Holding out for a heroine.

If you are the crazy sort like I am, storytelling is about symbolically integrating the full spectrum of one's personalities into a whole where even the more unpleasant aspects of one's self is understood. I use "Heroine" interchangeably with the term antagonist - the one who starts the action.

The heroine/main character/antagonist has a number of jobs in a story.

First, she is who the audience will identify with. She is the gateway into the story, the one whose motivations and feelings we can understand.

Her second task is to show growth and learning. The heroine is the one who learns the most in the course of the story.

Third, she drives the action, learning how to be in control of her destiny. She takes the most risk of anyone in the story.

She is willing to sacrifice in order to learn or protect. Sacrifice ties in with a death or a death experience. These are often misunderstood as facing a literal death (which is highly effective but can be overplayed). She might let go of cherished beliefs, unbreakable habits, and or a past that holds her back.

From here, you are only limited by your imagination on who this heroine is. She can be a loner, more social, an innocent, orphan, wanderer, waif, or whatever. Once you know her functions in the story, you can write with more passion and confidence.

Archetypes: The Sage.

Finally, we have reached the last Queen Archetype from the Mopop Queen Within exhibition! She is The Sage, and what a wonderful woman to finish with.

 She's the thinker, planner, risk-taker, and philosopher in all of us. She has wisdom, intelligence, and self-reflection and uses these powers to understand the world.

Her biggest fears are being ignored or tricked by others. This can lead to her weakness, which is the seductive lure of never-ending research.

The Sage cares about the environment and wants sustainable fabrics. Her clothing invites inquiry.

 What do you wear to invoke The Sage? What makes you feel wise and able to take risks?

Archetypes: The Enchantress

We are at our second-to-last archetype from the MoPop A Queen Within: Adorned Archetypes exhibition. This one is The Enchantress.

 She's the familiar seductress, vamp, and femme fatale (whose sexuality is defined in terms of her interactions with men) but also a sensualist and enthusiast. Her strengths are passion, wit, spiritual and bodily appeal. She mesmerizes but also can manipulate.

She wears clothes that entice. She is symbolized by her direct and sensual gaze, her loose hair or fabulous wigs, red lips, feathers, teeth, and flowers.

What are your favorite Enchantress outfits? What symbolizes women's sensuality to you?

Archetypes: The Explorer

In my June 26th blog post, I introduced us to the Museum of Pop Culture's Queen Within show. Today, we will explore the second archetype they discuss - the Explorer.

 She is a pioneer, adventurer, and a rebel. She's all over challenges and rejects authority. Her strengths are determination and independence, and her fears are conventionality, inner emptiness and boredom.

In this exhibit, the Explorer woman rebelled against the rigid framework of beauty and consumerism. She wore clothes that paid attention to issues of gender, race, and disability.

She is symbolized by the planets, the moon, the egg, the night, and the turtle.

What do you wear that expresses your inner Explorer? What makes you feel strong and determined?

Archetypes: The Heroine

I've  been talking about the brilliant Queen Within exhibit at MoPop in Seattle. (here)

The third Archetype we visited was The Heroine. She's a warrior and soldier. She's strongly moral and embraces challenges, especially the thrill of the chase. She's a hard worker, especially in her relationships, but can get addicted to emotional drama.

Her greatest fears are weakness, softness, and cowardice. Her tenacity, strength, and mental resolve are symbolized by the chess queen (the most powerful piece on the board), pearls, gloves, rare stones, the spear, the Mantua, and also body parts such as ears, eyes, and hands.

Feed your head! (apologies to Jefferson Airplane): The Thespian

Earlier this month, I went to the Museum of Pop Culture in Seattle, Washington. An amazing exhibit called A Queen Within: Adorned Archetypes completely blew my mind. It is an exhibition organized by Barrett Barrera Projects and curated by MUSEEA. You can see its Pinterest Board here.

I've discussed Archetypes before (see here, here, and here, for starters). Usually for women, our archetypes are tri-fold (Mother, Maiden, Crone), or limited in power (Waif, Seductress, Nurturer). The exhibit showed me new archetypes for my female characters.

I was so thrilled that I'm going to do a several part series on this show! Let's begin.

