Theme-Conflict Integration Part 2: Designing a Conflict by Jacqueline Lichtenberg

Theme-Conflict Integration 

Part 2 

Designing a Conflict

 by 

Jacqueline Lichtenberg

Part 1 of Theme-Conflict Integration is here:
http://aliendjinnromances.blogspot.com/2013/08/theme-conflict-integration-part-1.html

-------quote from Part 1------------
The error that we, as Science Fiction Romance writers, have been trying to correct is the assumption that Romance is "pulp" and only pulp.  The assumption is that Romance is suitable only for lining bird cages and wrapping dead fish.  Oddly, that was always the assumption about science fiction.  Hmmm.

It is an unconscious assumption, and our entire civilization is founded upon it.

Once you see that manifesting in TV News, popular TV Series, and heated blog controversies over "sexism" you understand that we've been had.  Big time.

Like Science Fiction, Westerns, and many other genres so disparaged, Romance is not now and never has been "throw away" literature.  It is CLASSIC by it's very nature.

That fact is so terrifying that it is buried in the subconscious (Neptune, Pisces -- the best horror genre novels are fabricated out of NEPTUNE EVENTS (illusion) just as Romance Genre pivots on a Neptune Transit).  Buried in the collective subconscious, that fact about Romance being Classic Literature by its very nature is left to suppurate and rot us all out from the inside.

Do you see how I've taken a CONFLICT (the battle of the sexes over the prestige of Romance Genre) and edged it over into a THEME?

--------end quote from Part 1----------

Part 1 is titled Battle of the Sexes.  One would think that "battle of the sexes" pretty much covers the entire field of Romance.

However, I read eclectically, all around the spectrum and even into non-fiction, looking for "what she sees in him" and "what he sees in her."  You might think that's the core of "Romance" -- but wait!  It's actually the core of all "relationship" driven stories -- and the core of Life as depicted in those fascinating biographies I keep pointing you toward.

One way to puzzle out "what X sees in Y" is to examine human life-paths using the tool of Astrology.  Those who discard Astrology without actually learning any generally think it is just superstition and nonsense.  Actually, it's an empirical science.

It was developed by those who observed the heavens and observed human life-paths, and human nature, and puzzled over the problem "what does she see in him?"

What do humans see in each other?

Take a big example known to every reader of this blog.  What did the USA electorate see in Barak Obama?  What do they see now?  How come everyone doesn't see the same thing in this vast, larger-than-life public figure? 

The fact that we don't all "see" the same thing in every fictional character -- take Spock for example -- mirrors ordinary human life and existence. 

When two (or more) people who have observed the same person (maybe a prospective employer and the Human Resources director in his company) hold opposite assessments of that person's skills, character, personality, potential, etc. you have CONFLICT.  And that kind of conflict is what generates great novels.

Take for example, the head of the IT department at a large Hewlett Packard plant gearing up to make a new computer here in the USA.  As they're interviewing for positions, the place is mostly dusty concrete floors, big dirty windows, echoing chambers where machinery will chug and assembly lines move.  Touring what's going to be the cubicle corral and in the back the exec offices of the IT department that's tasked with keeping all the desk workers' computers functioning, the man who will run that department looks at the wispy slip of a woman with an operatic contralto voice and a dazzling smile.

She looks at a medium height, brown haired, brown eyed Geek and thinks she sees through his crisp white shirt the vague outline of a Superman T-shirt logo.  She can't stop smiling, thinking, "Home at last!  Yes!!!"

Problem is his ex runs the HR department and saw that exchange of smiles during the tour.  His ex tables her resume and tells him that when his call-back for a second interview went through, she declined without noting a reason.

She checks her phone every 15 minutes for missed calls.  Nothing until she gets a job offer from another company and reluctantly (jacking up the offered salary by hemming and hawing) accepts.

Who is she working for?  How does she come into contact with the HP IT guy again?  What happens to the ex in HR as a result of them comparing notes? 

Which hackers get jailed because these two get together?

CONFLICT is the result of what this human (or non-human) sees in another human (or non-human.) 

CONFLICT is the key to generating both plot and story, where plot is defined as the series of Events, what people do because of what others have done, and story is defined as the meaning of the Events to the characters who experience them (lessons learned, ambitions ignited, possibilities expanded, Happily Ever After Achieved.)

HEA or Happily Ever After is the end of the STORY -- but not necessarily of the plot. 

A Couple such as described in this example might end up married into an HEA ending, and there could still be more books in this series.

For example, you have this crackerjack anti-hacker team working at this giant Corporation HQ (yes, she comes to work for him, probably a few books later is his boss) -- but the next novel in this Universe might be about characters only mentioned or introduced in Book I -- such as an Uncle or Grandparents.  It could center on relatives of the ex who had attempted to manipulate the HR woman into marrying this IT guy because of some larger, intricate international plot?

If you look at what I've sketched here, you'll see another version of Gini Koch's ALIEN SERIES -- that I keep raving about because it really is that good.  It's Romance, yes, but a Romance set in a very realistic world.

