—Cynthia, from my "Two Character Brainstorm" blog post exercise.

Source Material

First I'll repost her character profile from the prior posts exercise, so that I can refer to it easier as I type stuff up.
B. Art teacher that is senior and yet stylish
Character name: Cynthia
Age: 64
Occupation: Art teacher
Family members and/or significant others: Has an over controlling husband, a daughter she is proud of, and a black-sheep son.
Personality traits: Lone Wolf. Creative, stylish, and current despite her age. Sometimes her creativity is crushed by her spouse.
Character history (where is he/she from?): Born in a small middle of the country farmlands, she moved to the city to pursue art—something that brought her ridicule and teasing during her educational years. She had always spent time doing both fashion and art.
Highest level of education: Art school, art degree
Physical traits: white hair, slightly wrinkled but uses plenty of beauty products to maintain a somewhat youthful appearance. Wears expensive looking clothing.
Biggest motivator: Authentic creative instinct and expression. Breaking away from her isolated past. Being herself despite her controlling husband.
Biggest fear: Not being herself or expressing her true self. She always has to try to be creative and sometimes trendy.
Things he/she likes: She loves elegance, bright colors, spring, life, and growth. She loves to find individuality within everything.
Things he/she dislikes: She dislikes conformity, inauthenticity, and expressing things that aren't made in her own voice or style.

Objective

(90DtYN day 5) reveal character mood using setting.

(KtGW chpt 4) start with 4 monotonous sentence patterns: simple declarative sentences, paired conjunction sentences, subordinate beginning sentences, and subordinate ending sentences.

(SS chpt 10) simple declarative patterns (sentence kernels)
single noun + single finite verb
Type 1: subject+be verb+(noun, adjective, or adverb)
Type 2: subject+linking verb+(noun or adjective)
Type 3: subject+intransitive verb (+adverb)
Type 4: subject+transitive verb+direct object (noun)

Exercise

Declarative sentences

Type 1
Cynthia is an art teacher
Cynthia is stylish.
Cynthia is married.
Cynthia is a mother.
Cynthia is fashionable.
Cynthia is an art school graduate.
She is creative.
She is expressive.
She is intuitive.
She is authentic.
She is independent (self-directed, eccentric, or unconventional).

Type 2
Cynthia appears trendy.
Cynthia seems eccentric.
Cynthia feels controlled.
She feels stifled.
She sounds dreamy.
She smells floral.

Type 3
Cynthia teaches.
Cynthia draws.
She paints.

Type 4
Cynthia raised two children.
Cynthia likes authentic expression of beauty.
Cynthia fears stifling conformity.

classroom, home, car
teach students basic techniques, encourage, inspire, explore, mediums

Scene with Cynthia in a setting revealing character mood

By Ken Wickham © 2019

Hurrying to paint, Cynthia finished painting a quick impressionist-style painting. She dabbed some blue into the blurred shadow of a well-dressed classy lady walking through a Paris street. Looking at the Paris image, she remembered the wonderful creative days during that one summer of art school that she spent in Paris, a center of art where spending some of her saved money helped her experience European masters. Her heart broke, however, when memories of 'him' uninvitedly appeared. Not him!

She rubbed her face briefly and decided to walk around the easel filled classroom to see how the students were doing with their own impressionist paintings.

"Try not to created hard lines for outlines," she suggested to on student who had begun to draw an outline. 

She pointed to one of the Monet replicant. "See how Monet and most of them have almost a blurred look." 

The student nodded and then began to dab. 

Each sound of the dab reminded her of arguments. Arguments that she had with her husband, whenever he wanted her to be like other mothers or wives. Her thoughts went back to one particular argument as she watched the student dab. "Why can't you be like all the other wives, and why don't you just be great just at cooking and cleaning."

"I'm not them!"she screamed. She spent a minute breathing heavy and uneven. Then she tried to compose herself. After a few seconds of calm, she said," I have to express beauty and creativity. I have to be me."

The sound of dabbing paint brought her back to the student painting. She looked at it again and asked the student, "How does your painting feel now?"

"It feels more like an impressionist painting. It feels right. Thank you," the student smiled.

She smiled back. "Good work."

Cynthia continued to the next student.

Analysis of Writing

This writing of Cynthia ended up being two background stories flashbacks mixed with the current art classroom current period. One hinted at some mysterious 'him' in Paris. The other is a right with her current husband. I think I tried to emphasis how the blurred dabbed outline of impressionist painting contrast with the conforming lines of outlines, similar to how her current husband wants to conform.

