Showing posts with label villains. Show all posts
Showing posts with label villains. Show all posts

Thursday, February 17, 2022

Viable Villains

I've just finished reading Dean Koontz's latest fantasy thriller, QUICKSILVER, which I like better than a lot of his recent novels. For many years, almost every book he's written has featured the same kind of villain (or a secret cabal of them)—a sociopath with delusions of grandeur, an evil genius, at least a genius in his own eyes, dismissing the rest of the human species as inferiors who, if not deserving of extermination, exist only to serve the few elite supermen. QUICKSILVER does include one of those annoyingly unrelatable, often flat-out unbelievable characters, but he appears only briefly. The other human antagonists work for a covert federal agency; their motives make sense in context, to carry out their orders and suppress the danger they believe the hero represents. The principal villains, invaders from another universe, have no humanly relatable personalities or goals, but that inhumanity is appropriate to them. They're almost Lovecraftian in their alienness.

Aside from such utterly alien creatures, however, the typical sapient antagonist (as opposed to an animal or a force of nature) should have some relatable traits in the form of motives we can comprehend even if we condemn the methods of pursuing those aims. Even many readers' favorite "pure sociopath," predatory genius Dr. Hannibal Lecter, has desires other than his cannibalistic cravings, goals we can sympathize with. He wants freedom, along with the comforts and luxuries denied him in his windowless, high-security cell, as anybody in that plight would.

Frankenstein's creature wants kindness and companionship; only rejection turns him bitter, vengeful, and violent. Count Dracula wants to leave his worn-out homeland for a new country of boundless opportunity. Dr. Jekyll begins with the noble goal of splitting the evil dimension of humanity from the good and thereby controlling the former. The Phantom of the Opera wants the admiration and devotion of a young woman. In more recent fiction, Michael in THE GODFATHER doesn't start out as a bad guy; indeed, he has deliberately tried to dissociate himself from that part of his background. He devolves into a villain when his determination to protect his family gradually entangles him in his father's criminal empire. According to an often cited principle, every villain is the hero of his or her own story.

To me, more often than not, one-dimensional evil geniuses such as Koontz's recent antagonists feel no more believable than the supervillains in an old cartoon series whose purpose was "to destroy the universe for their own gain." They're sometimes fun to read about, but I can't in the least relate to their motivations.

Margaret L. Carter

Carter's Crypt

Thursday, December 17, 2020

Good Guys and Bad Guys

Kameron Hurley's latest LOCUS essay discusses empathy versus selfishness and why being the "bad guy" is actually taking the easy way out:

It's Easy Being the Bad Guy

It's not uncommon to think villains are more fun to read and write, while heroes are boring. Hurley recalls her childhood reading diet of "feel-good fantasy novels," the kind of "noble tales" in which the good and people can be counted on to fulfill our expectations of their good or evil choices, and we know in advance "who would prevail and who would fail." In childhood, she "found this predictability boring and formulaic after the first three or four novels." Later she realized fiction of straightforward good and evil offers a welcome, valid respite from the "messy and complicated" real world where "good people coming out on top is far less common than we’d like." By adulthood, most of us have learned that's how the world works. It's understandable to want a fictional world that operates differently. In addition to fantasy, Hurley mentions detective stories, pervaded by the theme that truth will come to light and justice will prevail. As she puts it, "This is why we tell so many stories about the good folks winning, to balance out some of the everyday horror we encounter in a world that is fundamentally unfair."

In her early years, Hurley "believed goodness was the default state." Later in life, after decades lived according to an allegedly realistic philosophy of self-interest, she discovered that doing the right thing, rather than the easy "default" path, is a difficult choice that must be consciously taken. She notes that "we must actively choose goodness every day" and affirms, "Goodness. . . is not a state, but an act, one we must perform again and again." A provocative article well worth reading in its entirety.

In real-life terms, C. S. Lewis maintains that the notorious criminals, tyrants, and other villains of history have a monotonous sameness, while the saints are gloriously unique. Nevertheless, I feel there's some truth in the idea that it's often easier to write a convincing, interesting villain than a believable hero. Lewis himself creates interesting good characters, such as Lucy in the Narnia series and Dr. Ransom in the space trilogy (OUT OF THE SILENT PLANET, etc.). Madeleine L'Engle does an especially fine job with her engaging young heroes, e.g., Meg and her brother Charles Wallace in A WRINKLE AND TIME and its sequels. The dual protagonists of Diane Duane's Young Wizards series also rank high in that category. Two of my other favorite good characters are Dorothy Sayers's mystery-solving duo of Lord Peter Wimsey and Harriet Vane. Terry Pratchett also does this sort of thing brilliantly, as with formidable witch Granny Weatherwax and police chief Vimes.

The assumption that heroes can't interest audiences without fundamental flaws and deep-seated self-doubt has led to distortions such as the portrayal of Aragorn in the LORD OF THE RINGS movies and the jarringly out-of-character behavior of Peter in the large-screen adaptation of PRINCE CASPIAN. This assumption is a fairly modern development, though, not an eternal verity in the creation of mythic, legendary, and fictional good guys.

Margaret L. Carter

Carter's Crypt

Sunday, December 29, 2019

Heinous Hacks

There are certain times of day, and certain light conditions under which persons of a certain age with either glaucoma or cataracts or epilepsy or "flicker vertigo" should not drive a vehicle.

Here are some interesting online discussions:

http://www.roadsafetyknowledgecentre.org.uk/help-forum/889.html
https://vestibular.org/news/11-21-2013/lighting-flicker-health-concerns

When we think of fictional villains plotting to reduce a population, their methods for "thinning the herd" aren't particularly designed to eliminate the sickliest and the weakest. (Generalization, no doubt.)  Sacha Baron Cohen made a film, The Brothers Grimsby, in which the super villain hoped to infect soccer fans at the World Cup with a virus. One might infer that soccer fans were thought by the super villain to be intellectually and socially inferior.

More usually, bombs, plagues, viruses and illnesses are targeted at densely populated locations, or in the case of one Mission Impossible movie, at the source or headwater (or glacier) of a river or two.

It would surely be too far fetched for someone in power to develop something as commonplace as type of planet-saving lightbulb, mandate that everyone exchanged their old lightbulbs for this new, green type, and be aware that the bulbs could trigger life-threatening seizures and devastating migraines in susceptible members of society.

For Akerman LLP, legal health bloggers Robert E. Slavkin and Beth Alcalde discuss a particularly malevolent hack that apparently seeks to cause physical harm to a "curated" audience.

https://www.lexology.com/library/detail.aspx?g=cf8a7b58-9bf3-4582-91ad-dce7a01157a8

Original
https://www.healthlawrx.com/2019/12/hackers-raise-the-stakes-by-possibly-causing-physical-harm/#page=1

Back in 2015, Michael Cohen revealed that hackers can take control of a car.
https://eccitsolutions.com/how-hackers-can-take-over-your-car-while-youre-driving/

Meanwhile, and less malevolently, there are concerns about how much your connected car might be spying on you.

Kathryn M. Rattigan,  writing for Robinson & Cole LLP's Data Privacy + Security Insider asks
How much is your car spying on you?
https://www.lexology.com/library/detail.aspx?g=f104a18b-19af-4c69-a63b-3f1b0194aef8

Original
https://www.dataprivacyandsecurityinsider.com/2019/12/how-much-is-your-car-spying-on-you-washington-post-hacked-a-chevy-volt-to-find-out/#page=1

Presumably, it is only a matter of time before an innocent purchaser of an "unwiped" second hand vehicle, or a subsequent lessee of a rental vehicle could be caught up in a previous driver's web of international intrigue and nefarious texting acquaintances. What a good story line!

For those who are freaked out by the loss of privacy,
Jennifer Pike of Thompson Coburn LLP recommends 10 cybersecurity tips for travelers.

https://www.lexology.com/library/detail.aspx?g=e0e14ded-6601-4507-a8fa-3d52ffc9d396

Original link
https://www.thompsoncoburn.com/insights/blogs/health-law-checkup/post/2019-12-16/10-cybersecurity-tips-for-a-safe-holiday-season#page=1

Maybe the smartest notion is an old fashioned one: don't use your phone while driving.

All the best,

Rowena Cherry

Thursday, May 09, 2019

Reformed Villains

I love a good "redeemed villain" story, but creating a good (i.e., plausible and emotionally engaging) one isn't easy. The chief villain of Shakespeare's AS YOU LIKE IT, Duke Frederick, undergoes a sudden conversion at the end of the play, repents of usurping his brother's dukedom, and enters the religious life. Not very believable in real-life terms, but since the change of heart occurs in a romantic comedy, we can suspend disbelief. Usually, redeeming a bad guy is more complicated. How can his or her character arc be made convincing?

