Getting Motivated To Write

Let’s talk about getting motivated to write. That’s something I’m having trouble with at present.

That’s the bad news. The good news is I discovered an article that maybe—just maybe—will help me get back into gear. It’s called: This Fun Creative Writing Exercise Will Change Your Life.

With a title like that, I thought it was setting itself up for failure. But it is a wonderfully inspiring exercise.

I encourage you to read Joe Bunting’s article in its entirety, it’s great stuff, but for the tl;dr-ers among us, here are the essentials.

a. Write down the first thing that comes to mind.

The first thing that came to my mind was “boy.” Go figure. ;)

b. Think of something as different as possible from the thing you wrote down. 

I wrote: girl.

c. Repeat step (b) until you come to the end of the sentence.

Boy girl high fast slow will mow a bow to slowwww. 

That’s it! My example doesn’t mean anything, it’s gibberish, but it got me putting one word in front of the other and, after all, that is the essence of writing.

Joe Bunting advises:

“When you do this exercise, write with the sounds of words in mind, not their meaning. Try out movie/historical/song/literary references, mashing them up with gibberish rhymes (e.g. “Twain’s hammersaw is bringing me low slow like a long bow“). Make up new words. Pay attention to the sounds of words. Try to come up with the most random noun you can. Then, put it next to a list of five verbs. DON’T use punctation (unless that sounds fun to you, of course).”

So, play the writing game and have fun.

And if that doesn’t work (or even if it does!) think about giving your writing space a makeover (see: Create a Warm, Low Light Workspace to Boost Creativity).

Good writing!

Photo: Licensed as Public Domain. Tulips Isolated.

Video Games & Storytelling

After The Accident I needed to get my mind off my (extremely minor) physical maladies so I re-subscribed to World of Warcraft (WoW) after an absence of about a year and a half.

BIG mistake. Games can be addictive.

Like stories.

I don’t know about you, but when I’m reading a suspenseful book I honestly can’t put it down. Yes, it’s a figure of speech in that no one has a cocked gun to my temple saying, “Read if you know what’s good for you. Read.” I keep saying to myself, “Just one more page” or “I’ll just finish this chapter.”

Uh huh. I read till the story is complete and fall asleep as the sun peeks over the horizon.

Games—certain games—are every bit as compelling as a suspenseful tale. Baldur’s Gate repeatedly kept me up way past anything resembling a normal bedtime and, lately, World of Warcraft has done the same.

But this isn’t a post about gaming addiction. No. It’s a post about how certain games—the games that have the ability to captivate me—have a similar structure to certain kinds of stories. And thus, perhaps, their appeal.

Gaming Structure vs Story Structure

Just as in a story we have the Initial Problem, in a video game (or video game segment) we have the Initial Plight. 

The Initial Plight

A stranger (and future hero) wanders into an isolated farming community that has a problem. 

This problem could be anything from cattle rustling to zombies, but lets say that the town is overrun with gigantic ladybugs. They’ve eaten all the farmers crops and now brazenly wander the aisles of the supermarket.

The Mayor fears that after finishing off all the Pringles (you can’t eat just one) that the gargantuan ladybugs will begin chowing down on the townspeople. The town expects him to fix things, and if he doesn’t he’s never going to be reelected—the town will be gone!

The Story Goal

The Mayor gives the stranger some weapons, asks him to please take care of things, and the hero walks into the supermarket to kick some Coccinellidae butt.

I’ve found that the first few quests of a game are pretty easy. This is similar to a story. In the beginning, despite what the hero might think, things are not so bad for him or her. They have it relatively easy—at least, compared to what’s in store for them! 

This is where we set up the world—in a game we’re also letting the user get familiar with how to move around in it. In both a story and a game the hero wanders around doing minor tasks, making both friends and enemies.

This is the beginning, the ‘getting to know the world’ phase. Pretty soon, though, we come across ...

The Real Problem

Our hero rids the supermarket of ladybugs but the next day they’re back. And now it’s not just ladybugs, now worms the size of a Buick wiggle down the street pursued by and a chicken so big it could feed a family for a year.

The mayor calls the hero over. “This is no good!” the mayor says, gesticulating wildly. “We keep killing the monsters but they just come back! We need to get to the bottom of things, see what’s causing this. And by ‘we’ I mean ‘you’!”

At this point the hero will talk to various townspeople, gather clues, be ambushed a couple of times, get into innumerable fights, until he/she  develops ...

