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How SCAMPER Turned Alice in Wonderland into a Cybernetic Dystopian Horror Story · The Margin Scrawls

0:00
So I think it's safe to say every story has already
0:04
been told Well, then why are we doing a writing
0:07
podcast? Because we're about to prove ourselves
0:09
wrong. Hmm. Well, let's take a story and completely
0:14
turn it upside down for science Hey, welcome
0:28
to the margin scrolls Hey, guys. Today's going
0:32
to be fun. You sent me the notes for this and
0:37
I was super stoked within like 10 seconds of
0:40
reading it. So we are going to try a creativity
0:47
technique called scamper. Yes, we already did
0:52
a small introduction several episodes ago, I
0:57
believe. And I thought Well, we both thought
1:00
it would be a really good idea to go a little
1:03
further into this in a more writer friendly way.
1:08
Yeah. And it's. We're going down a rabbit hole,
1:14
as you say. So what's cool is we are going to
1:21
be trying a creativity technique called scamper,
1:25
and it's inspired by stuff that you learned in
1:30
college, right? Yes. Scamper is a creativity
1:35
technique to help get you out of your head. And
1:37
I thought, why not use this for writing? This
1:43
was more of a concept for design thinking, something
1:47
to help with project building and maintaining
1:50
and all of this stuff. But writing. Because there
1:57
are so many ideas that I've had that I just I
2:00
didn't want I didn't know where to go with it
2:03
So let's try scamper to quickly summarize guys
2:07
Don't know how long it's been since the episode
2:10
that we introduced this Scamper is an acronym
2:14
for substitution combination adaptability modify
2:20
put into different use eliminate and reverse
2:27
Each of those constitutes a question that you
2:31
would need to ask yourself for this creative
2:34
process, if that makes sense. And we're using
2:39
Alice in Wonderland as our guinea pig. Absolutely.
2:43
So using the scamper method, let's turn this
2:47
story on its head and see what we can come up
2:49
with. do a summary of this new story at the end
2:55
of this episode. Love it. Such a good idea. Let's
2:58
talk really quickly about the original. We've
3:00
got Alice in Wonderland by the great Lewis Carroll.
3:04
It was illustrated by John Tenniel, which you
3:09
have some of his. you know, Wonderland inspired
3:14
illustrations all over the place. I do. One of
3:19
my favorite illustrations. And that's my adult
3:23
thing. I got artwork of it to hang in the house.
3:28
Yeah, no, I dig it. I dig it. And it was one
3:30
of our favorite books was published in November
3:32
of 1865 by Macmillan Publishing. And that's a
3:37
long time ago. That is. That is very long. Over
3:41
160 years, thereabouts. So let's get into it.
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The original story has, introduces us to Alice,
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a little girl who has a tea party with her, not
3:57
tea party, a picnic with her cat, Dinah. A rabbit
4:01
catches her attention. She falls into wonderland,
4:04
meets really weird people, questions reality,
4:07
and eventually wakes up in the place that the
4:11
story started in. Okay, so let's start with the
4:17
summary to the original Alice story. It starts
4:21
with Alice and her cat, Dinah, in a garden, and
4:26
a rabbit catches her attention. She follows the
4:29
rabbit, ends up falling down The rabbit's hole.
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Let's work that. Let's let's earn that explicit
4:40
warning. OK. You fall down the rabbit hole into
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Wonderland. She meets weird people, weirder than
4:49
me and questions reality. And eventually she
4:55
wakes up in the same scene. And she eventually
5:03
wakes up and she's back with Dinah in her garden
5:06
as if nothing happened. Oh, thank God. Thank
5:09
you for that, Prue. Prue is going to demand payment
5:12
for that appearance now. Should we do that over
5:14
again? No, I think that was hysterical. All right.
5:23
There's our story. So how can we make this different?
5:28
I'm so excited. For us using the scamper method.
5:33
Let's fucking do it, my child. So in the words
5:40
of the great Julie Andrews, let's start at the
5:44
very beginning. And that is S for substitute,
5:49
also known as what can we swap? We already know
5:53
the story. We have Alice, we have the white rabbit.
5:57
We have Wonderland as the setting and we also
6:01
have a antagonist character, the Queen of Hearts.