A traumatic backstory that arouses audience sympathy can help. So can showing hints of goodness in the character, however tenuous (the "save the cat" moment Jacqueline often mentions). Regina, the Evil Queen in the TV series ONCE UPON A TIME, commits several murders, both by her own hands and by proxy. Her reign is characterized by tyranny and cruel atrocities. She magically curses not only Snow White but the entire realm. Flashback episodes, however, show Regina as a victim of her dictatorial mother, who slew Regina's true love and forced her to marry the king. Although kind to Snow White at first, Regina developed bitter hatred for her because young Snow's carelessness betrayed Regina's secret love and led to his death. As mayor of Storybrooke in our world, Regina adopts Henry, illegitimate son of Snow White's daughter (who initially doesn't know her own true identity—yes, this series is complicated). Regina's love for her adopted child, at first mostly—though not entirely—autocratic and self-serving, gradually develops into a deeper, unselfish affection, which plants the seeds of her repentance and desire for redemption. While I enjoyed seeing the Evil Queen grow into the heroine she becomes by the end of the series, I did, however, have trouble suspending disbelief in her redemption at times, because she commits some horrifically evil deeds in the flashbacks. But the series does show her growth toward goodness as she struggles with the terms of her redemption and her reconciliation with former enemies. For instance, whereas in her youth she pursued implacable, disproportionate revenge against Snow White for the results of Snow's childish mistake, in a later season Regina demonstrates maturity in forgiving a mistake by another character that also threatens to destroy her happiness.

Jaime Lannister in the "Game of Thrones" novels and TV series doesn't have a "save the cat" moment early in the saga. Instead, he's introduced with a "shoot the dog" moment. Caught in an incestuous act with his sister, Cersei, he pushes the witness, young Bran, out of a window, maiming him for life. This is one of several evil deeds Jaime recently mentions in rebuttal to the lady knight Brienne of Tarth when she calls him a "good man." His self-awareness about his dark past highlights the change in him over time. Among other changes, his relationship with Brienne has evolved. At first, he treated her with mocking scorn; now they are friends and lovers. Some details by which the series lays groundwork for Jaime's redemption: He slew the former king, gaining the title "Kingslayer," from sound motives, effectively saving the country from a mad tyrant, but as the nickname indicates, he's regarded negatively for this act. Most of his evil deeds are inspired by love and loyalty toward his twin sister and their mutual children. Yet when she crosses lines in ways too extreme for him to accept, he breaks with her, showing that he possesses a core of honor and decency. The audience also feels sympathy for him when his sword hand is cut off. By the current climactic season, he has demonstrated his reformation in action by offering his services to the heroes trying to overthrow Cersei.

Some fans may feel his past crimes are too serious for any credible redemption, though. What does it take to achieve a plausible reformation and redemption arc for a character guilty of egregious evil? Is there ever a "moral event horizon" that, once crossed, can never be re-crossed?

For fans of vampires, werewolves, witches, and demons, Brian M. Thomsen and Martin H. Greenberg edited an anthology on this very theme, THE REPENTANT (DAW, 2003). I reviewed it here in my "retro-review" monthly blog post series on VampChix:

VampChix

Margaret L. Carter

Carter's Crypt

Tuesday, April 23, 2019

Theme-Story Integration Part 3, Sexy Villains by Jacqueline Lichtenberg

Theme-Story Integration
Part 3
Sexy Villains
by
Jacqueline Lichtenberg

Previous Parts in Theme-Story Integration: 

https://aliendjinnromances.blogspot.com/2019/04/theme-story-integration-part-1-villain.html

https://aliendjinnromances.blogspot.com/2019/04/theme-story-integration-part-2-villain.html

Part 2 ended off:

--------quote------

Only in children's stories or "comics" (not graphic novels) do people just suddenly, and without explanation or motivation, change into the opposite of what they've been seen to be in a plot-sequence.

So, bit by slow, detailed, bit at a time, you reveal the inner structure of your world that you built -- and make it clear how your world differs from everyday reality such that this "impossible" thing is possible. 

In our Reality - "As the twig is bent; so grows the tree," is a true statement about human nature. Also the apple doesn't fall far from the tree is true of humans.

What is different about your World that makes those two statements about Human Nature false? 

-----end quote------

You as the writer, creating this fictional world-structure as science fiction can do what Romance Genre writers can't usually do -- change a parameter of the reader's Reality and induce the reader to suspend disbelief.

Romance genre can do this, somewhat, in the Historical venue, and sometimes in action-stories of adventure into strange and unexplored regions of the world.  For example, Westerns, or stories of Mountain Men fighting their way West across the buffalo herd infested plains to the far mountains where furs can be collected and (if you can get back to a Trading Post) sold for actual cash.

But in Science Fiction Romance, especially Paranormal Romance, you have the added advantage of being able to alter the parameters of "reality" to include your impossible outcomes.

In most readers' view of reality, Souls are either irrelevant or excluded as unnecessary postulants. 

Many readers who live in such reality, suspend disbelief long enough to enjoy a Soul Mates Unite And Live Happily Ever After Because They Are Soul Mates story. 

Soul Mates is the sexiest postulation Romance has come up with in decades.  Happily Ever After, and the over-all theme, Love Conquers All, have always been the core of Romance, but when the strict genre walls started to evaporate, we added the Fantasy postulate of Souls -- first with ghost stories. The TV Series from movie, from book,

THE GHOST AND MRS. MUIR is an example.

https://amazon.com/Ghost-Muir-Season-Disc-Lange/dp/B00M8KBGNU/


Then actual physical sex scenes became acceptable in the Romance genre. Physical sex scenes were specifically, totally forbidden in any novel with the Romance genre designation. Any sex happened by implication, between scenes, without being referenced. Then new, young readers growing up with different standards, abandoned the genre until publishing gave in and allowed (gradually, step by slow step) actual sex scenes.

Romance writers working for specific imprints were given (still are) instruction sheets for how many sex scenes there can or must be, and where they can be, and how long they can go on.  Honest - it was a written, express and precise formula.  I had a 4-hour Manhattan lunch with the owner of one such publishing house who was exploring the potential audience for Alien Sex Scenes - having noted we broke that taboo in Star Trek fanfic. 

Science Fiction, viewed as boy-action-adventure literature, had such a "formula" about fight-scenes, combat, and chase scenes, limiting dialogue strictly.  I never was sent such an instruction sheet, but I was taught the structure by editors.

So once it was established (by fanfic) that Human/Alien Sex Scenes could be included in popular Romance novels, it was allowed in Fantasy worlds. Whereupon, the worst of the bad-boy villains, THE VAMPIRE, became fodder for Paranormal Romance.

The Vampire Genre exploded onto the scene in mass market paperback (no, Anita Hill, Vampire Hunter, was not the first, nor was Interview With A Vampire).  Vampire Romance became a fad, rising and falling in a couple of decades. 

Writers hear from editors, "We are overstocked on those novels. Show me something else."  Overstocked means they have bought (maybe not had delivered yet) enough of a certain kind of story to last through the expected declining market demand. 

My Vampire Romance novel, THOSE OF MY BLOOD,
reached the market just as the market peaked. 

  https://amazon.com/Those-My-Blood-Tales-Luren-ebook/dp/B00A7WQUIW/

At one point, the hardcover edition of Those of My Blood sold for over $400 to collectors.  Then came various e-book editions.

After Manhattan publishers refused manuscripts with Vampire Romance stories, slamming their door shut, writers went to the embryonic e-book market.  Many new publishers sprang up, looking for ways to distribute novels without printing them.  The e-book field languished for a long time as hardware makers searched for a way to create readable screens -- and as soon as that became available, the whole e-book field was taken over by Manhattan publishers.  Underneath all this was a long struggle with copyright -- a story for others to cover.

The problem Vampire Romance writers were trying to work out was simple: Vampires (Dracula style) are purest Evil.  How can your reader identify with a woman who can love a Vampire? 

Add science fiction and you have the obvious answer: artificial blood makes killing by sucking the woman's life out of her (Dracula style) not only unnecessary, but un-attractive to a human-turned-vampire-against-his will who still has a Soul. 

Most of our readership may not believe in Souls as a part of everyday reality, but use the word freely to refer to the innate impulse to do good.

We recognize a basic human desire to do Good -- and how it can happen that a human enflamed by emotion can do something very Bad (Road Rage) without becoming a bad person.

In fact, many people don't think a person can be a bad person -- just occasionally do something bad.

After childhood, most people rarely examine the minutia of what constitutes goodness or badness -- what makes a true Villain - a Black Hearted Person.

But writers who want to build world distinctive from our everyday world, where impossible things are possible and even plausible, have to consider what the reader assumes about "good and bad" -- and what about the everyday world would have to change to validate the fictional definition of "good and bad" necessary to tell the writer's story.