The Plan

The hero decides they know what’s going on and devise a plan to end things. Often, the plan goes horribly wrong. The reasons for this vary. It could be that someone the hero trusts has sold her out. It could be just that she guessed wrong. Whatever it is, the hero is led into one last, final, battle with the odds stacked against her.

In a game this is going to be the toughest fight, one that a gamer (at least, if they’re me!) will have to re-load and take several runs at. (In an online game like WoW this would mean failing the quest, abandoning it and picking it up again from the quest-giver.) 

For instance, lets say that our hero discovers that the real danger to the ladybug infested town is Division X, a super secret branch of the government whose mission is to develop a cure for a particularly insidious disease. As a result, though, Dr. Iam Squicky stumbles onto the secret of everlasting life.

Unfortunately, there were a few accidents at the lab. The lab’s containment was breeched and, somehow, a unsuccessful batch of the formula had been released into the towns water supply. The ladybugs (worms, etc) were the first effected because of their size. Eventually, unless something is done, the same thing will happen to the human population!

When the hero informs the mayor of the fate that awaits every eligible voter in the town the small man nearly has a meltdown. “You have to do something!” he yells. “Name your price. Whatever it takes.” And then the hero goes off and handles things, defeating the Big Bad. At the end, the townspeople apologize for initially misjudging the hero and decide the town needs a new mayor. The End.

Of course that’s oversimplified. Normally the hero would have at least two allies, one of whom would be a bit shady. And there would be at least one enemy other than the Big Bad. And all these secondary characters would have their own, overlapping, story arcs.

So ...

- Initial problem.

- Initial problem is solved. 

- Hero rewarded.

- Deeper problem revealed, hero asked to help out again. Perhaps the hero needs persuasion this time.

- Hero investigates, talks to people, makes friends and enemies.

- Hero takes an initial run at the problem but only makes things worse.

- Dark night  of the soul. The townspeople blame him for their troubles, etc.

- Hero solves the problem, figures things out. He knows how to set things right, he just needs a couple of gadgets/spells/etc. 

- Final fight/showdown.

- Aftermath/cashing out the stakes.

Or something like that. :-)

If you’re a gamer and would like to share your impressions of your favorite game, what made it addictive for you, please do!

Till next time, happy writing (and gaming). 

Killing Your Darlings

Kill your darlings, kill your darlings, even when it breaks your egocentric little scribbler’s heart, kill your darlings. — Stephen King, On Writing

Let’s talk about murder: killing your darlings.

I’m editing my WIP. The first draft is written—it feels as though I’ve scrawled it in blood—and now I've started on the first, painful, edit.

 What do you think I’ve found right smack dab at the beginning of the second chapter? Yep, a darling.

Darlings are pieces of prose you’re inordinately fond of. Often, you think they constitute your best writing.  (And perhaps they do.) You just love them. But there’s a problem: they don’t further the story. To keep them you’d have to bend the story out of shape. (Or, as I like to think of it, “pretzelize it.”)

And that’s bad. That’s when I’ve got to go sharpen my knives.

To work me up to the task of cutting out this particular bit of prose, I went back to my writing bible. I think all writers have a writing bible. It’s not an actual bible of course, but it is a book that has helped me more than I could ever adequately express, it is a book that makes me glad I was (insane) lucky enough to want to be a writer.

I’m talking about Stephen King’s, “On Writing.” The book changed my life. Reading it, I felt as though some kindly master of the craft had taken time out of his day to sit down with me and pass along a few tips.

The Criterion

King believes that a writer “should use anything that improves the quality of your writing and doesn’t get in the way of your story.” 

That’s the criterion: Does it work? That is, does the story or technique please “at least some of the readers some of the time.”

King writes: 

“If it works, fine. If it doesn’t, toss it. Toss it even if you love it. Sir Arthur Quiller-Couch once said, ‘Murder your darlings,’ and he was right.”

As is so often the case, it is good advice that is agonizing to apply. 

I guess I better trudge along now and do what needs to be done. Now, where did I put that scalpel ...

Happy writing!

Getting Back Into The Groove

Hi folks! It’s been a while since my last post. Sorry about that. Turns out that I’m having a bit of trouble getting back into the old groove. 

Tomorrow I want to chat about killing your darlings, because I’ve been having trouble doing just that. 

Till then, good writing! 

A Bicycle, A Recycling Bin And A Tree: Oh my!