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Yes, ma 'am. So what can we swap of that to make
6:09
the story more original? I like that. All right.
6:14
So Alice, how are you going to flip? How are
6:18
you going to flip Alice on her? Okay. No, don't
6:28
answer that. We're going to flip her by her ankles.
6:33
Okay. Real talk though. Yeah. Alice is no longer
6:39
a little girl, which in the original story she
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was a child. And in this story, let's say Alice
6:48
is a middle -aged woman. just got out of marriage.
6:56
Just got out. Recently divorced. A recently divorced
7:00
middle -aged woman starting over. Then we have
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the rabbit. What can the rabbit be? There's quite
7:09
a few different ways that you can go about this.
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It can stay a rabbit or it can be a representation
7:16
of the rabbit. The matrix, they use someone a
7:22
completely unrelated person who just happens
7:25
to have a rabbit tattoo. Okay, right. What if,
7:31
say, in this day and age, a lot of things that
7:37
lead us either in the right direction or in a
7:39
field in the middle of nowhere is GPS? Yeah.
7:43
What if the white rabbit was GPS and she was
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following the GPS to the Wonderland that we are
7:54
creating. So as a woman who is recently divorced,
8:00
who is looking to start over, she's been a homemaker
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for years. There is a job interview at a mall.
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And she decides, well, it's this or nothing.
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It seems promising. I'm going to do whatever
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I can. So we now have the mall as the Wonderland.
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and the queen. Maybe the queen can be a form
8:28
of AI. It could be, maybe it's a false job, maybe
8:33
it's something else entirely. But for the sake
8:38
of this, let's make the queen artificial intelligence.
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Something that controls them all. All right,
8:48
so. As a result of that one, we have a recently
8:55
divorced Alice is looking to start life anew
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and uses GPS to get to this job interview at
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a mall that turns out to be an AI thing. So,
9:16
very rough. So much less magical than an enchanted
9:19
mall. It's technically enchanting, but it's technology.
9:26
Yeah. All right. So we already have that part.
9:34
Very crude, but this is also the creative. And
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if you're thinking in the term of brainstorming,
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this is what we're doing. We're coming up with
9:44
something, something that could be a placeholder.
9:48
Right, right. And you're not worrying about details.
9:51
You don't want to think about what form the AI
9:55
is going to take. You don't want to think about
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what the GPS looks like or how it gets her to
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the mall. Exactly. You just want to get her to
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the mall. Yes. So the GPS is giving her the directions
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to this job interview by this Queen of Hearts
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job interviewer that... It's Queen of Hearts
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job interviewer. Yeah, I guess. This brainstorming
10:21
session is going to be awesome. So we have C
10:26
combined. What can we mash this concept together
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with? Let's think in terms of theme, genre. What
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genre of story is this going to be? So with the
10:41
GPS and And what we were talking about, we could
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do this a cybernetic type of dystopia. We could
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also do horror. We can make this a horror story.
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Reality TV, maybe it's office. Maybe it's the
10:59
office or something. Or we can go for a good
11:04
old murder mystery. Only if Alice gets unlimited
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gym takes. With that stare. That's it. That's
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it. The stare. Okay. So what genre would you
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consider for this? So you obviously, when you
11:28
wrote this episode, you gave us a few ideas to
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think about. And I was really curious about cybernetic
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dystopia because I'm not super familiar with
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the genre. And I wanted to know, I needed like
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a quick little crash course if you could give
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me one. Okay. So I think cybernetic dystopia,
11:50
you, for the generalization of this, let's think
11:55
Terminator. So we have Skynet that created a
12:03
chip that led to the overtaking of machines completely
12:12
eradicating the human humankind. And another
12:20
type is a series called Cyberpunk. It is set
12:27
years and years in advance where people actually
12:34
become part machine. They can get cybernetics.
12:38
to alter themselves. And if you alter yourselves
12:42
too much, you actually lose your humanity and
12:46
become insane. So yeah, so there's that's the
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cybernetic dystopia that I was thinking about.
12:55
Okay. Me personally, I like the horror element.
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That was so that was my next look. I think I
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would. I think I want to go horror with it. OK,
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so let's just do a cybernetic dystopia horror.