The first archetype we meet in the show is The Thespian. According to the words in the show, she is "an actress, entertainer, dramatist, or comedian. She loves to amuse others and enjoys the drama of life....Her greatest fear is to be constricted by routine, so she tends to dismiss the mundane aspects of life."

She is symbolized by extravagance and a vivid palette, as well as images of the earth, the labyrinth, the crane, the bear, water, greyhounds, peacocks, pelicans, and the phoenix.

Who do you know has aspects of the Thespian? What clothes do you own that makes you feel extravagant and vivid?

Blast from the Past: Playing with the Tarot

Back on December 12 of 2013, I did a cool blog post about creating my mission statement. And I liked this post so much, I thought I'd re-run it!

*****

 There is something about the winter season that makes me want to hermit up. I decided I might as well roll with it, so this morning, I did a  Tarot spread.

 My deck is the Visconti-Sforza deck, a 15th century deck, and one that I find the most beautiful.

I'm not a big Tarot chick - I find it a fun way to play with brainstorming, dream up psychological insights, and of course, work on archetypes. 

I found a spread called Create a Vision Statement in Barbara Moore's book, Tarot Spreads.
Super fun!

The spread looks like this: 

2     3

   1

4     5

Position One is who you are, Two is what you do, Three is how you do it, Four is who you do it for, and Five is the benefits to your clients/audience. 

And this is my very cool mission statement!

I discover and bring to life bold stories of adventure and passion for lovers and dreamers so we can create options for a better world. 

 *happy dances*

What is *your* mission statement?

(I drew the Eight of Wands, the Knight of Wands, the King of Wands, Two of Cups, and the Nine of Cups, if you are curious)l

Ten Awesome People: The Lunch Project with Kenneth Branagh

The third person on my Lunch Project is the ridiculously talented Kenneth Branagh.

I first saw him in his version of Henry V, released in 1989. I have always loved Shakespeare, but this version was something completely mind blowing! Fast, passionate, relentless - at no point did he let the weight of the "Shakespeare Mystique" drag down the pace. I have been a fan ever since (not rabid, because I'm not crazy that way).

I want to pick his writer and director brain. I'm fascinated with pace and brilliant characterization. I want to know what he's learned about storytelling in his years of work.

What is your favorite Kenneth Branagh work?

Playing with the Tarot

*blows dust off of blog* *cough choke*

Sorry it's been so long, everyone. There is something about the winter season that makes me want to hermit up. I decided I might as well roll with it, so this morning, I did a cool Tarot spread.

 My deck is the Visconti-Sforza deck, a 15th century deck, and one that I find the most beautiful.

I'm not a big Tarot chick - I find it a fun way to play with brainstorming, dream up psychological insights, and of course, work on archetypes. 

I found a spread called Create a Vision Statement in Barbara Moore's book, Tarot Spreads.
Super fun!

The spread looks like this: 

2     3

   1

4     5

Position One is who you are, Two is what you do, Three is how you do it, Four is who you do it for, and Five is the benefits to your clients/audience. 

And this is my very cool mission statement!

I discover and bring to life bold stories of adventure and passion for lovers and dreamers so we can create options for a better world. 

 *happy dances*

What is *your* mission statement?

(I drew the Eight of Wands, the Knight of Wands, the King of Wands, Two of Cups, and the Nine of Cups, if you are curious)l

Vampires in Literature

My favorite vampire in literature (other than my very own Valerie Tate, if I may be so immodest), is Joseph Le Fanu's Carmilla.

In the story, Carmilla befriends the lonely, isolated Laura.  In true romance fashion, Carmilla recognizes Laura as a friend from a dream they had shared at six years old.

 In the older style Harlequin stories, the shy heroine is drawn to a handsome, brooding, moody hero. In this story, Laura is drawn to Carmilla's beauty.  Carmilla herself is moody and passionate. There is much foreplay, snuggling,  and Laura braiding and playing with Carmilla's hair. Carmilla herself goes from an engaging young woman to a determined lover pressing her suit with kisses on Laura's cheeks and claiming that Laura is *hers*.

"Darling, darling," [Carmilla] murmured. "I live in you and you would die for me. I love you so."

The pursuer overcome with possessiveness and extreme displays of desire is still a common motif in modern romance novels.

In true Victorian fashion, Laura, virginal, pure, and close to her protective father, begins to exhibit unusual behavior, such as exhaustion and restlessness and meloncholy. Common behaviors for someone in the throes of first love.