That core difference is the THEME.

The theme is the writer's statement about how this fictional reality differs from the reader's.

And in Science Fiction Romance, that fundamental difference is about how Souls mate.

Throughout human history, almost every culture mentioned  in the Golden Bough has defined "good" and "bad" via some paradigm of Soul. 

If you're out of ideas - go read that book.

There are so many theories of Soul and reincarnation, some blending easily into modern American views, and others clashing or challenging the science-based views, that a writer has to be careful not to choose elements at random.

For a reader to be lulled into suspension of disbelief, the writer has to have some underlying structural consistency against which to test every line of dialogue, every scene decorative detail, and every plot development and conflict resolution.

That's what THEME is -- the touchstone against which you test elements, and discard everything that does not bespeak the theme.  Consistency is the essence of good writing.

Different novels in a series can have different themes, in fact use different characters to bespeak different views, but to be a series, there has to be a consistence thematic structure that makes sense. 

So, many writers with a hot romance story to tell will revert to our everyday reality -- a structural matrix both reader and writer are familiar enough with that nothing need be said about the shared unconscious assumptions.  Reality has plenty of conflicts and puzzling inconsistencies - why create something else? 

Science Fiction is about challenging "authority."  It is about "what if this pivotal belief is wrong?"  What if we can go faster than light?  What if humans can 't, but Aliens can?

Science fiction stories are built on some postulate that differentiates the story world from everyday reality. 

What if ...
If only ...
If this goes on ...

Those three, if you can  formulate them all into one story, are the essence of science fiction.  Add two Souls incomplete without the other, overcoming whatever obstacles keep them from uniting, and you have Science Fiction Romance.

The postulate you need to create that story is simply the idea that Souls Are Real.

That is the idea that set off the Vampire Romance explosion using the Gene Roddenberry technique.

To create Star Trek as Wagon Train To The Stars, and make it not a Western set in our everyday reality, but real science fiction, Roddenberry had to postulate a PERSON WITHOUT EMOTIONS (Spock.)  Everything is the same, except one thing. 

To create Vampire Romance, and make it not Horror Genre but Science Fiction, a genuine Alien Romance, we had to postulate A VAMPIRE WITH A SOUL. 

That single change in the DRACULA view of the world, a twist in the good/evil paradigm, opened an entire conversation that lasted at least a generation.

Traditionally, villains have been portrayed as "black souled" or "dark souled." 

The hero, who is a source of good, has been portrayed as "light." 

We enjoy reading the Anita Blake Series

because of the struggle Anita, the necromancer, has falling in love with a Vampire, being sucked into an ever darker world, and rationalizing dark deeds as necessary for survival.  We see her CHANGE her code of ethics, and how that changes her opinion of herself. 

What is "sexy" about her Master of the City Vampire?  He has a "heart."  He can love.  He values loyalty.  Becoming Master of the City to displace a true villain vampire, he is in a complex and changing political/magical position that exactly reflects Anita's position among her ethical dilemmas.

They belong together. It is inevitable (if your world building includes inevitability as a part of your reality.)

The Anita Blake series is an excellent example of Gray-to-Dark story arc.  Anita discovers that her personal code of ethics she prides herself on is actually an anti-life code.  It is not possible to survive in her world (of magic and were-people) by adhering to her code. 

Her code is one based on extreme pride, and total lack of self-awareness, and thus I term it a "gray" code, rather than  an example of "white" or "light."  There are better codes to live by.

We've discussed The Lone Ranger at length: 


https://aliendjinnromances.blogspot.com/2010/12/flintstones-vs-lone-ranger.html

https://aliendjinnromances.blogspot.com/2017/01/theme-archetype-integration-part-3.html

... but we love Anita because she has a Code and she gives up her extreme pride in order to modify her Code to one that can sustain her life and identity (in her world, which is so different from ours, we suspend disbelief.)

Now consider the less popular, more difficult to write, Black-to-White story arc.

A body in motion tends to stay in motion unless acted on by an outside force.

Thus if you take a Black Soul, or a Soul becoming darker,  and turn it to the Light, you need an outside force to change that soul's story-arc direction.

This is the classic "rescue" Romance –– where for the love of a woman, a criminal goes straight. 

Rescue Romance has become a cliche in mundane Romance genre, but there are many new frontiers for the Black-to-White story arc in science fiction, paranormal, and Fantasy Romance.

When one member of the to-be-united couple is defined as not-human, you can vary the trait that is missing, or different, and generate the sexiest villains, bad girls and bad boys who have potential, saving graces, and exceptional effects on their World.

One kind of world that works nicely for Black-to-White Story Arcs, is the occult premise based on the Bible's concept of punishment for defying God's Law is to be "cut off."

Many people puzzle over what "cut off" means and why it would be a bad thing to happen to you.

The explanation that generates the most story directions is very simple. Suppose Souls are like coaxial cables, many threads twisted together to form a rope.  Inside the cable are threads, as in an optical cable, that carry "light" from the Source into the world via the instrument of the human body.

Being "cut off" would be having one or more of those optical fiber threads go dark.

The "light" that comes through those threads into the body-and-mind from the Soul is Holiness, or the light by which humans distinguish good from evil. 

How you define Good, define bad, define Evil, depends on that light shining out of you, into the world around you, illuminating and highlighting color-texture-depth, creating the image of the reality you must live in.

We generally define good as that which promotes life, and bad or evil as that which destroys life. 

So one who is "cut off" lives in darkness and can't distinguish good from bad.  If only a little bit is cut off, maybe colors become shades of gray, maybe texture isn't perceptible, maybe the world becomes dull and uninteresting.

When we depict a Character who is "in love" we often describe how the senses become more prominent.  Food tastes better, jokes are funnier, flowers have distinctive aromas, life comes alive to all the senses.  "Paris in Springtime" is a sensory reference. 

Likewise, being "in love" means shelving conflicts.  Boorish and offensive public behavior (cutting you off in traffic; running red lights and making you slam on the brakes) is shrugged off.  Life is too good to waste time being angry.

Being "in love" means being "connected." 

Falling in love changes the state of being, the criteria of excellence, and the priorities. 

The esoteric explanation of this "in love" connection is that there is an aspect of the Divine Creator of the Universe, the feminine spirit, Shechina, that pours "light" into the connection between the couple.

When a Soul has been "cut off" - and has become a Black Soul, (or maybe just gray) a villain, the experience of Love can reconnect that Soul to the divine, and change everything that person does because Love changes what you are able to "see" with the mind's eye.

Love is not just biological.  It is a phenomenon of the Soul, and the essence of Love is "connection." 

But it's not an either/or -- zero-sum-game -- thing.  You don't either love or not-love.  Like the fiber optic cable, threads can be lit with the fire of love -- while other threads are not lit.  A human is a construct of thousands and thousands of nanometer size threads. 

We don't just love our sex partners.  We love parents, role models, friends, family, co-workers, even acquaintances.  The more different people we love, the more threads light up, the better we can see where we are steering our life-story.

The sexy Villain is the one who "lights up" at contact with the main character and makes plot-action-choices that increase or expand the main character's chance at surviving.

If this seems too abstract an idea to use in crafting fiction, do read SAVE THE CAT!
and play with the advice to open a story on a character acting to "save a cat." 
https://amazon.com/Save-Cat-Last-Screenwriting-Youll-ebook/dp/B00340ESIS/

Read that series of script-writing books, and analyze the movies and TV shows you love most -- seeing how you became entangled in the affairs of a main character you consider a Good Guy (even if he's the villain of the piece.)

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Thursday, October 12, 2017

Villainous Motives

Supervillains generally aspire to destroy or conquer a realm, whether a country, a continent, the planet, or even an entire solar system or galaxy. In a kids' cartoon series current when our children were little (I don't remember which one it was), the league of villains had one goal, "to destroy the universe for their own gain." To me, a drive for conquest purely for the sake of power makes no more sense than that. Why would anybody bother? Who'd WANT to rule the world?

In the new Marvel TV series INHUMANS, there's a society of people with Inhuman powers living secretly on the moon. The antagonist, Maximus, stages a coup to depose his brother, the king, and become the ruler himself. Maximus has several plausible reasons for this goal: As a child, he wanted the kingship, while his brother, the destined heir, had no great desire for the crown. Maximus grew up without Inhuman powers, so others looked down on him; therefore, he's driven to seize power in compensation for his "inferiority." Also, he seems to hold a sincere belief that his brother's policies are bad for Inhuman society and his own rule would benefit their people.