13:09
OK, let's let's let's let's see how how that
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goes. So now we have do we have to have cybernetic
13:20
parts or can it just be? Is that bad? That I
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just I don't feel like. I don't know what to
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do with steampunk. Well, this is beyond steampunk.
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This is not just... It doesn't have to... Well,
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that's the thing though. This is where a little
13:49
bit more research would go in to... if you wanted
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to do cybernetic dystopia. This includes looking
13:59
up medical advances with arms and other appendages
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to replace loss of limb and increasing quality
14:13
of life. You could also look at other forms of
14:20
science fiction or Perfect example, Dr. Octopus
14:26
in Spider -Man, where I'm thinking Alfred Molina
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as Doc Ock with the large tentacles that he had
14:40
that was connected to the base of his neck. That
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could be a form of cybernetic that you could
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look at to help mold this. uh this type of genre
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well okay then yes i want to do cybernetic dystopia
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because i've got thoughts i've got feels about
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not feelings i've got ideas yeah yeah well that's
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something that that absolutely can increase your
15:09
creativity all right so moving on we already
15:12
thought of our genre cybernetic dystopian horror
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so and next on our list is adapting or borrowing
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from somewhere else. This includes questions
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that you can ask yourself like what mythology
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fits with this, what historical period fits or
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what genre conventions fit this narrative. So
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when it comes to Alice going down the rabbit
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hole and finding this new world, I feel we can
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absolutely borrow from Greek mythology, particularly
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the Odyssey, Homer. And we would be able to borrow
16:02
from his journeys to translate how she would
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interact with this new world as well. Because
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it's not even just about setting off just for
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the sake of it, there's a purpose behind what
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she's doing. And same thing for historical periods.
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I feel in general, this is very much a common
16:27
everyday type of experience where a recently
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divorced woman, she is setting out and starting
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life over. especially if she was a homemaker,
16:40
if she was somebody who was constantly looking
16:43
after the house, looking after the family, this
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is absolutely a new world for her. Yeah. And
16:51
being able to write to accommodate that is absolutely
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important. OK, so in terms of our setting, obviously,
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it's not going to be Wonderland. It's going to
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be the mall. that you mentioned earlier, right?
17:08
Okay. So it's set in the mall. And for the sake
17:11
of hunger, it's an abandoned ball to come to
17:13
find out. Are you going to, are we going for,
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um, the outside world that, uh, for her, you
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know, the world outside the mall, uh, in terms
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of time periods, where did you want to like combine,
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you know, fifties era with, um, with something
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futuristic because of the cybernetic. Here's
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the thing, the mall itself is going to be the
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ecosystem. So going into this mall, we have written
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and established that the mall is the ecosystem.
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So we can absolutely be creative with this. The
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fact that, let's say, she gets a job interview
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and it's at this place that maybe it shouldn't
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be there. an actual functioning mall. She doesn't
18:10
know it because she's in a new town and she doesn't
18:14
know the area that well. And she goes into this
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mall and it's something that feels familiar.
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And this is actually something that we can borrow
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from with adapting. Have you ever heard of The
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the world mall Yeah, it is a dream. It's a dream
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state mall that has absolutely everything and
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it is a phenomenon Because there are people from
18:46
different Ages and walks of life Everybody's
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dream about this. I've been there. I remember.
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Yeah and So we can borrow from that It's a collective.
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It's absolutely amazing. It's a whole other rabbit
19:05
hole to go down. We need to keep it together
19:10
in this instance. So we have that World Mall.
19:14
What if that is the World Mall? Oh, cool. So
19:20
we can borrow from that, where the people that
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you run into in this mall people don't know where
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they are. So what if we can look at the history
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of malls itself? So when was the first mall built?
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What did that era look like? What was popular
19:48
in that group? And then you just keep going.
19:53
Because eventually, malls are dying out because
19:57
of door delivery for like Amazon and other digital
20:05
purchasing. It's absolutely dying out because
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part of what made a mall so amazing was the social
20:12
construct around it. It was a watering hole for
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society. So what if you can borrow? What if there
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is absolutely no age in this mall? but a collective
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of different decades. I like that. So we can
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think about that while we are building this world
20:38
for Alice, this new world. And it can extend
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up, it can extend up. Absolutely. Into forever.