The father and the other male researcher refuse to share their suspicions with Laura, leaving her helpless in the face of Carmilla's desire for both blood and love.


And, as is usual in literature, the passionate and sexual Carmilla is revealed to be a perversion and executed.

Laura, 'safe' after her exposure to independence, is restored to her virginal state and returns to her remote home under her father's protection. But a hero can never truly return to who she was before her experiences. She still remembers the sound of Carmilla's steps on the drawing room floor.

Blast from the past.

Here's a  post from December 2009. Yeah, I've been here a while now!

***

Gilgamesh and Enkidu

The most powerful myths are about extremity. They force us to go beyond our experience. There are moments when we all, in one way or another, have to go to place we have never seen, and do what we have never done before. (p. 3)

Bernini's Apollo and Daphne

[Myth] enables us to place our lives in a larger setting that reveals an underlying pattern and gives us a sense that against all the depressive and chaotic evidence to the contrary, life had meaning and value.

A Short History of Myth by Karen Armstrong.

Blast from the Past.

Note: I am currently at the Romance Writers of America National Conference. While I'm gone, I'm reposting some of my older blog entries. This one is about how writers figure out their characters.




Every writer finds ways to make her characters three-dimensional and interesting. We fill out character sheets, brainstorm via longhand in cheap (or expensive, depending on your personality) notebooks, post pictures of what we think they look like - the list goes on and on.

Archetypes or stock characters are fantastic starting places. Often people get quite upset about these ideas, claiming that using them leads to one-dimensional characters or stereotyping. In the hands of a writer who isn't paying attention, yes. That can happen. I really like the way Christopher Vogler puts it in The Writer's Journey:

Looking at the archetypes....as flexible character functions rather than rigid character types, can liberate your storytelling. It explains how a character in a story can manifest the qualities of more than one archetype.

Every good story reflects the total human story, the universal human condition of being born into the world, growing, learning, struggling to become an individual, and dying. Stories can be read as metaphors for the general human situation, with characters who embody universal...qualities, comprehensible to the group as well as the individual. (pgs. 30-33)

Here are just a few archetype systems that writers I know use.

Joseph Campbell

Joseph Campbell's breakdowns which includes categories such as Hero, Mentor, Threshold Guardian, Herald, Shapeshifter, Shadow, and Trickster.

Visconti-Sforza Tarot.

The Tarot- Which has the advantage of very pretty art in addition to helping figure out character traits.

Astrological signs (a perennial favorite)


Gods and Goddesses of various pantheons (I have a weakness for the Greeks, but I've found inspiration in other religions, too)






I'll be getting into these ideas into great depth in later posts. Let me know if you want me to go into the whole Jung/Joseph Campbell origins of modern thought on archetypes. It's fascinating and I love it, but I can be long winded about it.

Heroines and what they look like.

This past Christmas, I was thrilled to receive the complete Wonder Woman series, starring Lynda Carter. I could barely contain myself. Would the show hold up after thirty years? Would I still feel as strong and inspired as I did when I was in single digits?

The answer was a resounding YES. The show was full of women running, jumping, stopping bullets, and forcing airplanes to the ground. It made me feel fierce.

It was a wonderful revelation, for I had quit reading comics during the resurgence of comics in the 1990s. Rob Liefeld was the wonderchild of the medium. He and a slew of fans drew a bunch of women who looked like this:

Imagine page after page filled with women with no internal organs, horrifying wedgies, and thigh pouches. I kid you not. 

And being a feminist, I would point this trend out to my friends and they would tell me not to be so sensitive. So I quit, missing out on my tales of heroic women who could travel to the moon, turn invisible, stop rampaging monsters, and conquer their fears.

Imagine my joy when I discovered the current crop of feminists, both men and women who found these images tedious and tiring. They have retorted to the industry with wit, charm, and parodies that left me in stitches.

For your amusement and edification, I present a list of favorite links on how women are portrayed in popular media.

First, no discussion of comics is complete without Gail Simone's revolutionary Women in Refrigerators.

Now, in no particular order:

The Hawkeye Initiative:  A blog with Clint "Hawkeye" Barton being placed in the same provocative, female poses that are featured in superhero comics.