Just a quick note: Yesterday I was involved in a MINOR accident involving a bicycle, a recycling bin and an amazingly sturdy tree. I picked myself up and walked away. No broken bones, nothing sprained, no property damage to speak of; in fact, the only injury was to a tooth. 

* Sigh *

I’ll omit the gory details, but I spent yesterday afternoon getting emergency dental surgery. Thanks to modern pharmacology I am in no pain but the mental fog is ... well, the phrase “could cut it with a knife” comes to mind.

SO. I’m going to take it easy for the next few days, but I’ll be back on Monday or Tuesday of next week. Till then, good writing! 

Using Text-To-Voice Apps For Editing

I’ve been using a text-to-voice app for a few months now. When I load the dishwasher, dust, fold laundry, all the pesky little tasks of everyday life, tasks one can’t do while reading a story, I can now do while listening to one. It’s marvelous!

Lately, though, I’ve started to use a text-to-voice app for editing my first drafts and it has made me orders of magnitude more efficient. Why? Because I have a problem: I find it impossible to read my manuscript without diving in and changing it before I finish a complete read-through.

If you’re anything like me, that’s a mistake of mammoth proportions. 

I give myself (at least) a few months between completing a first draft and picking it up again for editing. That means—and this is the point of letting so much time pass—that I no longer hold the story in my head. Now I get to come back and, as much as possible, see it through the eyes of a stranger.

But it’s crucial for me to read the entire manuscript through before I begin making changes. Because, that’s right, chances are I’ve forgotten what exactly a particular scene is leading up to and if I cut it then I might very well just have to put it back in down the line. Which means I’ve wasted time and made the entire, painful, experience of editing that much more tedious.

The thing I love most about text-to-voice apps are that they let me listen to my story (I catch all manner of ticks and typos that way) and, at the same time, prevent me from changing the file. Because I can’t! The program I use doesn’t have that capability. Yes, I can take notes and highlight to my heart’s content, but I can’t edit the words.

That has been invaluable to me.

I thought I would mention my discovery here in case anyone else out there is like me and could benefit from 1) having their story read back to them while 2) being unable to change it.

Which is not to say that I don’t take copious pen and paper notes. I do! And that’s okay. After I finish listening to my first draft I’ll go through all my notes and type up the suggestions for changes I’m going to keep. 

And then the whole painful, wonderful, process of editing begins. But that’s a whole other post (I’ve written about editing here and here).

The Apps I Use

I’m sure there are many excellent text-to-voice programs out there. Here are a few I’ve used.

NaturalReader

I used to use NaturalReader, and would recommend it. But I needed an app that read ePub files and, the last time I checked, NaturalReader didn’t. 

VoiceOver (Mac Only)

Have you ever heard a computer generated voice breathe? If not, give Alex a listen. It makes him seem much more real, more human-like. Also, depending where a sentence is in a paragraph, Alex will read it differently. Very cool. You can give him a listen here. I use VoiceOver every day and love it. 

Voice Dream Reader

This is the app I use most often. A while ago the company came out with Voice Dream Writer, but I haven’t tried it yet, though it looks as though it could come in handy.

Well, that’s it! If you have a text-to-voice program or app you’d like to recommend, please leave a comment!

The Uncanny In Fiction

The uncanny “undoubtedly belongs to all that is terrible—to all that arouses dread and creeping horror ...” 

—Sigmund Freud

Have you ever had the feeling, upon waking, that your dream had followed you? Perhaps you woke, but a small panicked voice deep within you screamed you hadn’t, that it was still a dream, that ‘they’ were still out there, still coming to get you. That deep confused uneasiness, that sense of unreality, is one of the aspects of the uncanny; a feeling, a presentiment, that straddles the line between reality and unreality. [1]

In what follows I want to examine the various aspects of the uncanny as well as how the feeling might be elicited in readers.

The Uncanny: A Definition

Our word, “uncanny” comes from the German word, “unheimlich,” which means, more or less, “the opposite of what is familiar.” Or, rather, “a mixture of the familiar and unfamiliar that is experienced as being peculiar.” (The Uncanny, Wikipedia)

I prefer Sigmund Freud’s definition. In “The Uncanny” he wrote, “[...] the ‘uncanny’ is that class of the terrifying which leads back to something long known to us, once very familiar.” [2] To put it another way, it is the familiar which is, for whatever reason, kept out of sight. Hidden.