A three-dimensional villain needs plausible motives, especially supervillains with fantastic powers and global or cosmic ambitions. According to an often-cited principle, every villain is the hero of his own story. Why would he or she want to conquer a country, a continent, or the world? A sheer maniacal lust for power isn't enough of a motive to make a credible antagonist. Maybe the character truly believes himself or herself to be the only one who can rule wisely for the good of the country or world. Maybe the character perceives an outside threat to his or her people and preemptively expands his or her dominion before the "threat" can strike first. Or perhaps the antagonist craves power in compensation for some personal hurt suffered in the past or from a secret fear of his or her own inadequacy. If the ruler of the "threatening" country or planet happens to be a relative of the antagonist (as many of the European royal families at the time of World War I were related through Queen Victoria), family jealousies and resentments could contribute to the villain's drive for conquest. On a smaller scale, why did the evil King Ahab (in the Bible) have a neighbor framed for a fictitious crime and executed in order to seize the neighbor's vineyard? Why would a king feel the need to commit such a petty theft? Could it be that Ahab did this BECAUSE he was king and, perhaps, feared for his position when constantly challenged by the prophet Elijah? Maybe Ahab wanted to prove, "I'm the king, so I can have anything I want."

To me, a drive to become a multimillionaire doesn't feel any more credible as a motive than a craving for absolute power. One person can usefully possess only a certain number of houses, cars, or boats. Even at the most rarefied levels of wealth, there has to be an upper limit to the amount one can spend on food, drink, clothes, jewelry, or collectibles. After a certain point, money probably becomes just a means of keeping score. Billionaire Roarke in J. D. Robb's Eve Dallas series—a good guy (although a former crook) rather than a villain—seems to enjoy acquiring more money on the scorekeeping principle, as a move in a game. Also, he does productive things with his wealth; when he buys a building or a company, he makes it better. Maybe a supervillain driven by a craving for money has personal reasons to value the "score" and therefore wouldn't be satisfied even by infinite wealth. Or maybe, deep inside, he's insecure, seeking wealth to make him feel safe, and never able to accumulate enough to fulfill that need. In effect, it comes back to using money as a means to power.

Along the same line, why do rich, powerful men sexually prey on their employees, when they could find any number of women who'd gladly welcome their advances without being forced? Probably because it's the display of power in itself these men crave. It's all incomprehensible to me, so to believe in a power-hungry villain of any kind, I need to know what underlying drive produces this kind of motivation.

Margaret L. Carter

Carter's Crypt

Tuesday, March 07, 2017

Depiction Part 25 - Depicting Hatred

Depiction
Part 25
Depicting Hatred
by
Jacqueline Lichtenberg

Index to Depiction Series:
http://aliendjinnromances.blogspot.com/2015/04/index-to-depiction-series-by-jacqueline.html

In Part 28, we looked at the sweeping, long wave of change in science fiction and fantasy genres in how Aliens and Supernatural Beings are depicted, and noted how one crude but unmistakable method of labeling a villain is to tell rather than show.  Just make him/her say "...and then I'll rule, forever!" preferably with venom and triumph gleaming.

Villains aspire to RULE.  That's how you know they are villains.

Did the Lone Ranger yearn to rule?  Does Superman want to rule Earth forever?  Did Captain Kirk secretly politic his way to Admiral status so he could step up to rule the Federation?

The Hero has no interest in Ruling.

The Villain wants nothing else but to Rule.

What was it in the character of The Evil Queen (in the TV Series Once Upon A Time) that changed to make her not-evil-anymore?



https://www.amazon.com/Once-Upon-Time-Complete-Season/dp/B01E7XSDOK/

When she was Evil Queen, she wanted to RULE - when she became Good, she did not hurt people to make them knuckle under.  She didn't steal hearts and put them in boxes anymore.  That Heart-Stealing bit is a graphic (show don't tell) of a very abstract set of concepts, and it is brilliantly done.

Do humans (maybe Aliens, too?) yearn to Rule people because they Hate those people?

Or is there something more complicated going on?

Remember, the master theme of Romance is Love Conquers All.

In the TV Series Once Upon A Time, they use True Love's Kiss to overcome impossible obstacles of magical origin.  True Love's Kiss undoes the most powerful spell.

All Romance is about how Love Conquers All -- so it is up to the writer to create a formidable obstacle for Love to overcome.

One formidable obstacle that has been the plot generating conflict in many of the very best Romances (especially in the Science Fiction or Paranormal Romance) is Hatred.

When the Couple first meets, it is Hate At First Sight.  The story experience transforms that hate into love as a series of misunderstandings is unraveled, and the depths of human (and/or non-human) psychology are penetrated.  Many of the very best Romances flip Hate into Love.

Love is generally considered the only thing that can dispel Hatred.

There are many psychological studies of affinity and aversion that can be used to plot such a Romance, so the more widely you read, the better you will write.

December 2016, I found an article in Slate
http://www.slate.com/articles/news_and_politics/politics/2016/12/garry_kasparov_on_why_vladimir_putin_hates_chess.html

This article, Why Dictators Hate Chess, begs to be studied by those puzzling over the question posed in Depiction Part 28 - why do villains yearn to rule forever?  Or rule at all, for that matter?  Heros don't yearn to rule - why do villains?  What has Ruling to do with Love and Hate?

Notice that Love, Hate - and even Rule - are abstract concepts.  Remember that a stage play, TV Series or Movie is a "story in pictures."  The task of "Depicting" hatred is the task of making an emotion visible and concrete.  So a writer of Romance has to study Hate very closely to understand what the readership will interpret as "That One Is The Villain."  Or "That One Is The Obstacle Love Must Conquer."

Make the readers root for the Villain to melt in the bright shaft of love-shine, and you have a winner.   This works even in all the other genres.  See why every novel needs a love story.

http://aliendjinnromances.blogspot.com/2015/07/why-every-novel-needs-love-story-part-1.html

http://aliendjinnromances.blogspot.com/2015/07/why-every-novel-needs-love-story-part-2.html

That article in Slate is an interview with the former world chess champion, Garry Kasparov, talking about Vladimir Putin and dictators (rulers) in general.

Note: the USA has a President, not a King, because a President does not rule and has no power to rule (if he obeys the law).  The USA does not have a "regime" and Presidents do not "come to power."  This is because a President has no power; voters do.

Presidents serve not as decision makers but as managers who create policies to carry out instructions of voters.  Presidents are supposed to do what the the majority of voters elected them to do.  Kings rule.  Rule means make others do what you want, whether they want to or not.

"Want" is an emotion, and like Love, Hate, is very abstract.  The writer's job is to make it concrete, a story in pictures depicted in text, in symbols.

Here is Part 4 of the Theme-Symbolism series with links to previous parts.
http://aliendjinnromances.blogspot.com/2016/01/theme-symbolism-integration-part-4-how.html

Here is a quote from the article in Slate:
Why Dictators Hate Chess
Garry Kasparov on Vladimir Putin’s meddling and America’s response.
By Jacob Weisberg

---------quote--------------
Interviewer: That also sounded to me like a chess player’s analysis. You’re the greatest chess player ever. Is Putin playing chess, or is he playing a different game?

Kasparov: No, I always wanted to defend the integrity of my game—when people said, Oh, Putin played chess, Obama played checkers. Putin, as with every dictator, hates chess because chess is a strategic game which is 100 percent transparent. I know what are available resources for me and what kind of resources could be mobilized by my opponent. Of course, I don’t know what my opponent thinks about strategy and tactics, but at least I know what kind of resources available to you cause damage to me.

Dictators hate transparency and Putin feels much more comfortable playing a game that I would rather call geopolitical poker. In poker, you know, you can win having a very weak hand, provided you have enough cash to raise the stakes—and also, if you have a strong nerve, to bluff. Putin kept bluffing. He could see his geopolitical opponents—the leaders of the free world—folding cards, one after another. For me, the crucial moment where Putin decided that he could do whatever was Obama’s decision not to enforce the infamous red line in Syria.

---------end quote-------------

What if this "game" were being played out on a Galactic canvas?  What if the Putin-Character were non-human, playing against Earth?

How would humans assess the Character of a Galactic Authority that was not "transparent."  What if that Authority abhorred transparency, but had no desire to "Rule" Earth or anything else?  Would the veil of mystery be taken as Villainy?

Is Kasparov's assessment of Dictators hating Chess universally valid, or is it a cultural trait that might not turn up everywhere?

Is the burning desire to Rule a certain sign of villainy?  Or is that a human thing?

It may be that wherever humans are involved, Ruling = Villainy.  Or put another way, absolute power corrupts absolutely.  No human is fit to exercise rule over another.  Maybe that's not universally true for non-human people -- and therein lies a complex tale.

For humans, though, the it certainly seems that the ambition to Rule, to Conquer and to Win Ruler-ship, is innate in our biology.