20:45
It would look, you remember, you remember the
20:48
Madison, the mall by 34th Street? Oh yeah, yeah.
20:52
That it was like, it was like a walk around.
20:55
Yes. And there was like 80 million floors in
20:58
a glass elevator. Yeah, the world mall can go
21:02
up like that on the inside, but on the outside,
21:05
it's just a shit building. Exactly. So it's something
21:10
that defies physics, something that defies what
21:14
we understand as space. Yeah. All right. So going
21:19
further into that, you just write all the questions.
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question generating becomes like we're starting
21:27
to notice. We're asking more questions. Well,
21:31
okay. So adapting with this, I know that this
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exists. So what if, how does this fit in? And
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that is for the stage for adapting. So now that
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we've gotten a little bit more an idea of where
21:46
she's going and what we want that world to look
21:50
like, let's move into modifying. So modifying
21:55
within the scamper technique is also exaggerating.
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Let's exaggerate what we are working on here.
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Which we've already done a lot of already, but
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let's do more. So original Wonderland is weird.
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Let's make it weirder. Let's and let's absolutely.
22:17
Make it logical in a way that it's. It's out
22:22
of this world, but it's also very familiar. And
22:25
it makes sense. Something that can touch on reality
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is absolutely unnerving and very compelling for
22:32
storytelling. Ooh, the caterpillar is one of
22:35
those rental horsies that you get at the mall.
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It just drives around on its own, judging. Judging.
22:46
Very judgy. OK, so here's a few ideas. The stores
22:53
within the mall, constantly changing. They're
22:57
never in the same location. So like they, nobody
23:04
beats the Wizs and is no longer in the left wing.
23:09
It's somewhere completely different. It's on
23:10
the first floor behind the Wetzel's Pretzels.
23:13
Like - Should that be like a wild announcement
23:15
that happens in the mall? Just, it's like, maybe
23:18
it sounds like the dorm house just - Nobody beats
23:23
the whiz. And it's like in poem. It's like in
23:27
haiku or some crazy shit. Well, yeah. So that's
23:33
something that you can go further into. Later.
23:37
Exactly. Because that is an intricacy that is
23:41
not going to come from the brainstorming session.
23:44
What we're doing is we are just molding. We're
23:48
doing a general mold of what we are trying to
23:52
build. You're right. I'm trying to control myself.
23:56
But it's absolutely something to write down because
23:58
you want something to never be the same. You
24:01
want it to give a confusing element to it. Time
24:06
can pass differently as well. Say you walk into
24:13
a store, into a music store. what was labeled
24:18
a music store, there's nothing in there. You
24:21
were only in there for a moment, or it's like,
24:23
oh, there's nothing in here. And then you walk
24:25
back out and suddenly you have a gray hair on
24:27
your head. That's nuts. Where it's just like,
24:30
wait, I aged that much? Like how much time actually
24:35
went by? You can do that. You can have it populated.
24:42
You can have certain areas of the store populated.
24:47
So you can run into versions of Tweedledee and
24:50
Tweedledum, or you can run into the Mad Hatter,
24:55
and all the shoppers and people who occupy the
24:58
store don't know who they are. And what does
25:02
that mean? What does it mean when they don't
25:05
know who they are? Because from that, you can
25:07
generate an absolute different way of understanding
25:13
how people interact in this space. Yeah. Why
25:18
they got there. So leaving that on its surface
25:23
level, let's move into key. I'm like, I've got
25:28
ideas. Oh my God. This is crazy working guys.
25:32
Like, we're already halfway through. We're already
25:35
halfway through the scamper technique, and you're
25:38
already writing down questions. And you are thinking,
25:42
well, what if we do this? And this is absolutely
25:45
what we want to do to brainstorm and generate
25:48
as many ideas as we can for the story. So the
25:53
next letter, P, or put to another use. Let's
25:58
change a character's purpose. So we have the
26:01
original White Rabbit, who we've decided is a
26:06
GPS. This is the recruiter of this world that
26:12
we're building. And what if it wasn't something
26:15
that just led us there by happenstance? I mean,
26:20
yes, we have GPS's. If you put in the information,
26:24
it will tell us where to go. But what if it's
26:29
not just about putting in the information? It
26:32
already knows where to go, because it's recruiting
26:35
us. And you become the person. You become the
26:40
object that... Turning left into the lake. Yeah,
26:45
essentially. But like, so... Wow. With characters
26:50
like the White Rabbit, it's no longer just...