Escher Girls:  This is a blog to archive and showcase the prevalence of certain ways women are depicted in illustrated pop media, specifically how women are posed, drawn, distorted, and sexualized out of context, often in ridiculous, impossible or disturbing ways that sacrifice storytelling.

Author Jim Hines often parodies the cover art of science fiction/fantasy novels. You gotta love a guy who willingly puts himself in this position.

The aptly named Boobs Don't Work That Way.

The very necessary Racebending.com.

 The superfantastic CounterPunch section at Girl-Wonder.org. This section shows us just what comic book covers would look like if the heroes were as objectified as the women. Subtitled "Turning the tables on Frank Miller's depictions of women."


I hope these links and fun websites will make you want to write, draw, and create interesting art and strong characters.

"Excelsior!"

Dracula's Secret, Blood Wings #1
Dracula's Desires, Blood Wings #2
Dracula Unleashed, Blood Wings #3, to be released March 21, 2013

Character Creation, part two

(Previous post here)

Now you have have some (more or less) randomly generated numbers. You are ready to start building your character's basic attributes.

More or less random numbers

Get another piece of paper and right down these  six TLAs:

Weird three letter acronyms

STR  (Strenght) This denotes how much your character can carry and (obviously) how much physical strength they have.

DEX (Dexterity) refers to reflexes, balance, and flexibility. A Cirque du Soliel performer would have a DEX of 18 (the highest number you can get). An average person would be around 9.

CON (Constitution) tells you how much stamina this imaginary person has. It includes their ability to recover from stress or injury.

INT (Intelligence) is a measure of learning and reasoning skill. An example of intelligence in action is how quickly this character learns languages.

WIS (Wisdom) is different from intelligence in that it denotes a person's willpower, awareness, common sense, and intuition.

CHA (Charisma) refers to the ability to lead, their personality, appearance, and skill at diplomacy.


Then place those random numbers randomly on your characteristics.

This character is moderately strong, pretty flexible, smart enough to get into trouble, and likes to lead.

For a person with this kind of dexterity, I would most likely make them a cat-burglar in training, or perhaps a business owner who likes to tumble in their free time.

See how you can get a wide variety of ideas from six simple attributes?

Roll some dice and have some fun! That's why we write, after all. :)

Character Creation

I'm always looking for ways to stimulate my brain. This past weekend, I got a wonderful shot of creativity from an unexpected source.

For the first time in nearly twenty years, I joined a game based on Dungeons and Dragons. Yep, that old role playing game (RPG) that we used to fear would lead the youth of our nation into devil worship.

In actuality, RPGs are an adventure in shared, co-operative story telling. Any author who has co-written a story can tell of the joys of creating a world and quirky characters with another person. I got to have that fun with seven other bright, intelligent, fun people.

Every story starts with a character or eight. Someone with various strengths and weaknesses who gets challenged to push herself. How she reacts to those challenges depend a great deal on her personality traits. Fortunately, RPGs give you a wonderful way to discover those personalities.

Of course, we usually use archetypes (here) or GMC (here). But why not try some thing a little koo-koo crazy?

First, get yourself four six sided dice.

Then, roll your dice.

Remove the lowest number from the cluster.

Add up the remaining dice and write that number down. Do that six times.

Next time - what to do with those numbers!

When you are a writer, you never stop working.

Even though I've turned in my manuscript and I'm ostensibly taking this week off, I'm still working. I've started brainstorming on Book Three, for example. Most of all, I'm feeding my head.

Ok, I'll admit it, the manicure/pedicure and eyebrow wax today had nothing to do with work, but what I did after was very important.

I went to the Mark Rothko exhibit at the Portland Art Museum.
I'm a huge fan of Rothko's later works - his well known paintings of enormous blocks of luminous colors. So it was a treat to see his earlier works and to explore his fascination with myth, archetypes, and darker colors. 

If you'd like to know more about Mark Rothko, go on over to his page on Artsy.net, right here.

Tomorrow, I'm going to talk about the other exhibit I saw - the completely unexpected dark whimsy of John Frame.

Fantasies for all: Part three

Hello again! I'm back and ready to write again. It's time to return to my characters' sexual fantasies and see what they reveal.