See Part 19 and Part 21 of Depicting which discusses how that innate human goal of Ruler-ship is related to Testosterone:

Part 19 - Depicting the Married Hunk With Children (especially daughters) (Testosterone effect)
http://aliendjinnromances.blogspot.com/2016/11/depiction-part-19-depicting-married.html

Part 21 - Depicting Alien History (Testosterone revisited)
http://aliendjinnromances.blogspot.com/2016/11/depiction-part-21-depicting-alien.html

This new scientific research on testosterone psychoactive dimension tells us a lot about why humanity self-organizes into hierarchy -- or behind a Leader -- or in allegiance to a King.

When beaten, a man knuckles under to his ruler -- not from cultural custom but from the abating of the biological urge to conquer.  When raising his own children, the man's need to take insane risks abates -- we call it maturity.

Not everyone experiences the urge to Rule in equal degrees, but don't forget women also have a need to dominate, to prevail, to get things to go their own way.  If that requires Ruling, then Rule She Shall, and she shall enjoy the heck out of it, too.

So humans are hard-wired to compete for Rulership, and nobody really wants their Rule to be temporary -- so Rule Forever is an innate goal, set in our genes.

Consider, Happily Ever After is the innate goal of Romance.  After What?  After Love Conquers All.

Conquers being the Keyword to ponder, along with "ever after" (i.e. forever).

Both the Villain's Quest and the Lovelorn's Quest are searches for a definitive, permanent, eternal solution to the problem.

The human male seeks to conquer a female.  The language of sexuality is fraught with the language of war, conquering, taking, having, getting.  The language of Romance is about convincing, wooing, maybe fooling, seducing.  The language of Love combines the two.

Love is about conflict, and the satisfactory and permanent settlement of that conflict.

It has been widely proposed that the opposite of Love is not Hate but Indifference.

Love manifests as an affinity, gravitating together, combining.

Hate manifests as a bond, focusing attention, defining goals according to the hated person -- to vanquish that hated person, to conquer or thwart or neutralize that hated and rejected person.  Where this is active hatred, there is no fleeing or giving up everything to get away.  Fear causes flight.  Hatred binds.

Like Love, Hatred comes in thousands of styles and flavors as well as degrees of visibility.  Sometimes a person who smolders with hatred doesn't even know the feeling is hatred.

Hate comes in a variety called Baseless Hatred -- where the feeling of being locked in a fight to the death is not caused by the person or situation that is ostensibly hated.  There is no objective real-world reason for the feeling, but that feeling dominates and motivates, oblitterating all other purposes in life.  Baseless Hatred very easily becomes an obsession detached from all rationality.

People blame external events, other people, random occurrances and situations for their emotions.  Not all humans do that, but ways of avoiding it are absorbed by children before they can talk.  Where emotions lie on the spectrum of values is a cultural norm, and as far as we now know, not biological in origin.

Baseless Hatred makes a good story dynamic for the Horror Genre, and for Action Genre where the point of the novel is to depict a righteous and sanctioned killing.  This is the sort of vanquishing you often see in videogames where you just "kill" anything that gets in your way.

Monsters are motivated by Baseless Hatred.

When writing a "slay the monster" story, you don't have to provide a comprehensible motive for the monster.  Nothing the hero did or said has anything to do with why the monster is fixated on killing the hero.  And the Hero doesn't hate the monster.

The monster has no power over the Hero, so the Hero does not hate the monster.  The monster is just a "force of nature" - a formidable adversary bent on destruction.

The adversary motivated by Baseless Hatred makes a great plot element for Action or Horror genre, but not for Romance.

Baseless Hatred is conquered by Love, but not love of the Monster.  Love conquers the Monster by binding the humans into an unbreakable defensive wall.  The love of one human for another conquers the Monster.

Once fully consumed by Baseless Hatred, the Monster is irredeemable, but harmless to those who Love.  Many good Love Stories revolve around rescuing someone from going down the path of Baseless Hatred.  The rescue process resembles the AA 12 step program, or deprogramming someone from a Cult. Those make very potent novels, but rarely produce the best of Romance.

Hatred that is based in reality, in the actions and situations that exist in truth, and that readers can recognize as legitimate causes for hatred, provides a much wider and richer spectrum of plots and stories for Romance writers.

The classic, as mentioned previously, is Hate At First Sight that eventually turns to True Love.

In real life, very often we hate that which has power over us.  Love has that kind of power, the power to change our very identity, or sense of self.

When you fall in love, you literally become someone new, someone different.

Humans do fear change, and do fear anything with the power to change them -- hence our fascination with werewolves and shapechangers.  Can you "change" so radically and still be you?

We also love novels about how Love At First Sight turns to hatred -- the escape from the clutches of a man you have given yourself to, then discovered he's Bluebeard incarnate.

So the opposite of Love is Indifference -- not feeling any bond at all.

So to depict hate, make sure your Character is deeply bonded, enthralled, captivated, obsessed with the object of hatred.

Depict a cause or basis for that hatred -- and ask what this Character would accept as proof that this "cause" is actually not the problem at all -- that what he/she thought was true is in fact not true.  You can't do that with Baseless Hatred -- and you can identify baseless hatred by the non-falsifyable nature of it.  Nothing would be a convincing proof that this is not a real source of the problem.

If you're writing Alien Romance, and you want to drive your plot with hate, then consider what makes humans hate (for cause).  Build Aliens who are different in that regard.

Consider the two posts on Testosterone in this Depiction Series.  A human who is beaten, vanquished, defeated utterly, will lose the desire to hurl himself against the one who defeated him, and will be generally less aggressive.

Among humans, the winner "rules" - the loser knuckles under.  Now, if the defeat is not utterly complete, the loser may smolder with hatred, and eventually burst into rebellion.

Is that how it works among your Aliens?

We hate that which rules us - (even sometimes if what rules us is Love!).  We just purely hate to "be ruled" -- whether it is forever or not.

Anyone who rules is justifiably hated.

Rulership is hated.  It is human to hate having free will thwarted by the will of another.

The Hero knows this, and has no desire to be hated, thus no interest in ruling.

What if Aliens ruled all Earth?  Would the Hero rebel?  Or would the behavior of the ruling aliens make a difference?

Hate is a bond comparable to Love -- maybe a little less binding, for Love Conquers All.

To depict Hate, don't tell the reader this Character hates that Character.  Don't put the word "hate" in dialogue.  If someone says out loud, "I hate you," you never believe it.  Teens hate their parents -- right?  How many times do they say it?  How many parents believe it?

To depict hate, show the Character behaving in opposition to what the Character sees as pure Evil, a force loose in the world that must be destroyed, something that must be conquered.  Show the Character choosing death rather than submission.  The reader will hate that which oppresses that Character.

It's not that simple, of course.  It is never simple where humans are involved.

Start into the messy tangle of Character Motivation by finding the target of the hatred, and decide if it is Baseless Hatred or hatred for just cause.  Then introduce Love into the dynamic to overcome the hatred.

Do your Characters hate that which they resent?  Do they hate that which has power and/or Authority over them?  Do they hate that which they are jealous of?  Or do they hate that which they admire?  Do they see Love as a threat because Love does conquer all?  Do they hate God because God has betrayed them by ignoring their entreaties because Ultimate Power should always be kind?  If they gain power, do they use it for kindness?  Do they hate kindness?

It seems to be in our biology to sacrifice everything to Rule, to be sovereign, to admit nothing in power over us.  And it seems we hate anything that has power over us.  But just as children need the discipline of their parents, so do we knuckle under to a Ruler, to a dominant power.  So it is for humans -- are we a special case in the Galaxy?  Ancient Wisdom indicates there are ways for the human spirit to tame the animal spirit -- the ways of Love.

These emotions drive the Story, and the reasons for the emotions drive the Plot.  We have discussed theme and plot at length previously.

http://aliendjinnromances.blogspot.com/2015/12/index-to-theme-plot-character.html

http://aliendjinnromances.blogspot.com/2013/05/index-to-theme-plot-integration.html

http://aliendjinnromances.blogspot.com/2013/11/index-post-to-art-and-craft-of-story.html

http://aliendjinnromances.blogspot.com/2011/09/verisimilitude-vs-reality-part-2-master.html

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

Tuesday, December 23, 2008

Astrology Just For Writers Pt 4 - High Drama

SORRY - THIS WAS SUPPOSED TO AUTO-POST ITSELF TUESDAY 12/23/08
This post is about Vampire Romance, or Romance with aliens or Immortal characters whose lifespans reach back into History, and ahead to long after their mortal lover is gone.

You'll see a connection to UFO's below, too. And to Linnea's discussion of the creation of a dynamic antagonist for a novel which I discussed last week.

http://aliendjinnromances.blogspot.com/2008/12/double-duty-putting-face-on-conflict-in.html

http://aliendjinnromances.blogspot.com/2008/12/villain-defined.html

The problem is that Villains have to be "larger than life" -- Heros can start small, as ordinary dudes (as Blake Snyder calls us in SAVE THE CAT GOES TO THE MOVIES!), but via the Hero's Journey the ordinary dude must become the Hero, overcoming internal obstacles as well as external. Villains on the other hand are the hero of their own story, but in most literary genres the villain has to start out larger than life and get ripped assunder.