26:54
It's going about its business is doing what it's
26:56
supposed to do. It is enticing us to follow it
27:02
because it wants us. It's not something that
27:06
is just directing us. It is manipulating us.
27:12
It shows Alice. I can't stop smiling at you.
27:18
So and this same GPS could have represented itself
27:23
to any of the other shoppers that are in that
27:26
mall. Sure. It's not just telling people where
27:30
to go. It's collecting. It is consciously collecting
27:34
everybody to exist in this mall. The mall is
27:38
making like, oh, the mall is fighting for its
27:43
life to not be lonely. Exactly. So like looking
27:47
back on like that, that's actually a really good
27:50
point, because we already talked about the obsolete
27:56
condition that malls are finding themselves in.
28:01
They're dying out. It's a dying breed because
28:04
everything is instant gratification. People can
28:07
get their social stuff elsewhere. It's no longer
28:11
about physically going to a place just to hang
28:16
out, just to eat, not necessarily shop. Yeah.
28:22
malls aren't what they used to be. Right. And
28:27
if there is a mall in any form of history that
28:32
has a consciousness, wouldn't it do whatever
28:36
that it could to make sure that no one forgets
28:40
it? Including collecting people that it feels
28:46
is the best representation of what a mall should
28:50
be. We're not supposed to like the mall in this
28:53
story Wait a second But that's also the other
28:59
thing of playing with the ambiguity of good versus
29:02
Evil or my poor little mall. You just don't want
29:06
to be alone Yeah, I mean like it's I guess it
29:10
adds a kind of like a human element to it, but
29:12
you can also make it not compassionate right,
29:17
you know you you It's just, it's an art, it's
29:20
the eye of the beholder, honestly. Like some
29:23
people might empathize with an AI who is capturing
29:28
people because it just wants to stay relevant.
29:31
Yeah, but also - And that could absolutely be
29:34
the case. Maybe it should be the case. Like the
29:38
Space Odyssey, the 2000 Space Odyssey. Fuck that
29:42
movie. I didn't mean that. No, I'm sorry. All
29:48
right. So we've already had a concept to put
29:53
something to use. Now let's go to the next one,
29:58
which is eliminate or remove an element. So in
30:03
the original story, Alice can leave Wonderland.
30:07
In fact, the final scene is her waking up with
30:11
a renewed sense. of life. And she is back in
30:18
the familiar surroundings and safety of her home.
30:23
So let's remove that. Nobody leaves. Once you
30:31
enter Wonderland, you cannot leave. So everyone
30:38
who enters becomes part of the mall. Like, I've
30:45
always imagined this is how it went in Ikea.
30:51
You know what, I would believe that. I would
30:53
absolutely believe that. This is fantastic. All
30:56
right. So let's... So the mall doesn't want to
31:00
be alone. It doesn't want to be alone. And it
31:05
wants to collect. The more people in there, the
31:10
more relevant... the mall is, which is the standard.
31:16
It's the standard operations for any successful
31:18
mall. The more bodies you have in there, the
31:22
more profits you receive. And that's just that's
31:26
the success. Yeah. Just and mall wants to be
31:29
OK with everyone being collected and becoming
31:33
part of the mall. Let's move on to the last letter,
31:38
which is reverse. I love it. And we're gonna
31:42
flip the core assumption. The original from Alice
31:45
in Wonderland is Alice is lost and wants to go
31:48
home. Let's reverse it. What if this Alice in
31:53
our story wants to stay? Of course. Because her
31:58
real life is worse. Yep. We don't find out until
32:01
the end. Let's in thinking about what we've done
32:07
so far. We have Alice who's recently divorced
32:12
but what if she's not divorced what if she separated
32:15
ran away because her husband was abusive and
32:20
she was running away from him and She was desperate
32:26
for a new job regardless of where it was and
32:31
What time of day this interview and stuff was
32:38
What if she's just like, it's better than nothing.