The Circumstances Of The Uncanny

Freud asks: Why is the uncanny frightening? Is it because it is the opposite of what is known and familiar? He didn’t think so and pointed out that just because something is new or unfamiliar does not automatically mean it is frightening. Something in addition to this is at play.

The Uncanny And The Familiar

The uncanny depends upon something, in Freud’s words, “strangely familiar,” something “which defeats our efforts to separate ourselves from it.”

The Familiar Evil

Another way of looking at the uncanny, another aspect of the feeling, is of something that ought to have remained hidden and secret but has, for whatever reason, become visible.

In this sense, the uncanny is the familiar evil. Freud writes: “on the one hand, it means that which is familiar and congenial, and on the other, that which is concealed and kept out of sight.” It is that which “ought to have remained hidden and secret, and yet comes to light.” [1]

Tsvetan Todorov: The Circumstances of the Uncanny

Todorov writes,

“The fantastic requires the fulfillment of three conditions. First, the text must oblige the reader to consider the world of the characters as a world of living persons and to hesitate between a natural and a supernatural explanation of the events described. Second, this hesitation may also be experienced by a character; thus the reader's role is so to speak entrusted to a character, and at the same time the hesitation is represented, it becomes one of the themes of the work--in the case of naive reading, the actual reader identifies himself with the character. Third, the reader must adopt a certain attitude with regard to the text: he will reject allegorical as well as "poetic" interpretations....” [3]

Let’s go through these conditions.

1. “the text must oblige the reader to consider the world of the characters as a world of living persons and to hesitate between a natural and a supernatural explanation of the events described.”

So ...

- The story world needs to be immersive.

- The story and story world must allow for two separate and opposite explanations, explanations which are equally plausible.

2. “this hesitation may also be experienced by a character; thus the reader's role is so to speak entrusted to a character, and at the same time the hesitation is represented, it becomes one of the themes of the work--in the case of naive reading, the actual reader identifies himself with the character.”

- The story needs to be told from the perspective of one of the characters in the story. This would seem to indicate either a close third person or first person point of view.

- The viewpoint character must not know whether what they experience is a dream or reality, whether they are mad or sane. In general, they must not know whether their experiences have a natural, or supernatural, explanation.

3. “the reader must adopt a certain attitude with regard to the text: he will reject allegorical as well as "poetic" interpretations....”

- I’m not one hundred percent sure what Todorov means here, but I think this is another reference to the fact that the reader must be led to suspend disbelief. The story itself must have a sense of reality, of consistency. It must have its own logic, even though that logic might be extremely strange and twisted.

⁃ When I read (3) I was reminded of the third movie in John Carpenter’s Apocalypse Trilogy, “In the Mouth of Madness.” In this movie, an homage to H.P. Lovecraft, humans are driven insane when they either finish reading a book called, you guessed it, “In the Mouth of Madness” or watch the movie of the same name. The idea is to convince the audience that by watching the movie or reading the book that they, too, will go insane. Through the use of a twisted kind of self-reference, the story reaches out to the reader and attempts to draw him or her into the horrific dreamworld of the story.

This isn’t a new idea, Robert W. Chambers employed it when he wrote, “The King in Yellow,” first published in 1895 (it can be downloaded from Project Gutenberg here). This book is a collection of short stories, many of which include mention of a book called “The King in Yellow.” Reading this book (the book within the book) was guaranteed to drive a person mad. Of course, the implication—the way the story reached out beyond itself and involved the reader—is that the reader, due to her having read the volume, will be condemned to madness just as the characters were.

Really, this is an amazing and special kind of story—one which warns the reader not to finish the story! 

Examples Of The Uncanny

Alive?

Doubt about whether a certain animate being is truly alive. (see: Uncanny Valley) Also, doubt about whether a certain inanimate being is truly not living.

Examples: Wax work figures, automatons, puppets, clowns.

The following passage has been often quoted in the literature. Freud writes:

“Jentsch says: ‘In telling a story, one of the most successful devices for easily creating uncanny effects is to leave the reader in uncertainty whether a particular figure in the story is a human being or an automaton; and to do it in such a way that his attention is not directly focused upon his uncertainty, so that he may not be urged to go into the matter and clear it up immediately, since that, as we have said, would quickly dissipate the peculiar emotional effect of the thing. [...]’”

Is this a dream? 

Doubt about whether one is dreaming or perhaps delirious, even insane, a doubt often brought on by a recurrence of “the same situations, things and events.”