That is a writing problem Gene Roddenberry ran into with Star Trek, when they went to make the first movie. "It isn't big enough" they kept telling him about his premise. He'd spent a lifetime writing for the small screen and wasn't thinking BIG. Eventually he hit on villains Big Enough to fill a large screen.

There is a way to do that, methodically, and precisely. There are any number of fields of psychology, sociology, anthropology, diachronic linguistics, -- there's a huge world of knowledge to explore that will give a writer a method for generating Larger Than Life problems, people, and plights.

But here we're going to discuss how Pluto may be the ruling planet of Vampires (both the friendly kind and the villianous kind). As you get a feel for how Pluto keys events and personalities to be just like you and me, but LARGER THAN LIFE, you'll see how becoming aware of Pluto operating in Headline News can help you create villains who are larger than life.

So, I'm assuming Pluto "Rules" Vampires and other Immortals.

Pluto was recently demoted from the status of "planet" -- and people have been talking about calling it a "Plutoid." It doesn't matter what astronomy settles on -- astrology is not very closely related to astronomy. (Though I could make a strong case that they're identical if I had to.)

Here I've set myself an impossible task, to explain to people who think "Astrology" is the predictions you see in newspapers, just what use the Pluto symbolism is in fiction writing and reading.

I want to explain this well enough that a writer or reader who doesn't know anything about real astrology can recognize Pluto symbolism when writing or reading fiction.

So I'm going to try to use what you already know to show you something that may have escaped your notice but which will explain a lot you've been curious or frustrated about.

Like most of the planets, Pluto symbolizes change. But each planet seems to specialize in a different kind of change. The House where a planet is in your natal chart, and the House that the planet rules, will focus the axis of change for you in your personal life. That potential for change will be confronted as that particular planet circles the heavens, and you may either accept or reject the change thus signified.

As I currently perceive the world, each planet seems to key off a particular type of change. So let's examine how Pluto functions as it "transits" or circles the heavens.

Pluto changes are the sort you look back on and say "before this" and "after this" - they are dividing lines, or a period of life when events pounded you as Pluto transited a sensitive House in your Natal Chart -- or you pounded on the world and either bloodied yourself or made it yield.

Pluto is that deep well of strength you tap in pure survival mode, but it also puts your survival at risk.

FOR EXAMPLE, a Pluto transit might signify the death of a parent (not the kind of loss of a parent which changes nothing in your life, but the sort that pounds you into a new shape). Saturn also can symbolize loss and bereavement, but brings more responsibility than pure power as Pluto does.

FOR EXAMPLE, under a Pluto and Saturn bereavement, you become the executor of the estate - a task for which you are wholly unprepared, a task which really is way beyond you. You end up staying up all night, phone calling all day, staring bleary-eyed at legal forms, bank forms, and real estate sales. And from somewhere deep, deep inside comes the physical strength, the mental strength to obsess over tiny print, the ability to learn arcane fields like investing or antique car collecting. Whatever you must do (Saturn is must) you CAN (Pluto is can).

FOR ANOTHER EXAMPLE: another person and a similar Pluto transit might signify the onset of a major, life-threatening disease or disorder, but years before that, the person dropped out of High School and can barely read the ingredients on a soup can, nevermind figure out what's on WebMD. Yet, Pluto provides the mental strength (temporarily) to learn, judge, evaluate, obsess on (Obsession is a Pluto manifestation) all this medical stuff and make an informed choice of treatment or physician. And thus conquer the medical problem and survive (or not; Pluto does bring death sometimes.)

You begin to see why I think Pluto rules Vampires?

Pluto is the ruler of Scorpio, the Natural 8th House.

The 8th House is all about the resources of other people -- inheritance and legacies, Trust Funds, leaning on the expertise of others, using another's body for sexual pleasure, being held in thrall (obsession) by a lover. Pluto and the 8th House are about POWER, the power others have over you, and the power you have over others. Insofar as sex is about power, it fits the symbolism. Pluto is also about blackmail, secrets and the revealing of secrets.

The relationship between a blackmailer and the victim is Pluto ruled.

The "battle of the sexes" goes in the category of Pluto transactions. When conducted with back-biting, undermining, and character assassination, Pluto conflicts can be all about gaining power over the other. Passive-aggressive tricks can go in this category although they also have elements of Neptune. Co-dependency can have strong Pluto elements.

Remember, everyone always has all the planets and signs somewhere. Every situation has them all, even if only waiting in the wings to make an appearance. But each event sequence usually has a power source, a driver, a planet that exemplifies the symbolism underneath the event. We're looking now at Pluto, the 8th House, and Scorpio in Alien Romance.

The 8th House and sexuality also illuminate another element in Romance, that physical sex is about the relationship between your resources and that of the Other. Every graphic sex scene is about how one moves and the other feels, and one feels and the other moves, and a feeling that prompts a movement. A well written sex scene is about how the two communicate about power, life, getting what you want, giving what the other wants. Dominant position says something. All that is Pluto symbolism. Neptune is imagining it; Pluto is doing it.

The 8th House is the tango, moving and responding to the movements of others. It works in sexuality, but the pattern repeats when it's about money, sharing a bathroom, or shopping chores.

Pluto was discovered about the time Uranium was discovered which ties the symbolism together. The potential in Pluto is the same as in the atomic explosion. Pluto is explosive, but the deep, powerful explosion that erupts from way down beneath the surface, the energy contained in the atom -- or in the smallest indivisible unit of the psyche.

Pluto is about the HIDDEN. (the affairs of "others" are not yours; thus they are hidden)
Pluto is about the secrets that are kept from you -- and that you keep. But not just ordinary secrets like a surprise party -- these are the secrets we call CONSPIRACY. Thus the government coverup of Aliens From Outer Space, i.e. UFO's, is a Pluto ruled issue and process.

Pluto rules embezzlement.

That's much in the news with the "exposure" (Pluto exposes secrets) of a confidence racket on Wall Street, a Ponzi scheme.

The following is from a Yahoo Reuters News item
http://biz.yahoo.com/rb/081212/business_us_financial.html?.v=9
Retail sales, fraud case worsen auto bailout flop
Friday December 12, 11:27 am ET
By Daniel Trotta and Mike Peacock

"Bernard Madoff, a quiet force on Wall Street for decades, was arrested and charged on Thursday. The former chairman of the Nasdaq Stock Market also ran a hedge fund that U.S. prosecutors said racked up $50 billion of fraudulent losses."

Note that: "Quiet Force" -- that's Pluto to a T. (I've seen discussion that his Fund was not technically a "Hedge Fund" though.)

This quiet person who kept out of the headlines, kept his business very private, used his impeccable record of privacy to take charge of other people's resources, is experiencing the effects of PLUTO here. (I don't know the man's natal chart - I'm just looking at the dramatic events, and the type of events from his point of view and I see Pluto written all over it.) He was managing other people's money (8th House) and has been explosively revealed to the public, and had his dirty secrets exposed -- and all that is so very Pluto.

Recently, we also had the incident of the Governor of Illinois's phone calls having been recorded by the authorities (secret wiretap - very Pluto) resulting in charges being brought that he was trying to sell Barak Obama's Senate seat for personal gain. Both the type of transaction (clandestine or ultra-private understandings and agreements about deployment public resources in your custody, 8th House resources) and the revealing of that confidential business, reek of Pluto.

For the last couple of years, transiting Pluto has been going across 0 Degrees of Capricorn, and it has another year or so to go. Pluto started on 0 Deg Capricorn at the end of January 2008, and made station retrograde at 1 degree of Capricorn at the beginning of April -- that is all last winter Pluto was pouring change energy into 0 Deg Capricorn and coming to the opposition to the USA Venus.

Any Natal chart with 0 Deg of Capricorn sensitized will very likely (not always) be responding now to Pluto's powerful, subconscious, subterranean urge to CHANGE.

Pluto went direct in early September at 28 Deg Sagittarius, and re-entered 0 Deg Capricorn the end of November (it was close enough to call it 0 Deg on Election Day). It'll finish 0 Degrees again the 4th week in Dec. 2008, then it goes on to 3 Degrees of Capricorn, and back again to make station in the middle of the 0th Degree of Capricorn in September 2009.

Thus for 2009, Pluto will be activating the USA Natal Venus, and we should see wealth, jobs, health care, and relationships under Pluto's hammer of change.

I'll give you a week to digest all that, and then we'll take more about Vampires and Pluto and Change.

