PaRDeS - Four Levels of Truth in Text

Proposing using PaRDeS as a writing craft tool

When it comes to sitting down to put words on paper, I am neither pure pantser nor pure planner. Rather, I personally, try to have a general framework and structure in mind, and then I tend to discover a bit in the details. I may be projecting, but I think many writers fall into a similar camp. Most people are not purely one thing or another. Regardless, I say this at the start to say, this might be why, when it comes to writing craft tools, I tend to lean towards frameworks and not checklists. By this I am referring to the endless number of writing craft checklist that exist across the internet such as a checklist for what to check when revising, a checklist for what to include when worldbuilding, a checklist for what to consider when creating a character, etc. To each their own - if you enjoy those tools - I will not be trash talking them today. I simply want to make clear my own bias that I find those difficult to use and follow in my own personal writing system. Instead, I tend to prefer frameworks - by which I mean - a system of less parts that I remember in my own head - and can keep in mind while writing and checking -which does not require a seperate checklist to check against.

For example, this is likely why I enjoy the idea of the MICE quotient. MICE is an acronym which stands for four factors that need to be present in every story (and to some extent every scene). It stands for Milieau (world/setting), Idea, Character, and Event. ¹ For those unfamiliar, the idea behind this system is that as every story requires all four of these factors, writers can keep the acronym in mind as a check and make sure to intentionally balance all four as needed for their particular stories. Some stories rely more on Character or Idea or Event based on whether the story is Character-driven, or a Mystery, or a historical fiction surrounding a specific time period.

This system and the factors are not the actual point of today’s post but I share this because I find myself wanting something similar from a Jewish perspective. I want a four part factor test of how to organize my thoughts when coming to the page. So today - I am proposing one. Or rather- I am using a system that is already established for interpreting Torah and proposing how I as a writer can using a similar set of factors to organize my thoughts for putting text onto the page - instead of reading from it.

PaRDeS is a term used for the four levels of understanding of the torah. It is also an acronym. Today’s discussion is less about how to use it as traditionally understood in biblical analysis, and more how we might consider it a framework for planning out the levels of a story when writing. I will provide perspective about how I am using this in my own writing practice, focusing primarily on fiction, but as I write only a small amount of fiction and generally never share it with anyone else— take it with a grain of salt. This is still in the experimental phase. I also want to acknowledge that some people may be upset with me for taking a religious idea and twisting it to my own ends.

1. P - Peshat - The Words on the Page

Peshat means “plain, unadorned, stripped of complication”². When discussing the peshat of a text (usually Torah), we are referring to what actually happens on the page, the plain meaning. What does the text say is happening at the more direct level? What is described on the page? Traditionally, I understand this question to be about what does the Torah actually say.

So to turn this around as an exercise for writing your own story, considering the peshat is what you have written or plan to write on the page. The peshat is the outline of events that will unfold in the story.

How I Use This

This is actually the part of writing stories and fiction that I struggle with the most - deciding which part of all my worldbuilding and plans actually gets to be put on the page. Having this seperate is a good reminder for me that not everything I plan in my head will end up represented in the words of the final draft - and that is a good thing. When I can take time to read something focusing specifically on the words- I am intentionally letting go of making sure the draft “captures everything that is in my head” and instead focusing on reading a work based on how the reader and intended audience will read it - from outside of my head- and making sure that it works on its own terms. Beyond fiction, I use this when writing these essays - as I try to read it through to make sure that what I have captured makes sense on its own and does not require context or background or assumptions that I have forgotten to include.

2. R - Remez - Poetry, Metaphor, Allegory

Remez means “hint”³. When discussing the remez of a text, we are referring to the allusions and hints hidden in the text. Traditionally, as I understand it, discussion of remez often includes discussion of the meaning of specific words and connecting the different instances of when a word is used.

When considering remez we are talking about the text’s poetic touches, the recurring images, etc. Is there a flower with some meaning that you are hiding in the background of important scenes? Is there an extended metaphor or allegory that you are trying to include as part of the theme or message? Is there any word play that leads towards hidden messages?

