TECH: Above Cupid's Arrows

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Original posting 15 January 2009

Goddesses for Romance

Writer's Digest, March 2005, pages 52 and 53 have an article by Michele R. Bardsley with the title "Women Rule" and the suggestion that if you "want to create modern-day romance heroines? Let the goddesses be your guide."

"Thousands of years before the first romance novel graced the bookshelf, Greek bards spun stories of strong women -- goddesses, no less -- fighting for a place in the world. They created love stories that would ensure their immortality. In these archetypes of ancient females, we find the seeds for modern-day heroines."

However, Michele points out that romance novels reflect their times. A 2002 survey said that readers' top three favorite traits for heroines were intelligence, strength of character, and attractiveness. Modern romance heroines tend to be independent, opinionated, tough and sexy. As a guideline, Michele suggests using the three archetypes of Hera, Hestia, and Athena.

The Alpha heroine is Hera, queen of the gods and patron goddess of marriage. Strongly protective, acting on principle, and tends to be seen as overbearing or arrogant.

The Beta heroine is Hestia, goddess of hearth and home. Gentle, forgiving, willing to sacrifice for the happiness of others. Here's the complement to Hera, depending on feelings, empathetic.

The Gamma heroine is Athena, goddess of wisdom, military victory, and crafts. Independent, creative, a thinker. Athena bridges or combines characteristics of the alpha and beta.

Incidentally, Michele points out that in 2003, romance novels made up 48.8% of the paperback fiction sold in America. That's a big market!

"The love story, in all its forms, will always evolve and proliferate. Using the goddess blueprints given to us by the ancient Greeks, the romance heroine will continue to epitomize intelligence, strength, beauty -- and kick-ass attitude."

It's kind of interesting. Michele describes each heroine in terms of strengths (Eros' arrows), weaknesses (Achilles' heel), and sexual tactics (Aphrodite's bedroom rating). She also suggests several possible careers, and examples from fiction. Strengths and faults I'm used to thinking about, but the bedroom rating is a new one for me.

An obvious exercise is to go through your work in progress looking at the female characters. Which of the three archetypes is each one closest to? Does it help to strengthen their differences? Can you build a conflict between an alpha and beta? Is there a gamma who can come in and help with the process?

Another thought is to take a look at those old myths and pick out a group of goddesses that you like. How do these help you in shaping your female characters? Can you see echoes of the conflicts of the gods?

Deus ex machina -- but what if there is no machine in the wings? Just keep cranking!

TECH: Men In Black Hats?

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Original posting 19 January 2009

Making the Bad Guy Human

Writers Digest, August 2005, pages 20 and 21, in the Fiction Essentials column by James Scott Bell, discusses the need to make the antagonist -- the villain -- a real person.

"Fiction readers thrive on danger. They want to see your protagonist challenged, threatened or uneasy. Sure, there's pleasure in vivid prose. But sooner or later (preferably, sooner) your protagonist must be opposed, or the story starts to drag." And, of course, most opposition comes from bad guys -- strong opponents. Sometimes the opposition is simply through competition, or through some difference of opinion. But in most cases, the opposition is someone "who operates from a negative set of values." A guy in a black hat -- but you need to make him a well-rounded, realistic character.

1. What makes bad guys run? Don't just blame it on the evil. Get to know your bad guy, including whatever is positive. And in particular, what drives them. "A bad guy ought to be competent. He gets results. If he doesn't, he's not threatening." Think about how many real villains have a certain charm to them, and how that adds to the horror.
2. The Sympathy Factor. Bell quotes Dean Koontz, "the best villains are those that evoke pity and sometimes even genuine sympathy as well as terror." Bell suggests thinking through your villain's life this way. First, think about what they look like. It's okay if this is a stereotyped person. Second, think about their objective. What is it that they are trying to do or achieve that brings them into conflict with the main character? Remember that from their point of view, they are the hero of their story. Third, dig into their motivation. Why do they want this? Why are they obsessed with it? What is pushing, driving, exciting and tempting them? Fourth, think about a sympathetic background for your villain. Bell likes to use a major turning point in their childhood, a powerful secret that can be revealed late in the story. Perhaps the key here is that you need to know your villain deeply.
3. Digging deeper. Still not quite sure you know who this villain is? Try these questions to help you understand the opposition:

• What are his talents? How do these talents help him get what he wants?
• What do people like about him? What admirable qualities does he have?
• What do other characters think about him?
• Why are people drawn to him, what fascination does he offer the reader?

Think about making your villain complex and memorable. Not just a mustache-twirling desperado tying heroines onto railroad tracks and pushing the hero towards the edge of the cliff, but a real person who likes their coffee black.

Exercise? Take your work in progress, and identify the opposition. Do you know where they are headed, what drives them, and their background? Will readers understand, even if they can't forgive and forget, why this person opposes your hero? Where can you add some dialogue, some action, or other bits to help the reader see the opposition as a human?

And for the enhanced version -- turn your story over? What if the antagonist were telling the story? Switch the points of view, and tell us what happens when the Big Bad Wolf gets cheated by those nasty little pigs.

Make sure that everyone in your stories is a real person, not just a cardboard puppet being manipulated by the author.

And beer for my horses . . .