I tried to emphasize her mood and specific view of freedom and conformity within an impressionist-style painting context.

The types of declarative sentences exercise helped me to practice some fundamental sentence types. I tried to mix at least one, which I had to edit into the writing after freewriting the a quick first draft. I could have fleshed out the setting more, but in the end I felt the classroom a little more. Maybe further edits might make the classroom more vivid.

Sunday, July 7, 2019

Summertime Writing: Sherlock Holmes II

For this post, I want to take a few old Sherlock Holmes sentences from the final paragraph of the same story as last post and work with them through sentence, meaning, and word study. This material will be based on material 100 years old.

Source Material


This is the first paragraph in the Adventures of Sherlock Holmes, Adventure I. Scandal in Bohemia


And that was how a great scandal threatened to affect the kingdom of Bohemia, and how the best plans of Mr. Sherlock Holmes were beaten by a woman's wit. He used to make merry over the cleverness of women, but I have not heard him do it of late. And when he speaks of Irene Adler, or when he refers to her photograph, it is always under the honourable title of the woman.

First of all, like almost all of Sherlock Holmes, the POV is Dr. John H. Watson—the narrator.

1. Kernel Sentences

Next, I'll list the kernel sentences.

And that was how the scandal threatened Bohemia.
The best plans of Holmes were beaten by a woman's wit. 
He used to make merry over the cleverness of women.
I have not heard him do it of late.
When he speaks of Irene Adler it is always under the honourable title of the woman.

2. Word Dive

Then, I'll pick out certain words that I would like to look up and explore.
Definitions are from Webster's dictionary 1913 and  some words are from thesaurus is from Allen's Synonyms and Antonyms 1920.

scandal
\Scan"dal\, v. t. 
1. To treat opprobriously; to defame; to asperse; to traduce; to slander. 
[R.] I do fawn on men and hug them hard And after scandal them. --Shak. 
2. To scandalize; to offend. [Obs.] --Bp. Story. 
Syn: To defame; traduce; reproach; slander; calumniate; asperse; vilify; disgrace.

scandal: discredit.
discredit, v. i. 1. disparage, dishonor, disgrace, shame, scandalize, stigmatize, attaint, stain, defame (archaic), impeach, derogate (rare or obs.), depreciate, compromise, infamize (rare), blot, infame (archaic), dispraise (rare), disfame (rare), endamage (rare), degrade, smirch. Most of these synonyms have specific implications.
Antonyms: see confirm, honor, flatter.

affect

\Af*fect"\ ([a^]f*f[e^]kt"), v. t. [imp. & p. p. {Affected}; p. pr. & vb. n. {Affecting}.] [L. affectus, p. p. of afficere to affect by active agency; ad + facere to make: cf. F. affectere, L. affectare, freq. of afficere. See {Fact}.] 
1. To act upon; to produce an effect or change upon. 
As might affect the earth with cold heat. --Milton. 
The climate affected their health and spirits. --Macaulay. 
2. To influence or move, as the feelings or passions; to touch. 
A consideration of the rationale of our passions seems to me very necessary for all who would affect them upon solid and pure principles. --Burke.
 3. To love; to regard with affection. [Obs.] 
As for Queen Katharine, he rather respected than affected, rather honored than loved, her. --Fuller. 
4. To show a fondness for; to like to use or practice; to choose; hence, to frequent habitually. 
For he does neither affect company, nor is he fit for it, indeed. --Shak. 
Do not affect the society of your inferiors in rank, nor court that of the great. --Hazlitt. 
5. To dispose or incline. 
Men whom they thought best affected to religion and their country's liberty. --Milton. 
6. To aim at; to aspire; to covet. [Obs.] 
This proud man affects imperial sway. --Dryden. 
7. To tend to by affinity or disposition. 
The drops of every fluid affect a round figure. --Newton. 
8. To make a show of; to put on a pretense of; to feign; to assume; as, to affect ignorance. 
Careless she is with artful care, Affecting to seem unaffected. --Congreve. 
Thou dost affect my manners. --Shak. 
9. To assign; to appoint. [R.] 
One of the domestics was affected to his special service. --Thackeray. 
Syn: To influence; operate; act on; concern; move; melt; soften; subdue; overcome; pretend; assume.