Astrology Just For Writers Part 5 - High Drama Pluto and Vampires


Pluto transits take a long time. (See the relevance to Vampires? Reincarnation love affairs? Yes, Pluto is said to occupy the spot in your natal chart that your Sun occupied in your previous life.)

Pluto has an elliptical orbit (another reason they decided it's not a planet but a "capture" from some other solar system. Ah, Alien Romance!)

For the last decades of the 20th Century Pluto was moving pretty fast (relative to its usual), but now Pluto has begun to move more slowly as it rounds its elliptical path.

In Astrology the principle is that the slower the transit, the more profound and lasting the change -- the more prominent the change in the history books.

All planets bring change on transit, it's just the character that's different -- and many Astrologers argue that all the planets signify the same thing, change, just the speed differs and thus the magnitude of the change. Pluto's magnitude is the biggest, though it's such a tiny body.

Pluto is now, and once again, the slowest moving planet (from Earth's perspective). 248 years to go all the way around the Sun. So every 248 years, Pluto gets back to the spot it was when you were born.

See what I mean about Vampires being ruled by Pluto?

Since Methuselah, nobody "alive" ever experiences a Pluto Return.

We learn Astrology from "lore" not theory, and the theory is created from the lore. We study people, real people, who experience this or that transit against the background of a Natal Chart that has this or that characteristic, during this or that time of their life, and keep lots of notes. Then the experiences of lots of people are compiled into general principles. That's how "rulerships" are "assigned."

Pluto is new to our lexicon of planetary experiences, and thus people are still guessing what it is really about. Mars co-rules Scorpio with Pluto - and many of Pluto's characteristics are just bigger, deeper, longer wavelength attributes of Mars.

That means that war is Pluto related, while Mars is battle related. Mars is marital strife, but Pluto is divorce -- see what I mean?

Read up on Saturn Returns in Grant Lewi's ASTROLOGY FOR THE MILLIONS to see why the return of Pluto to the place at birth has to be significant in a Vampire's existence. (Saturn rules Capricorn)

A Pluto-Return has to be a totally shattering Event for a vampire or other immortal.

EXAMPLE: There's a branch of Astrology called "Mundane Astrology" and it deals with the Natal Charts and transits of whole nations and the world in general.

A lot that's been happening in the world since Pluto touched 0 Degrees of Capricorn can be understood in terms of Pluto symbolism.

There's always argument about exactly when a country is "born" -- and the USA has several accepted natal charts that astrologers study. I found that in one of the most famous charts, (July 4, 1776, 2:13 AM, Philadelphia PA) the USA's 8th House Cusp is at 0:38 of Capricorn).

2008 has been the year of the financial meltdown, starting with MORTGAGES (borrowing other people's money). Banks get the money they loan from depositors (government loans notwithstanding). Banks are an 8th House phenomenon.

248 years ago was 1760 - the USA hasn't had a Pluto return yet! By this chart, our Pluto is at 27 degrees of Capricorn, in our 9th House which is foreign affairs, foreign travel, foreign thinking, and justice, courts. Jupiter rules Sagittarius the Natural 9th House.

If this chart holds, this phase of Pluto induced change should be over for us by September 2009, but Pluto then moves on to oppose our Natal Venus, Jupiter and then Sun. Pluto finishes our 8th House and enters the 9th in Nov 2019. By then the character of the USA will be wholly changed.

Watch how Pluto affects long-lived organisms such as countries, and you will begin to see how it signifies the kind of life events a vampire would face. Periodically. Routinely. Ho-hum, yawn, I'm bored with existence. Who could be bored the first time you ever face a "change everything" Event -- a lose everything or win everything Event? But the 20th or 1,000th time?

Recently, the Thailand government was toppled by airport sit-ins that trapped thousands of tourists. The Greek government is being challenged after a police shooting at a rock throwing incident. The Mumbai terrorist attack has aroused India's wealthy class to challenge the current Indian government, but not the form of government.

Political Revolution is (often, not always) a Pluto driven event.

Being toppled from "power" can be a Pluto type event from the point of view of the one toppled, but the same kind of thing can be signified by a transit of Saturn.

Pluto will topple by revealing the hidden, by sex scandal, by embezzlement, or sometimes by someone else wanting the power for themselves, by assassination. Saturn often topples by failure, by running out of steam, by enemies succeeding, by losing the election, by a failure of discipline or authority, by getting your comeuppance, your just deserts. With Saturn, it's obviously your own fault; with Pluto it seems to be external to your self.

(I'm just leaving Neptune out of this. Astrology is nothing if not complicated.)

You see what I mean by "drama" - Pluto is very High Drama indeed.

Pluto driven lives and events are the very substance of movies even more than of novels. Robert Ludlum move over!

Noel Tyl (as I discussed in my post Astrology Just For Writers Part 1)

http://aliendjinnromances.blogspot.com/2008/07/astrology-just-for-writers.html

shows how Pluto is one part of a pattern that shows up routinely in the natal charts of the extremely prominent -- thus Pluto is connected to both fame and infamy.

A Pluto driven life has these gigantic, larger than life, ups and downs -- from which the individual usually comes back. Pluto supplies both the crisis and the strength to survive it.

Pluto driven love can range from the sickest, most violent obsession (stalking, kidnap, etc) all the way to the longest lasting, most eternal, and most animal-passion driven bonding of hunger and need.

So astrologers face a quandary trying to analyze a Vampire's existence. Is his (or her) natal chart the moment they were born as a human? Or the moment they first drew breath as a vampire?

Does a vampire who has been immured for a few centuries, going dormant until dug up, get a new natal chart when they "waken" again?

Does memory have anything to do with how you respond to transits? Does a person who has a total memory wipe have a new natal chart when they start recording events again?

http://news.bbc.co.uk/2/hi/health/7777385.stm

Is an item about the finding of what may be a human brain, more than 2,000 years old, shrunken and barely identifiable.

So it occurs to me to wonder what if that were the brain of a vampire?

And then it occurs to me to wonder how a fossilized (really infused with stone) vampire body might respond to being "brought to light" (that's what Pluto does, exhumes, brings to light, turns up, discovers, exposes).

There's this fossilized body in a museum -- a vampire, of course -- and the vampire's Pluto return takes hold. What happens next?

Jacqueline Lichtenberg

http://www.slantedconcept.com

Saturday, November 08, 2008

Sympathy For The Villain

(A dramatic monologue from Django-Ra who casts a long shadow, but does not live beyond the Prologue of Knight's Fork)

Allow me to introduce myself...
I am the god-Prince Django-Ra. To my face, you should call me "Your Highness" or "Sir". Behind my back, I presume you will call me "Django" pronounced "Jan-GO"... The D- of Royal names is silent.

So, little Earthling, you are cautiously curious about me.

Know, then, that I am exceptionally gifted and exceedingly dangerous. I can read or wipe minds with ridiculous ease, just as I am reading yours. I play god-level chess, and am one of the most formidable Duplicate Bridge players in all the galaxies. Certainly I cheat. A god-Prince must be seen to win!

What's that? Ah, yes! You may well wonder whether or not I can read the mind of my favorite great niece, Electra-Djerroldina, the Volnoths' queen. She wears the most perplexing… Hah! but I will not tell you.

As you see, I enjoy excellent health –yes, sexual vigor, also—despite my advanced years. In my day, I was a superb star-fighter pilot with many kills to my credit... and to my discredit. Friendly fire is such a useful expression, isn't it?

Of course I have killed friends. And family. And lovers. We all do. It is inevitable. The Djinn bloodline is almost extinct. There are desperately few full Djinn females left for us to fight over. Those that there are, are taken. Alas! Which leaves lesser beings such as yourself, whose innards are not strong enough to endure multiple impregnations by a Great Djinn.

You are skeptical! Consider my great-nephew, the Crown Prince Tarrant-Arragon. He searched the galaxies for gestates. Yes, gestates. In our World, we measure time by the female cycle, and by the duration of a Royal pregnancy. His new Mate –or "wife"—is half-Earthling. He is beside himself with worry that she may not survive the birth of his heir.

Have I confused you? Every book has a genealogical table either in the front or at the back. Or visit the official family tree at http://www.rowenacherry.com/familytree It is…ah, economical with the truth. My own bastards, for instance, are not attributed to me.

Why do I do… what I do? I daresay I have bad Djinn genes. I enjoyed a deeply disturbing childhood. My twin brother died in what you would call his crib. I had nothing to do with his demise. It would have done me no good to expedite his departure from this life. We had vigorous, older half-brothers who were Heir Apparent and second in line to the Imperial throne, and it was beyond my strength and powers to remove them from my path.

Indeed, I was obliged to feign an interest in lesser-being members of my own sex in order to bask in the variable star-shine of my big brothers' tolerance. As long as they thought me "peculiar", they did not see me as a threat. Eventually, as you see, I...ah... outlived them.