How I Use This

This is a lens I use more when writing poetry than fiction - and I think my fiction might suffer for it - there is a reason I don’t share my attempts at fiction stories. Regardless, this level reminds me a lot of Literature Class in High School. It’s planning out and reading through a work with those themes in mind. Or maybe you are like me and was never a fan of that sort of discussion in Literature Class and now balk and doing so intentionally - this level of review and analysis is a reminder that this is a natural level of reading, one which other people do enjoy, and that if you don’t take time to plan or review your work with the allegory and metaphors in mind - readers might do it for you and find something you did not mean to put there (or maybe worse - they won’t find anything and will find your work flat).

3. D - Drash - Philosophy, Structure, Logic,

Drash means “inferred”⁴. Traditionally, when discussing drash while reading torah, we are referring to what can be derived via analogy and logic. This is the level from with midrash comes from. Traditionally, what this is referring to is the way in which Rabbis might take what happens on the page and the provided logic to outline what must be happening behind the scenes, and what this means for Jewish law, etc.

However, to reframe it slightly for this exercise, that means this level of analysis is focused on the logic and structure that happens behind the scenes to make sure that what is on the page makes sense. While reading via the lens of drash - that means taking logic from what is on the page to find other analogies, but while writing via the lens of drash - that means considering the structure of logic that lies behind what you want to write. In other words, this is about the in-world logic of a story. This is about the world-building that has to happen that is never actually put onto the page.

How I Use This

This is the part of fiction writing that I enjoy the most. I would spend all my time here if I could. I love connecting the pieces and making sure the logic of the world and the characters makes sense to me and feels like a realistic logic. Part of why I find this framework interesting is that remembering there are other levels is a reminder for me that just focusing on this will never produce a story. A story has all four levels. However, if this is the level for you that is less intuitive, this would be a reminder to step outside of the page and the words and imagine the storyworld you are trying to build - and what underlying logical assumptions need to be put in place to make it work - and to make sure those assumptions are consistent throughout the storyworld.

4. S - Sod - Values, Ethics, Meaning

Sod means “secret”⁵ and is referring to a mystical secret. Traditionally, this is when we discuss what secret value or Kabbalistic meaning is hidden in the text that can only be found through consideration of all of the other levels. In our case, this is the stage in which we take note of the values and ethics that are being showcased and advertised by the story and all of the other layers. All stories demonstrate some type of values or ethical judgement. This last level is the opportunity to make note of what that value or ethics judgement in your story is. What meaning are you creating and what values are you sharing in your story?

How I Use This

In writng craft conversations, I find that many people avoid this level of conversation under a mask of “well, every individual writer gets to decide what they want to write about and so it’s a subjective choice” - and that’s fair. But I do think we need to acknowledge that every story is showcasing underlying values and morals. And in a previous essay on here, I tried a case study of sorts and came to the conclusion that a key piece of the puzzle of what makes a Jewish story a Jewish one is that of capturing some sense of being in the larger conversation about Jewish values, ethics, and morals. If a story is simply a list of Jewish names, but is advocating and supporting actions counter to Jewish values - I am still struggling with whether that counts as a Jewish story. And so this level is to remind me that at some point in the writing - there should at least be an attempt to answer the question of “what values is this showcasing? and what values or philosophies am I in conversation with?”

A Case Study: Whistle by E. Lockhart

Conclusion

So what am I actually proposing? In my first post, I discussed how the names and terms of writing craft are primarily ones with Christian associations (ex: epiphany) - see link below. While my articles until now have discussed Jewish storytelling - I have yet to formally propose anything directly addressing writing craft specifically. Today is my first attempt at proposing something more specifically and directly writing craft. And I do so not from a place on high - dictating that something must be done - but rather as a simply one voice of a community proposing something you might want to consider. The levels of meaning I have discussed above are not new and unique specifically to Jewish writers. Rather, I am simply proposing an organization of these levels of writing that might be rooted in a Jewish philosphy and so might resonate as a way to frame your writing process. Take what you like, ignore what you don’t - but please let me know either way. Also - if I am not the first person to propose this or something similar, I would love to hear more. I do not presume I am not the only person to consider this - I just want to have the conversation.

Welcome and Introduction

1. Characters & Viewpoint by Orson Scott Card - chapter 5

2. Practical Kabbalah by Rabbi Laibl Wolf, pgs 30-31

3. Practical Kabbalah by Rabbi Laibl Wolf, pgs 30-31

4. Practical Kabbalah by Rabbi Laibl Wolf, pgs 30-31

5. Practical Kabbalah by Rabbi Laibl Wolf, pgs 30-31