\Af*fect"\, n. [L. affectus.] Affection; inclination; passion; feeling; disposition. [Obs.] --Shak.

\Af*fect"\, n. (Psychotherapy) The emotional complex associated with an idea or mental state. In hysteria, the affect is sometimes entirely dissociated, sometimes transferred to another than the original idea. 

affect, V. t. touch, reach, take (with "disease," "blow," "fancy," etc., as the subject), seize (with "idea" or the like as the subject), hit (colloq.); spec, possess, attack, infect, smite, hurt, trouble, move, grip, concern, interest, pierce, perturb, impress, penetrate, strike, nip (rare); see INFLUENCE, TAINT, THRILL, AGITATE, EXCITE, IMPRESS.

kingdom
\King"dom\, n. [AS. cyningd?m. See 2d {King}, and -{dom}.] 
1. The rank, quality, state, or attributes of a king; royal authority; sovereign power; rule; dominion; monarchy. 
Thy kingdom is an everlasting kingdom. --Ps. cxiv. 13. 
When Jehoram was risen up to the kingdom of his father, he strengthened himself. --2 Chron. xxi. 4. 
2. The territory or country subject to a king or queen; the dominion of a monarch; the sphere in which one is king or has control. 
Unto the kingdom of perpetual night. --Shak. You're welcome, Most learned reverend sir, into our kingdom. --Shak.

kingdom: domain, group.
domain, n. 1. See estate, lordship, bound, control, sphere.
2. realm, reign (rare), dominion, bourn or bourne (rare or poetic), territory, possession; spec, kingdom, province, empire, empery (poetic or rhetorical), obedience, sultanate, khanate, daimiate, lordship, signory, dukedom, county, palatinate.

Bohemia
\Bo*he"mi*a\, n. 
1. A country of central Europe. 


2. Fig.: The region or community of social Bohemians. See {Bohemian}, n., 3. 
She knew every one who was any one in the land of Bohemia. --Compton Reade.
Bohemian
Of or pertaining to a social gypsy or ``Bohemian'' (see {Bohemian}, n., 3); vagabond; unconventional; free and easy. [Modern]

wit
\Wit\, v. t. & i. [inf. (To) {Wit}; pres. sing. {Wot}; pl. {Wite}; imp. {Wist(e)}; p. p. {Wist}; p. pr. & vb. n. {Wit(t)ing}. See the Note below.] [OE. witen, pres. ich wot, wat, I know (wot), imp. wiste, AS. witan, pres. w[=a]t, imp. wiste, wisse; akin to OFries. wita, OS. witan, D. weten, G. wissen, OHG. wizzan, Icel. vita, Sw. veta, Dan. vide, Goth. witan to observe, wait I know, Russ. vidiete to see, L. videre, Gr. ?, Skr. vid to know, learn; cf. Skr. vid to find. ????. Cf. {History}, {Idea}, {Idol}, {-oid}, {Twit}, {Veda}, {Vision}, {Wise}, a. & n., {Wot}.] To know; to learn. ``I wot and wist alway.'' --Chaucer. 
Note: The present tense was inflected as follows; sing. 1st pers. wot; 2d pers. wost, or wot(t)est; 3d pers. wot, or wot(t)eth; pl. witen, or wite. The following variant forms also occur; pres. sing. 1st & 3d pers. wat, woot; pres. pl. wyten, or wyte, weete, wote, wot; imp. wuste (Southern dialect); p. pr. wotting. Later, other variant or corrupt forms are found, as, in Shakespeare, 3d pers. sing. pres. wots. 
Brethren, we do you to wit [make you to know] of the grace of God bestowed on the churches of Macedonia. --2 Cor. viii. 1. 
Thou wost full little what thou meanest. --Chaucer. 
We witen not what thing we prayen here. --Chaucer. 
When that the sooth in wist. --Chaucer. 

Note: This verb is now used only in the infinitive, to wit, which is employed, especially in legal language, to call attention to a particular thing, or to a more particular specification of what has preceded, and is equivalent to namely, that is to say.