Freud wrote:

“That factor which consists in a recurrence of the same situations, things and events, will perhaps not appeal to everyone as a source of uncanny feeling. From what I have observed, this phenomenon does undoubtedly [...] awaken an uncanny feeling, which recalls that sense of helplessness sometimes experienced in dreams. Once, as I was walking through the deserted streets of a provincial town in Italy which was strange to me, on a hot summer afternoon, I found myself in a quarter the character of which could not long remain in doubt. Nothing but painted women were to be seen at the windows of the small houses, and I hastened to leave the narrow street at the next turning. But after having wandered about for a while without being directed, I suddenly found myself  back in the same street, where my presence was now beginning to excite attention. I hurried away once more, but only to arrive yet a third time by devious paths in the same place. Now, however, a feeling overcame me which I can only describe as uncanny, and I was glad enough to abandon my exploratory walk and get straight back to the piazza I had left a short while before.” [2]

The double

Freud wrote:

“These themes are all concerned with the idea of a “double” in every shape and degree, with persons, therefore, who are to be considered identical by reason of looking alike; Hoffmann accentuates this relation by transferring mental processes from the one person to the other—what we should call telepathy—so that the one possesses knowledge, feeling and experience in common with the other, identifies himself with another person, so that his self becomes confounded, or the foreign self is substituted for his own—in other words, by doubling, dividing and interchanging the self. And finally there is the constant recurrence of similar situations, a same face, or character-trait, or twist of fortune, or a same crime, or even a same name recurring throughout several consecutive generations.” [2]

When I read this I thought of the book, The Stepford Wives by Ira Levin. Also the movie Pi, or The Number 23. 

Other instances of ‘the double’ are reflections in mirrors, shadows, guardian spirits and, arguably, the belief in the soul. [2]

That is a rather broad list, but it makes sense to me. Think of the many stories about staring into a mirror and repeating a name three times to summon an entity or of the myth that mirrors can be used as gateways. For example, Lewis Carroll’s “Through the Looking Glass”). 

Notes:

1. The Uncanny and the Fantastic.

2. “The Uncanny” by Sigmund Freud. 

3. Tsvetan Todorov, The Fantastic (Ithaca: Cornell UP, 1975), via web page: The Uncanny and the Fantastic.

Terror vs Horror In Gothic Fiction

I’ve been reading and writing Gothic stories all my life, though I didn’t always know that’s what they were.

As a girl I tore through Mary Stewart’s Gothic Romances and most recently I’ve been ensnared by Douglas Preston and Lincoln Child’s marvelous Pendergast series, an example of Southern Gothic.

I’m not going to lie, Gothic fiction is a big topic and perhaps I should start off with definitions and talk about how Gothic fiction differs from other sorts of fiction, and so on, but I’m not going to. Today I’m just going to dip my toe in the water and discuss what I think is an important and fruitful distinction in ANY kind of literature: terror vs horror.

Terror vs Horror: The Anticipated vs The Actual

In what follows I’m drawing from material I found on the university of Virginia’s servers. It came up in a Google search on “psychological overlay.” Here’s the link: Individual and Social Psychologies of the Gothic: Introduction.

Although terror and horror might appear superficially similar (terror is extreme fear and horror is defined as “an intense feeling of fear, shock or disgust”) one could argue—as Ann Radcliffe did in an 1826 essay—that ...

“[...] terror is characterized by ‘obscurity’ or indeterminacy in its treatment of potentially horrible events; it is this indeterminacy that leads the reader toward the sublime. Horror, in contrast, ‘nearly annihilates’ the reader's responsive capacity with its unambiguous displays of atrocity.” [1]

One gets the feeling Radcliffe would NOT have appreciated the 2004 movie Saw.

