writercises | Entries tagged with archetypes

Original Posting July 21, 2018

I got a copy of Story: Substance, Structure, Style, and the Principles of Screenwriting by Robert McKee recently, and since I want to read it, I thought maybe I’d do it as a read along, read a bit, scribble some comments and thoughts, and then repeat. If you want to, pick up a copy at Amazon or your local book pusher, and follow along. Heck, you can even read ahead if you want to. Feel free to comment, too!

Start at the beginning, right? So... Part 1 has the title The Writer and the Art of Story. The introduction starts off with a medley of short admonitions. For example, the very first one is simple.

Story is about principles, not rules.

Then he expands on that, explaining that rules say something must be done a certain way, while principles just say this works... the difference is in whether you are just obeying rules, or whether you are mastering a form.

By the way, I’m pretty sure Story here refers to his book, although you can have some fun reading it as talking about story in stories, too.

Rules, you have to do it this way, almost invites someone to break them, and forces everything into a straight jacket, a rigid form. Principles... hey, if you do it like this, it works! If you figure out another way that works, that’s dynamite, but... feel free to try this one, because it does this...

The second one is...

Story is about eternal, universal forms, not formulas.

Hum. This time, he starts right out by labeling paradigms and foolproof story models as nonsense. Lots of successful story designs out there! But no prototype, no surefire recipe, no reheating leftovers...

Third?

Story is about archetypes, not stereotypes.

“The archetypal story unearths a universally human experience, then wraps itself inside a unique, cultural-specific expression.”

Compare that with a stereotypical story, that is poor in both content and form. A narrow, culture-specific experience dressed in stale, nonspecific generalities. Whoops!

Archetypal stories start with a world, specifics, that we do not know. The ordinary, yet extraordinary. And inside that brave new world, we find... our own reflection. We find life, we stretch our own experience, we flex our emotions!

Poof! That’s rich stuff. Principles, not rules. Forms, not formulas. And archetypes, not stereotypes.

Something to chew on, I think. For one thing, that tendency to want a rule, a surefire formula, and simple generic stories instead of having to delve so deep...

Okay? That’s page 5 of 468, according to Kindle. So about one percent down, 99 to go?

mbarker

Original Posting Aug. 4, 2017

Writer's Digest, March 1999, on pages 26-29 and page 51, has an article by J. V. Jones with the title "Once Upon a Character." The subheading points out "If you can master the magic of making sorcerers, giants and elves seem real to readers, no genre-fiction characters will be beyond you." Now there's a challenge!

Jones starts out by suggesting that you've done your background – research, a map, trying out swords, and you're ready to write… So your protagonist runs into a band of evil dwarves! And the start of that wonderful process of bringing together the companions is on. But… All too often, that mixed bag of companions is more like a bunch of carbon copies of every fantasy trope. So how do you make them complex, surprising, unforgettable characters?

Genre fiction often is full of stereotypes. But how can you do better?

1. Names!

Jones recommends getting a name that really fits. Not something unpronounceable. Something that throws light on the character. "A well-chosen name can evoke images and feelings in readers minds before the character even walks on stage."

Also, help the readers keep your characters straight. Large casts? Well, you can use their appearance to some extent, but let's face it, that's not that easy to remember. Memorable physical traits and appearances? Pick out one thing and make it memorable!

2. The Dwarf Is in the Details

Physical characteristics are useful, but you may need to go beyond that. Enticing, exotic details described in a way that makes them stick in our head. Clothing, weaponry, manners of speaking, dialect… One of the great things about fantasy is you can use all of these details.

3. Play against archetype!

Inside someone's head, using the POV, you get to show us just what makes that character work. But, don't overplay your hand. Make sure that the reader can identify with the character. Even archetypes are humans, too. Faults, foibles, failings. Consider breaking traditions. Oh, and Jones also gives us a sidebar suggesting that you may want to avoid these cliché figures:

– The firebreathing religious leader determined to squelch new ideas.
– The evil corporate chief who cares nothing for the environment slashes employees/inhabitants of the nearest star system.
– The scientist who can't see the danger his project poses.
– The brave but mysterious adventurer who turns out to be a long-lost noble.
– The misunderstood visitor who needs help to return home.
– The bloodthirsty military leader for whom the ends justify the means.
– The especially stupid authority figure who will not listen to reason and will botch every decision, thereby causing all the problems of the story.
– The thoughtless "good" King/leader who listens to stupid authority figures.
– The evil overlord who is pure evil.
– The has-a-good-heart-and-knows-what's-right-but-is-sadly-misunderstood younger sibling.
– Anyone astoundingly beautiful.

4. A good first impression.

With a good name, distinguishing characteristics, enough contradictions in personality to feel real, you come to the first appearance. When your character comes on stage for the first time, make sure that the reader gets a strong impression of the new character. "How can I present him/her in such a way as to make him/her interesting?" Book the readers, leave them wanting to read more about this character. Give them some good lines.

5. And of course, actions speak louder…

Name, faults, irrational fears and idiosyncrasies. Introduced in a memorable way. And action! Give the character something remarkable to do.

"That is the essence of a memorable character: human fears and human longings, and actions that rise above both."

There you go. So make those characters sing! Or swing their swords, or whatever.

Practice? Take something you are working on, and pick out a major character. Make sure you have a great name, distinguishing characteristics, a real personality, that first appearance that makes us want to know more about that person, and, of course, great actions. So make your characters work!

tink

mbarker.livejournal.com

Original Posting March 28, 2016

Over here http://www.schlockmercenary.com/blog/the-twelve-archetypes/ Howard Tayler, of Schlock Mercenary fame, talked about an odd encounter that one of his writing chums had at a conference. Apparently they were challenged by someone pushing writing tutorials about whether or not they knew The Twelve Archetypes (which I assume must be capitalized, and probably enunciated in hushed tones, as if referring to the 12 apostles or some other rulers of the universe?).

Anyway, Howard had fun with trying to match up the 12 archetypes with some regular names, in the attempt to come up with a mnemonic (a memory device) so that we could all easily remember them. For example, the Monarch turns into the ruler. He's looking for arc, arch, or ark words, names, phrases that remind you of the actual names. Now, I'll slip you the 12 archetypes, okay? All you need to do is add names or phrases. I'll even give you one of Howard's to help get you started.

1. Innocent -- Joan of Arc
2. Orphan
3. Warrior
4. Caregiver
5. Seeker
6. Lover
7. Destroyer
8. Creator
9. Ruler
10. Magician
11. Sage
12. Fool

Go ahead and have fun. What are your 12 arch names for the archetypes?

Bonus points? Sure. What roles in life are missing from this list? E.g., I notice that there's no real slot for the brother, sister, parent, or other family relative? I guess you can argue that's a mixture of caregiver and maybe some other roles, but let's face it, the relationship between siblings does have its own dynamics.

Better yet, take three from the list and consider what happens when they run into each other. Or what happens when the innocent must become a ... ? Go ahead, have fun with that list!

Oh, incidentally... WRITE!
tink

Current Mood: pointed

mbarker.livejournal.com

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!

Current Mood: golden apple

The Place For My Writers Notes

Entries tagged with archetypes

TECH: Story Bits 01 (400 words)

TECH: Fantasy: Once Upon a Character… (Moldy oldie)

TECH: Twelve Archetypes?

TECH: Above Cupid's Arrows

Profile

Navigation

February 2025

Syndicate

Most Popular Tags

Page Summary

Style Credit

Expand Cut Tags