My Mentor character is Celeste Barros. She is  flamboyant and sexual, as well as a sorceress of great power. I based her on Mae West in She Done Him Wrong.  Love of diamonds included. :)

Celeste's Anytime, Anything, Anywhere Fantasy: At one point, Celeste lost her great love, a man named Henry. She would give anything to make love to her beloved Henry again. This fantasy keeps her safe from finding and losing love again, but - it makes her vulnerable to the bad guy's machinations!

Her With Conditions Fantasy: She wants to be deeply entwined with someone she loves, but she would only do it with the condition that she never lose love again.

Her In Fantasy Only Fantasy: She kept throwing all sorts of cheeky ideas at me, such as making love on a luxuriously decorated stage while Brian May played a guitar solo. Which sounded really hot to me, but I knew she was trying to distract me from her deepest secrets. So I persevered in learning about her. Celeste finally gave up the goods.

Fittingly enough, it incorporated her exhibitionist tendencies along with her tender heart. Her inner fantasy is to have a household of lovers around her, keeping her warm, loved, and sexually satisfied.

Here's to seeing if I can find a way to give Celeste what she needs!

Story Basics Part IV: The Herald Archetype

I've written about big penises, Turkey, Muses, and International Woman's Day.  I figure now is a good time to get back on my subject of Archetypes and how they are used in literature.

When I think of the Herald, I think of the character Mountjoy in Henry V. Mountjoy is the carrier of news and challenges. His appearance means things are about to change, that a new energy is going to shake up the Hero's life. This archetype is so important that the God Mercury (Hermes in Greek mythology) was the Deity of messengers.

(I obviously have a weakness for the Herald archetype ;).

The Herald announces the need for change (also known as The Call to Adventure) and provides motivation. This role is not always filled by a person, but can be a wonderful character when it is, especially if the Herald is mixed in with another archetype. Often, the Herald is filled by inanimate objects; hurricanes and storms, a telegram, phone call, or television broadcast, perhaps a letter. Sometimes a Herald is negative, a message from the antagonist. The Herald can be also be positive or neutral.

Story Basics Part IV: The Threshold Guardian

Fu dogs are an excellent example of Threshold Guardians.

One of my favorite archetypes is the Threshold Guardian. The Guardian serves as a challenge to the hero, a test for her to prove her worthiness and her resolve to continue her course of action.

In both real life and in a story, the Threshold Guardian

represents the ordinary obstacles we all face in the world around us: bad weather, bad luck, prejudice, oppression, or hostile people....But on a deeper psychological level, they stand for our internal demons; the neuroses, emotional scars, vices, dependencies, and self limitations that hold back our growth and progress. It seems that every time you try to make a major change in your life, these inner demons rise up to their full force, not necessarily to stop you, but to test if you are really determined to accept the challenge of change. (Vogler, The Writer's Journey, p. 58)

In a story, the Guardian is the antagonist's head of security, the Sphinx and her riddle, the army of the Wicked Witch in the Wizard of OZ, bouncers, doormen, entrance exams. A hero and a person must learn how to deal with these tests. You can run, attack it head on, use deceit, bribe or appease the Guardian, or make an ally of them.

Again, Vogler:

Successful heroes learn to recognize Threshold Guardians not as threatening enemies, but as useful allies and early indicators that new power of success is coming. (p. 59)

Think of who or what has been a Threshold Guardian for you. How did this energy show you what you had to do?

Story Basics Part IV: Archetypes, not Straightjackets

A note as I go along with this series. The best way to think of an archetype is a role that a character plays, not as a description of who they are.

Some examples:

Obi-Wan Kenobi is considered the classic example of a Mentor. He shows Luke what he could be and how to get there.

But he does not stay in the Mentor all the time. The emotionally powerful scene where he confronts Darth Vader is created when he steps into the Hero role. He is moving the action in that scene, not merely instructing or demonstrating things to Luke. When a character shifts archetypes for a scene, the stakes go up. No matter how many times I see Star Wars, I cry when Obi-Wan is defeated in the light saber scene.  This intense emotional reaction comes from him changing his role in the movie.

A second reason to think of the archetype as a role and not a personal characteristic is this creates a fuller, more interesting character in your story. If your Mentor just sits around dispensing wisdom and pithy comments all the time, well....Ok, let's face it. That is boring.

If your character delves into a new archetype, they are suddenly deeper, truer, more emotionally resonant people. Don't think of archetypes as limiters.

They exist to liberate your creation.