Echoing Radcliffe, Devendra Varma characterized the difference between “terror and horror as the difference between ‘awful apprehension and sickening realization,’ [...]”. Of terror she writes: “Sounds unexplained, sights indistinctly caught, dim shadows endowed with motion by the flicker of the firelight or the shimmer of the moonbeam invoke superstitious fear.” [2]

Horror, on the other hand, depends upon seeing the physical objects our fertile imaginations cast in a thousand shades of darkness. As Radcliffe put it, "the forms which float half-veiled in darkness afford a higher delight than the most distinct scenery the Sun can show." [3]

Summing up, Devendra P. Varma writes: 

“The difference between Terror and Horror is the difference between awful apprehension and sickening realization: between the smell of death and stumbling against a corpse. [...] Terror thus creates an intangible atmosphere of spiritual psychic dread, a certain superstitious shudder at the other world. Horror resorts to a cruder presentation of the macabre: by an exact portrayal of the physically horrible and revolting, against a far more terrible background of spiritual gloom and despair. Horror appeals to sheer dread and repulsion, by brooding upon the gloomy and the sinister, and lacerates the nerves by establishing actual cutaneous contact with the supernatural...” [2]

Another Perspective: Physical Ambiguity vs Moral And Psychological Ambiguity

While I’m personally convinced by the arguments put forward by Radcliffe and her modern ally, Varma, there is another way of looking at the distinction between the terrifying and the horrible. 

Robert Hume begins his critique by pointing out that Radcliffe’s technique, how she generates terror, is by using “dramatic suspension.” Which is another way of saying that Radcliffe “raises vague but unsettling possibilities and leaves them dangling for hundreds of pages.” (Where have I heard that technique used before? Lee Child.) Hume remarks that “Mrs. Radcliffe's easy manipulation of drawn-out suspense holds the reader's attention through long books with slight plots.” [4]

But, Hume says, terror isn’t the only game in town. Other writers hold the readers attention just as well and without aid of either suspense or dread, instead “they attack him frontally with events that shock or disturb him.” [4]

Rather than enumerating a labyrinth of possibilities that never materialize “they heap a succession of horrors upon the reader.” These sort of books gain much of their effect “from murder, torture, and rape.” [4]

Hume sums up his position: 

“The difference from terror-Gothic is considerable; Mrs. Radcliffe merely threatens these things, and Walpole uses violent death only at the beginning and end of his book. The reader is prepared for neither of these deaths, which serve only to catch the attention and to produce a climax, respectively.”

“[...] with the villain-heroes of horror-Gothic we enter the realm of the morally ambiguous. Ambrosio, Victor Frankenstein, and Melmoth are men of extraordinary capacity whom circumstance turns increasingly to evil purposes. They are not merely monsters [...]”

“To put the change from terror-Gothic to horror-Gothic in its simplest terms, the suspense of external circumstance is de- emphasized in favor of increasing psychological concern with moral ambiguity. The horror-Gothic writers [...] wrote for a reader who could say with Goethe that he had never heard of a crime which he could not imagine himself committing. The terror novel prepared the way for a fiction which though more overtly horrible is at the same time more serious and more profound.” [4]

The Appeal of Moral Ambiguity

Think of “The Silence of the Lambs,” either the book or the movie. That story was one in which the protagonist’s mentor, Hannibal Lecter (aka Hannibal the Cannibal) was a brutal serial killer. And, strangely, he was kinda, sorta, a good guy. Why? Because he helped stop another serial killer, Buffalo Bill, and because Hannibal only killed jerks. Buffalo Bill, on the other hand, killed without regard to the intrinsic characteristics of the victim; what they were like as people. Buffalo Bill’s victims were simply a means to an end. He was only interested in their exterior, their skin. 

For myself, one of the fascinating things about the universe Thomas Harris created was that he not only crafted a complex character like Hannibal Lecter but that he made me genuinely care about him, even root for him.

To Sum Up

Although a particular story could eschew horror and rely only upon suspense in order to create narrative drive, or vice versa, they (of course) work best together. That said, I thought it was interesting and possibly instructive to try an conceptually tease the two apart so as to meditate upon what is unique to each as well as how such feelings might be generated in readers.

That’s it for today! Thanks for reading.

Photo credit: Sketch by Edward Gorey.

Notes:

(All references are from “Terror and Horror.”)

1. Ann Radcliffe, "On the Supernatural in Poetry," The New Monthly Magazine (1826): 145-52.

2. Devendra P. Varma, The Gothic Flame (New York: Russell & Russell, 1966).

3. Ann Radcliffe, “The Mysteries of Udolpho.”

4. Robert Hume, "Gothic Versus Romantic: A Revaluation of the Gothic Novel," PMLA 84 (1969): pp. 282-290.

Part 8 of 8: CHANGE The World

This is the last post in my Dan Harmon series. To read the series from the beginning head on over to the first post: Dan Harmon on Story Structure. I’ve placed an index at the bottom of the page.