32:41
This is what I'm going to get. And she needs
32:44
to be as discreet as possible in this new area
32:47
so that her husband doesn't find her. It's better
32:53
than going back to being wanted by somebody who
32:57
was abusive. Well, that would be a while. And
33:00
what? And what's worse? And. Let's think of it.
33:08
especially if she spent the whole time trying
33:10
to get out. That is the whole scamper technique
33:14
applied and we arguably have a new story. Okay,
33:21
so Sam, with your handy dandy notebook and the
33:25
notes that you wrote down, please give us a little
33:28
elevator pitch on the premise of our story, our
33:32
new Alice story. Happy to. Oh my God. One more
33:39
time. A middle -aged divorcee in a desperate
33:42
search for a job gets led to a curious mall where
33:46
stores change, time passes differently, and shoppers
33:50
forget who they are. And now that is one sentence
33:54
long, and that is probably an understated elevator
34:00
pitch, but that was an elevator pitch. And it's
34:03
all you need right now, because all you're looking
34:06
for is a premise, something to get the ball rolling.
34:11
Exactly. And you open the box and you pull all
34:13
the cool things out and start researching and
34:16
asking questions. All we needed was an idea.
34:19
So we're not going to get the whole story in
34:23
one shot. This is going to take time. It's going
34:27
to take research. It is going to take a lot more
34:30
times of brainstorming. But we've already got
34:34
something that makes us ask more questions. Like,
34:39
is it possible for these people to remember what
34:43
their past was? Why did they forget it? Why were
34:46
they so easy to fall into this perpetual new
34:52
reality of theirs? And what are other motivations?
34:58
Will Alice eventually forget where she came from
35:00
and who she is and become accustomed to this
35:05
new reality? Right. And as well, what are the
35:10
origins of this place? Like, what else can we
35:13
add? What more depth can we provide for this
35:18
sentient being and what its motivations are.
35:23
But that's so far down the road. We're not even
35:27
there yet. But we got the idea. And thank you,
35:31
Scamper. Thank you, Scamper Technique for giving
35:34
us that new way of thinking of stories that are
35:41
seemingly already been told. Right. And listeners,
35:44
if you do walk yourself through this scamper
35:47
technique, send us your notes. Tell us how it
35:50
went. We'd love to see it. Absolutely. And side
35:55
note, we don't really want to let this idea to
35:58
go to waste. Would you guys be interested in
36:01
hearing a more detailed version of this story?
36:04
Would you read it? And also, I mean, we can also
36:10
bounce a couple of questions around, like, is
36:13
it a book? Is it a radio show? Is it a movie?
36:17
Is it a... So many different ways that this could
36:20
be interpreted. And that is the magic of art.
36:25
Yes. So I hope this audio representation of the
36:32
scamper technique will help you guys out. And...
36:37
Practice it. Report back to us. Tell us your
36:41
findings. We would love to hear it, as always.
36:49
That's it. Right. And what's even better is that
36:54
that's not all. You can keep going. You could
36:57
start the process over again for a different
36:59
part of the story. And you have a whole other
37:01
premises. Exactly. This was really, really cool.
37:11
Especially since I'm sitting here looking at
37:14
a brand new idea for a story. That was amazing.
37:19
The scamper technique is a awesome tool as it
37:23
stands to help take an idea and make it extra
37:28
special, especially if you're the kind of artist
37:31
who gets a lot of inspiration from other artists.
37:33
You know what I mean? I'm excited about this.
37:38
I'm going to try doing it with other things.
37:40
Thank you, Crystal, for bringing this tool in.
37:44
Absolutely. It was fun. It was my pleasure to
37:48
be able to compile this and share it with you
37:52
and share it with everyone out there. Hell yeah.
37:57
Hell yeah. Well done. So on that note, we are
37:59
going to wrap it for this week. You are going
38:02
to notice that we have two episodes up. That
38:04
was because I missed our last. I missed our last
38:08
release date and I'm apologizing again and I'm
38:12
going to try not to do it anymore. But I mean,
38:15
bonus, you have two episodes to listen to. Absolutely.
38:21
Yeah, you have a good one, Crystal. I will see
38:24
you soon. And listeners, we will see you in two
38:27
weeks. Yeah, I'll catch you on the flip -flop
38:31
tater. Thanks everybody for listening to the
38:35
margin scrolls. We'll see you next time. Peace.