\Wit\, n. [AS. witt, wit; akin to OFries. wit, G. witz, OHG. wizz[=i], Icel. vit, Dan. vid, Sw. vett. [root]133. See {Wit}, v.] 
1. Mind; intellect; understanding; sense. 
Who knew the wit of the Lord? or who was his counselor? --Wyclif (Rom. xi. 34). 
A prince most prudent, of an excellent And unmatched wit and judgment. --Shak. 
Will puts in practice what wit deviseth. --Sir J. Davies. 
He wants not wit the dander to decline. --Dryden. 
2. A mental faculty, or power of the mind; -- used in this sense chiefly in the plural, and in certain phrases; as, to lose one's wits; at one's wits' end, and the like. 
``Men's wittes ben so dull.'' --Chaucer. 
I will stare him out of his wits. --Shak. 
3. Felicitous association of objects not usually connected, so as to produce a pleasant surprise; also. the power of readily combining objects in such a manner. The definition of wit is only this, that it is a propriety of thoughts and words; or, in other terms, thoughts and words elegantly adapted to the subject. --Dryden. Wit which discovers partial likeness hidden in general diversity. --Coleridge. Wit lying most in the assemblage of ideas, and putting those together with quickness and variety wherein can be found any resemblance or congruity, thereby to make up pleasant pictures in the fancy. --Locke. 4. A person of eminent sense or knowledge; a man of genius, fancy, or humor; one distinguished for bright or amusing sayings, for repartee, and the like. 
In Athens, where books and wits were ever busier than in any other part of Greece, I find but only two sorts of writings which the magistrate cared to take notice of; those either blasphemous and atheistical, or libelous. --Milton. 
Intemperate wits will spare neither friend nor foe. --L'Estrange. 
A wit herself, Amelia weds a wit. --Young. {The five wits}, the five senses; also, sometimes, the five qualities or faculties, common wit, imagination, fantasy, estimation, and memory. --Chaucer. 
Nares. But my five wits nor my five senses can Dissuade one foolish heart from serving thee. --Shak. 

Syn: Ingenuity; humor; satire; sarcasm; irony; burlesque. Usage: {Wit}, {Humor}. 

Wit primarily meant mind; and now denotes the power of seizing on some thought or occurrence, and, by a sudden turn, presenting it under aspects wholly new and unexpected -- apparently natural and admissible, if not perfectly just, and bearing on the subject, or the parties concerned, with a laughable keenness and force. ``What I want,'' said a pompous orator, aiming at his antagonist, ``is common sense.'' ``Exactly!'' was the whispered reply. The pleasure we find in wit arises from the ingenuity of the turn, the sudden surprise it brings, and the patness of its application to the case, in the new and ludicrous relations thus flashed upon the view. Humor is a quality more congenial to the English mind than wit. It consists primarily in taking up the peculiarities of a humorist (or eccentric person) and drawing them out, as Addison did those of Sir Roger de Coverley, so that we enjoy a hearty, good-natured laugh at his unconscious manifestation of whims and oddities. From this original sense the term has been widened to embrace other sources of kindly mirth of the same general character. In a well-known caricature of English reserve, an Oxford student is represented as standing on the brink of a river, greatly agitated at the sight of a drowning man before him, and crying out, ``O that I had been introduced to this gentleman, that I might save his life! The, ``Silent Woman'' of Ben Jonson is one of the most humorous productions, in the original sense of the term, which we have in our language.
wit, n. 1. See intelligence, fun.
2. Referring to a wity person: spec, droll, bel-esprit (masc; French).
witty, a. clever (contextual), bright (contextual), funny (colloq.), sharp (contextual),
smart, sparkling.
Antonyms: see dull, stupid.

merry
\Mer"ry\, a. [Compar. {Merrier}; superl. {Merriest}.] [OE. merie, mirie, murie, merry, pleasant, AS. merge, myrige, pleasant; cf. murge, adv.; prob. akin to OHG. murg, short, Goth. gama['u]rgjan to shorten; cf. L. murcus a coward, who cuts off his thumb to escape military service; the Anglo-Saxon and English meanings coming from the idea of making the time seem short. Cf. {Mirth}.] 
1. Laughingly gay; overflowing with good humor and good spirits; jovial; inclined to laughter or play; sportive. 
They drank, and were merry with him. --Gen. xliii. 34. 
I am never merry when I hear sweet music. --Shak. 
2. Cheerful; joyous; not sad; happy. Is any merry ? let him sing psalms. --Jas. v. 13. 
3. Causing laughter, mirth, gladness, or delight; as, ? merry jest. 
``Merry wind and weather.'' --Spenser.

merry: gay, cheerful.