Onward! Our protagonist is almost the master of two worlds. They have conquered the Special World of the Adventure and now they must complete the circle and bring that knowledge, that expertise (the prize) back to their community in the Ordinary World. 

Part 8 - Master of Both Worlds

Dan Harmon writes: “the protagonist, on whatever scale, is now a world-altering ninja. They have been to the strange place, they have adapted to it, they have discovered true power and now they are back where they started, forever changed and forever capable of creating change. In a love story, they are able to love. In a Kung Fu story, they're able to Kung all of the Fu. In a slasher film, they can now slash the slasher.” (Story Structure 104: The Juicy Details)

The Climactic Showdown

This is what the story has been building up to, the confrontation, the showdown, between the protagonist and antagonist. What occurs here will determine whether the protagonist achieves his goal or fails miserably. Dan Harmon writes:

“In an action film, you're guaranteed a showdown here. In a courtroom drama, here comes the disruptive, sky-punching cross examination that leaves the murderer in a tearful confession.”

Christopher Vogler echoes this when he writes that, “the showdown is a distinct dramatic form with its own rules and conventions. (The Writer’s Journey)” Vogler goes on to enumerate some of these for a Western, but more general guidelines are given by Jim Butcher in his excellent article, Climaxes. 

Jim Butcher on Climaxes

When I sketched the outline for this post I didn’t intend to talk about Jim Butcher’s take on the structure of story climaxes—I was just going to include a link to his article—but it’s too good NOT to discuss.

JB writes that the climax has much the same structure as a sequel: Isolation, Confrontation, Dark Moment, Choice, Dramatic Reversal and, of course, Resolution. The climax begins just as the Great Swampy Middle Ends. I’m not going to explain these terms, if they aren’t familiar, head on over to Jim Butcher’s Livejournal account. I’ve gone into this in great and gory detail here: Jim Butcher On How To Write A Suspenseful Story Climax.

Mirroring: Completion

When the protagonist comes back to the ordinary world they often find their way back to the same bit of terra firma where the protagonist stood as he or she experienced a significant story transition—like, say, a cataclysmic setback. 

Mirroring can also be done with the use of sayings, some sort of tag line—or even a repeated behavior. Whatever is used, a familiar location or a character tag, now’s the time to put a twist on it. Now it has come to mean something else, something more.

Christopher Vogler writes:

“The most popular story design seems to be the circular or closed form, in which the narrative returns to its starting point. In this structure you might bring the hero literally full circle back to the location or world where she started. Perhaps the Return is circular in a visual or metaphoric way, with a replay of an initial image, or the repetition of a line of dialogue or situation from Act One. This is one way of tying up loose ends and making a story feel complete. The image or phrases may have acquired a new meaning now that the hero has completed the journey. The original statement of the theme may be re-evaluated at the Return. Many musical compositions return to an initial theme to rephrase it at the ending.” (The Writer’s Journey)

As Dan Harmon points out, “John McClane, who at step (1) was afraid of flying, now [in Part 7] wraps a fire hose around his waist and leaps off an exploding building, then shoots a giant window so he can kick through it with his bloody feet. / Strangely enough, he will soon [Part 8] find himself back in the same room where the Christmas party was being held.”

And so we’re brought full circle.

The Prize

Have you noticed that, often, the protagonist will receive something in Part 4—this could be an actual physical object or even just a realization, perhaps a profound one, about life and their place in it—and it is this very thing which will enable the protagonist to succeed in the final confrontation? Dan Harmon writes:

“One really neat trick is to remind the audience that the reason the protagonist is capable of such behavior is because of what happened down below. When in doubt, look at the opposite side of the circle. Surprise, surprise, the opposite of (8) is (4), the road of trials, where the hero was getting his shit together. Remember that zippo the bum gave him? It blocked the bullet! It's hack, but it's hack because it's worked a thousand times. Grab it, deconstruct it, create your own version. You didn't seem to have a problem with that formula when the stuttering guy (4) recited a perfect monologue (8) in Shakespeare in Love. It's all the same. [...] Why is this not Deus Ex Machina? Because we earned it (4)” (Story Structure 104)

And that’s it! I’ll close by mirroring something I said at the beginning of this series. If your story works, leave it alone! But if you feel there’s something the matter with it but you can’t figure out what, then it might be an idea to examine your story in the context of the hero’s journey. Bottom line: The hero’s journey is a tool. You can use it or not, but it’s a good thing to have in your toolbox. Just in case. 