Their untimely deaths brought me no particular joy. I did not get what I've always wanted.

What's that? I want to experience the Great Djinn rut rage. Earthling, do you understand what the rut-rage is? It is a drive, a sexual madness, a mating frenzy. Pure Great Djinn males, such as myself, have saturniid glands that can smell a full-Djinn female who is approaching oestrus from as many as fifty of your miles away. We then fixate upon that "scent love" sight unseen, and become obsessed with her.

Did I once have a "scent love"? Yes, but I never was in a position to claim her. My muscular half-brothers had Helispeta, consecutively. I, alas, would have gladly stood in line but Djohn Kronos and Devoron-Vitan made war over her, and Helispeta took sanctuary on your planet, Earth, beyond my reach. Not that she ever knew of my passion.

After she was lost to me, I tried to experience the rut-rage with others, even with my nephew's Empress, Tarragonia-Marietta, but met only with frustration. You may read my great nephew's love story, Forced Mate, and also Insufficient Mating Material for a less subtle view of my exploits.

Hmmmm. I believe I smell heightened excitement. My foolish, frivolous great-niece Martia-Djulia's forced Mating Ceremony must be about to begin. You will excuse me....


*****
Rowena here:

Just as I prefer my heroes to be slightly morally questionable, so I like my villains to be likeable --or at least entertaining-- when they want to be. As I wrote of Tarrant-Arragon (who is either hero or antagonist) his civilized veneer curls up at the edges.

Django-Ra is my most heinous villain. He and Helispeta saw the trouble begin in the electronic prequel Mating Net, and have seen it through Forced Mate, Insufficient Mating Material, and now into Knight's Fork. That's why I chose dramatic monologue by him to introduce you to his wicked world of the Tiger god-Princes of Tigron.

Some villains are too interesting to be killed off. But, if it seems that a happy ending depends upon their death, who is to do the deed? Can the heroine remain a romantic heroine if she kills the villain? Is it acceptable if she kills the villain by accident, or in self-defense, or in defense of the hero or some other vulnerable character?

Princess Leia strangled Jabba The Hutt. That was cool. Eowen killed the undead Ringwraith King. That was cooler.

Ditto for the hero. There's not so much of a double standard about a hero's activities. He's usually a knight or high-ranking professional warrior. Nevertheless... Luke didn't. Aragorn didn't.

Is it a cop out if the villain is simply hoist by his own petard (which literally means blown up by his own bomb)? I don't think so. There is a certain satisfaction --a "thusness"-- to that turn of events.

What inspires my villains? Not just the exquisitely courteous arch-villains of the Bond movies. For me, the most memorably wicked villain in literature was the Duke in Robert Browning's poem "My Last Duchess". He doesn't make The Daily Telegraph's list of Literature's 50 greatest villains -- http://tinyurl.com/50-villains (http://www.telegraph.co.uk/arts/main.jhtml?view=DETAILS&grid=A1YourView&xml=/arts/2008/09/20/bovillains120.xml) But then, nor do Djohn Kronos, or Django-Ra!






With thanks to Heather Massey whose Thursday November 6th post reminded me to see if Dorchester still was using the above.
http://thegalaxyexpress.blogspot.com/

Sunday, September 21, 2008

How to handle a villain....

I'm not sure why, but as I struggle to find something useful and profound to say tonight (and I'd really appreciate some help, because my publisher has offered me a showcase blog to help launch Knight's Fork) I can hear the late Richard Harris singing "How to Handle a Woman" from the musical "Camelot".

In the musical, "the wise old man" --whom I assume was Merlin-- advised King Arthur to handle Guinevere by simply loving her.

Didn't work, did it? Maybe King Arthur didn't take the advice? Of course, according to some versions of the legend, Merlin was a questionable authority on the ladies, and ended up losing his skin.

How to handle a villain?

Carefully?

Definitely!

How about loving him (or her?)

Let's think about that. I'm the writer. He's my brain child. It's my duty to love him, even if in the end, the greatest love I can show for my flawed and twisted child is to hand him over to the proper authorities, and hope that he is happier in a new incarnation.

Perhaps, if I wrote plot-driven romances I wouldn't agonize so much over my villains, but I write character-driven romances. I'm not the only one.

Janet Walker has a series of creative interviews with her own and other authors' villains on her Eclectic Writer blog.
http://www.blogger.com/img/gl.link.gif
Eclectic Writer
http://wwweclecticwriter.blogspot.com/

Just as I like my heroes to be slightly morally questionable, so I like my villains to be likeable --or at least entertaining-- when they want to be. As I wrote of Tarrant-Arragon (who is either hero or antagonist) his civilized veneer curls up at the edges.

There's a quote I see occasionally in someone's sig file. "If you've nothing nice to say, come sit by me."

If "reality television" reflects popular taste, we like to hear the dirt being dished, if it is done with wit and charm. Or even if it isn't.

For that reason alone, it's probably well worth cultivating our villains and giving them a plausible rationale for their actions... or not if we have enough scenes to show our antagonist's slide down the slippery slope! Sometimes, one mistake or piece of opportunism can snowball.

Django-Ra was my most heinous villain. Compared with him, the others are mere rivals, political opponents, adversaries, irritants. He hasn't received one note from any admirer ever. I shall be most interested to see--as time goes by--which of the enemies who surround 'Rhett in Knight's Fork attracts the cyber boos and hisses.

Good night.

Rowena

Sunday, December 30, 2007

Monsters (and alien romance)

Good morning, alien romancers!

I'm wrestling with a monster list of revisions to be done this month on KNIGHT'S FORK which is the next love story in the god-Princes of Tigron series (informally dubbed by some, The "Mating" books).


Of Men and Monsters

One editorial request I did not receive was to make my villain more monstrous. In fact, I am to give him more scenes (because he is urbane, witty, funny) but simplify why he wants the heroine dead.

Writing monsters of the villainous kind is tricky. It has to be done, I suppose. Even though few bad guys see themselves as the villains in their own life stories, many wiser persons than I would tell you that the hero seems more heroic if the villain is evil.

Personally, I like shades of grey, and I enjoy an ambiguous, dark relationship with an attractive villain. I must be twisted. Am I the only one who saw the first Darth Vader breathing heavily and striding through the ruins of a rebel stronghold, and wondered what he'd be like in bed?

Of course, that was before I knew that everything below his waist had been chopped off. I suppose it is not a spoiler to say that.


I think I've mentioned in a previous post that my personal taste is for the generic Bond movie villain. That is, someone very powerful in the worldly sense, well groomed, well educated, fiendishly clever, exquisitely polite.

Sigh. They can't always be "exquisitely polite". In fact, a bit of bad language adds a certain "shock and awe" especially when it's obvious that the villain has deliberately chosen to offend both the reader and the hero.


Here be Dragons and other Monsters

Dragons, dinosaurs, trifids, architeuthis (which you can find by googling phonetically for "archetoothus", I've just discovered), The Kraken, Alien, the Blob and others are monsters because they are big and scary, and it's their nature to eat a conveniently slow moving food source (us).

Since I am a contrarian, I once amused myself by writing the story of Polyphemus's encounter with Ulysses (The Odyssey) from the Cyclops' point of view. Mostly, stories aren't told with excursions into the minds of Monsters.

For those interested, here are a few resources being discussed elsewhere on the net:


THE ENCYCLOPEDIA OF VAMPIRES, WEREWOLVES, AND OTHER MONSTERS, by Rosemary Ellen Guiley.


http://paranormalromance.org/Paraphernalia.htm
The new Paraphernalia feature, “If There Be Dragons” is now online featuring dragon themed romance.


http://marilynnbyerly.com

Marilynn Byerly will be teaching a course on worldbuilding for paranormal romance in
February for the RWA Outreach chapter. Topics include building a better monster and how to give your own a unique touch.


Charlee Boyett-Compo has a huge list of monsters at
http://www.windlegends.org/WritersResearchPages.html

Look under Creatures, Spirits, and Monsters. There is also an occult
dictionary, supernatural glossary, ghosts, dragons, and fairies.


Happy New Year!

Rowena Cherry

Chess-inspired ("mating") titles. Gods from outer space. Sexy SFR. Poking fun, (pun intended). Shameless word-play.


INSUFFICIENT MATING MATERIAL
Award-Winning Finalist in the Fiction and Literature: Romance category of the National Best Books 2007 Awards

Winner of the Spring N.O.R. Awards, Best Fantasy/Sci-Fi Romance:
Second Place winner, Fall N.O.R. Awards

CAPA Award nominee
LASR Award nominee

http://www.internetvoicesradio.com/CrazyTuesday.htm


http://www.rowenacherry.com/downloads/FFP_Authors_Sampler.pdf