cleverness
\Clev"er\, a. [Origin uncertain. Cf. OE. cliver eager, AS. clyfer (in comp.) cloven; or clifer a claw, perh. connected with E. cleave to divide, split, the meaning of E. clever perh. coming from the idea of grasping, seizing (with the mind).] 
1. Possessing quickness of intellect, skill, dexterity, talent, or adroitness; expert. 
Though there were many clever men in England during the latter half of the seventeenth century, there were only two great creative minds. --Macaulay. 
Be good, sweet maid, and let who will be clever. --C. Kingsley. 
2. Showing skill or adroitness in the doer or former; as, a clever speech; a clever trick. --Byron. 
3. Having fitness, propriety, or suitableness. 
``T would sound more clever To me and to my heirs forever. --Swift. 
4. Well-shaped; handsome. 
``The girl was a tight, clever wench as any was.'' --Arbuthnot. 
5. Good-natured; obliging. [U. S.] 
Syn: See {Smart}.

clever, a. 1. smart (now chiefly U. S.), cute (colloq.), good, pretty {archaic or colloq.), solert (obs.); see ABLE, INTELLIGENT, READY, INGENIOUS, SKILLFUL.
Antonyms: see dull, stupid, unintelligent, unskillful.

refers
\Re*fer"\, v. i. 
1. To have recourse; to apply; to appeal; to betake one's self; as, to refer to a dictionary. 
In suits . . . it is to refer to some friend of trust. --Bacon. 
2. To have relation or reference; to relate; to point; as, the figure refers to a footnote. 
Of those places that refer to the shutting and opening the abyss, I take notice of that in Job. --Bp. Burnet. 
3. To carry the mind or thought; to direct attention; as, the preacher referred to the late election. 
4. To direct inquiry for information or a guarantees of any kind, as in respect to one's integrity, capacity, pecuniary ability, and the like; as, I referred to his employer for the truth of his story. 
Syn: To allude; advert; suggest; appeal.

refer, v. i. 1. See relate, appeal.
2. allude, advert, glance, touch, point, squint {colloq.).

honourable

\Hon"or*a*ble\, a. [F. honorable, L. honorabilis.] 
1. Worthy of honor; fit to be esteemed or regarded; estimable; illustrious. 
Thy name and honorable family. --Shak. 
2. High-minded; actuated by principles of honor, or a scrupulous regard to probity, rectitude, or reputation. 
3. Proceeding from an upright and laudable cause, or directed to a just and proper end; not base; irreproachable; fair; as, an honorable motive. 
Is this proceeding just and honorable? --Shak.

honorable, a. 1. good {contextual), worthy; spec, worshipful, admirable, famous, esteemed, respected, noble, elevated, reputable.
Antonyms: see discreditable.
2. See CONSCIENTIOUS, JUST, upright, virtuous, sincere, creditable, respectable.

Rewriting in my own way to interpret meaning

And that was how a great scandal threatened to affect the kingdom of Bohemia, and how one witty woman beat the best plans of Mr. Sherlock Holmes. He used to make fun of the cleverness of women, but I haven't heard him do it lately. And when he speaks about Irene Adler, or when he refers to her photograph, it is always under the honorable title of the woman.

Sentence Imitation

And that was how a great scandal threatened to affect the kingdom of Bohemia, and how the best plans of Mr. Sherlock Holmes were beaten by a woman's wit. 
And that was how a great plague threatened to affect the kingdom of Rohan, and how the brilliant strategy of Aragorn were beaten by a spider queen's poison.
And that was how the start of group menace caused great change in the future of local culture.
This is how the even a best friend's relationship may be overwhelmed by a deceptive enemy.

He used to make merry over the cleverness of women, but I have not heard him do it of late. 
She used to mock his situation, but I haven't heard her do it recently.
He used to argue over petty issues, but he hasn't clashed verbally with me as of late.

And when he speaks of Irene Adler, or when he refers to her photograph, it is always under the honourable title of the woman.
And when she talks about Billy bob, it is always under the title of my man.


Analysis of Writing Exercises

This was more difficult that the last exercise, maybe because it was looking at the final paragraph of the story. I do see the sentence structure and word selection connection for the story Scandal in Bohemia between the opening paragraph and the closing paragraph.

“I confess that I have been as blind as a mole, but it is better to learn wisdom late than never to learn it at all.”
Arthur Conan Doyle, The Adventures of Sherlock Holmes