Talk to you again next week, good writing!

Part 7: RETURN - Bringing The Prize Home

Today I continue my series on Dan Harmon’s Story Structure. The first article in the series is here. Unless otherwise noted, all quotations are from Dan Harmon’s article, Story Structure 104: The Juicy Details.

7. RETURN - Bringing It Home

To review: Our protagonist (YOU) had a NEED that drove (GO) her into the Special World of the Adventure. While adapting to the strangeness of the Special World she SEARCHed for what would fill her need. When she found it (FIND), she TOOK it and RETURNED to the Ordinary World where she can now, transformed as she is, CHANGE the world.

Today we will be looking at the protagonist’s journey, or flight, from the Special World of the Adventure back into the Ordinary World.

The Flight From The Special World

Dan Harmon writes:

“For some characters, this [the journey back] is as easy as hugging the scarecrow goodbye and waking up. For others, this is where the extraction team finally shows up and pulls them out—what Campbell calls "Rescue from Without." In an anecdote about having to change a flat tire in the rain, this could be the character getting back into his car.

“For others, not so easy, which is why Campbell also talks about ‘The Magic Flight.’”

It doesn’t have to take up a lot of space on the page, it doesn’t have to be death-defying (though it could be!), but at some point around 75% of the way through a story the protagonist begins her return to the community, the world, they left behind in Part 3.

The Pursuit

But, as we’ve seen before, nothing comes without a price. The protagonist had to give up something, strip herself of the inessentials, before the meeting with the goddess in Part 5. Further, the knowledge acquired in Part 5 necessitated, in Part 6, that the last of the scales fall from the protagonist’s eyes and she endure the pain and ecstasy of seeing the story world for what it was. Or, to change metaphors, it necessitated reading within the world the deep truth of the story. But this was the last straw, the last little bit of pain/change needed to complete the protagonist’s transformation.

It comes, then, as no surprise that the protagonist’s exit from the Special World likely won’t be easy. Dan Harmon writes:

“The denizens of the deep can't have people sauntering out of the basement any more than the people upstairs wanted you going down there in the first place. The natives of the conscious and unconscious worlds justify their actions however they want, but in the grand scheme, their goal is to keep the two worlds separate, which includes keeping people from seeing one and living to tell about it.” (Story Structure 104)

As such, this part of a story is generally active. By this time many protagonists have become comfortable in the Special World so it will take an active push from something in the underworld to get the protagonist to leave. Christopher Vogler writes:

“This is a time when the story’s energy, which my have ebbed a little in the quiet moments of Seizing the Sword [TAKE], is now revved up again. If we look at the Hero’s Journey as a circle with the beginning at the top, we are still down in the basement and it will take some push to get us back up into the light.” (The Writer’s Journey)

For example, Dan Harmon writes that ...

“This is a great place for a car chase. Or, in a love story, having realized what's important, the hero bursts out of his apartment onto the sidewalk. His lover's airplane leaves for Antartica in TEN MINUTES! John McClane, who at step (1) was afraid of flying, now wraps a fire hose around his waist and leaps off an exploding building, then shoots a giant window so he can kick through it with his bloody feet.”

Mirroring

One of the things I like most about Dan Harmon’s treatment of story structure are the all too infrequent asides he makes about mirroring, about the way one part of the story mirrors or builds upon another. 

In Part 1 storytellers introduce something the protagonist is frightened of, something that is a definite weakness. For instance, in Edge of Tomorrow (spoiler alert) the protagonist, Cage, is a coward. He would do anything, absolutely anything, rather than fight. So, of course, he spends the entire movie fighting! Around the midpoint he becomes a seasoned fighter. But he has a special gift, a special ability, that gives him an edge. Acquiring that special ability marks his entry into the Special World of the Adventure and losing it marks his exit. 

Not every protagonist has as clear cut a flaw as Cage, a flaw that drives forward the action of the story. Indiana Jones, for instance, has flaws aplenty but they don’t drive the story forward, at least, not in the same fashion. Of course, as Dan Harmon mentions, it doesn’t have to be quite that clear cut. In Die Hard we learn early on that John MacClane is afraid of flying and then, in the RETURN portion of the movie, he overcomes that fear—or at least learns to master it—with dramatic effect.

That’s it! That’s it for today and it’s almost it for the series. Next time I’ll discuss the last step in the protagonist’s heroic transformation. Tell then, good reading and writing.