What?  Aliens on Earth secretly defending Earth is realistic?

Well, no, not exactly -- but the Earth that these strangers are trying to live on is very realistic -- although depicted as a caricature.

Caricature is a valid artistic tool for bringing up certain traits that are ordinarily not consciously noted by the audience. 

http://www.fordlibrarymuseum.gov/museum/exhibits/Bob_Hope/Presidential Awards.htm

In the upper left corner of that page, you'll see a famous caricature of Bob Hope.  His chin and his nose were NOT like that -- but this caricature is very identifiable.  Check out Bob Home images in his various movies as he aged.  This caricature is brilliant work.

Caricature is generally considered the province of humor.

But actually that's not true.

All fictional conflict is caricature.

Now, I couldn't create a visual portrait of a person using caricature -- though Kelly Freas once did a caricature of me and it was startlingly informative.

But the fictional CONFLICT that a writer pulls out of the depths of a misty, abstract, intellectualized THEME is a caricature.

I've pointed out in previous posts that the best source of IDEAS is HEADLINES - yes, newspaper, blogs, newsletters, TV or radio or whatever comes next. 

Here's the index to MARKETING FICTION IN A CHANGING WORLD -- note the one titled HEADLINES AND TITLES:
http://aliendjinnromances.blogspot.com/2014/05/index-to-marketing-fiction-in-changing.html

The TITLE of a novel is a HEADLINE formulated from the THEME. 

Headline writing is what journalists do.  Book and Chapter titles is what fiction writers do.  Actually, non-fiction writers also do exactly the same thing. 

Find a way to convey the core of the matter (the conflict extracted from the heart of theme) in 6 words or less, preferably less.

The Headline says what this piece is ABOUT.

What anything is ABOUT is the theme.  The theme is the point you are making.  The point you are making is the reason the reader wants to read the piece you've written.

If your headline/title fails to convey the THEME - then the readers who read it will hate it and report that your writing is boring, and those to whom you are really addressing this piece will shun it because it's not about what they are interested in. 

The TITLE is key to the conflict and maybe it's resolution.  Usually, the real meaning of a good title (one that can't be resisted and can't be forgotten) is revealed at the 3/4 point in a 4-act structured novel.

So ripping your story from the HEADLINES (e.g. titles of news stories) works, provided, as I've said before, you are working with headlines from several years or decades prior to when your novel will be published.

If the reader hasn't yet forgotten the kerfuffle, or digested it or reached a personal accommodation with it, the story you write about that theme probably won't work as fiction.  (It might work as non-fiction.)

So in ripping from the headlines, it's important to judge your timing.

Occasionally, a contemporary basis works well if it catches the imagination of the marketers. 

But let me point you to an item which is both ancient and modern, a headline that's recurred just this year after being relegated to the dustbin of academic history for a century or so.  You can mine this for themes because it's old, and sell the resulting story because the theme is new.  What a trick!

It's also in audible.com edition and you can find it on that page, but the Kindle is only 99cents. 

Here below are 25 quoted POINTS (headlines?) from an article on THE BLAZE

This article defines one side of a conflict you could use to fuel an epic Romance.  The other side you can easily rummage out of your mind, I'm sure.  The one-sidedness of this article is what gives it the clarity to be a useful source of Headlines to rip into a novel, but in a novel you must also argue the other side of any conflict.  After all "conflict" is a concept that implies 2 sides (at least).  For clarity, and to deliver a satisfactory resolution to your reader, work hard at dividing your thematic material into two clearly separated positions. 

Watch for examples of this artificial division into two and just two sides.  You'll see it in political advertisements, in Talking Heads TV shows, in Talking Points displayed in campaign "debates" and so on.

The real world is complicated and complex, with all issues having thousands of "sides."  But only a  very tiny percent of our general population has the patience to gnaw through all that clutter to figure out what they think.  So politicians and marketers of all sorts (including book marketers) have to "simplify" things down to just two diametrically opposed views, and then convince the audience that these are the only two choices.  And you see this illustrated in this "pamphlet" which is short because it's showing you only one side, and pretending there actually is only one other side. 

What tickles my imagination about this pamphlet titled THE LAW is that it's from 1850 culture. 

Chelsea Quinn Yarbro used this kind of material (absorbed over a lifetime interest in History) to generate her incredible 1978 Best Seller redefining Vampire Romance Historical, The Palace:

That links to the Kindle page with various other editions.  The Palace was the foundation of her best selling St. Germain novels, a Life Work worthy of our greatest respect.

In The Palace, Renaissance Florence provides the background for this story of the collapse of the artistic and literary life of the city after the death of San Germano's friend, Lorenzo the Magnificent, followed by the rise of the fanatical Savonarola.
---------
From Wikipedia:
http://en.wikipedia.org/wiki/History_of_Florence

Citizen Government in Renaissance Florence

From 1328 until 1434, Florence was a city republic governed by a broad swath of citizens from the elite merchant and banking families. They used a method of sortition to draw candidates for public office. During the late 13th and 14th centuries, popular revolts led to periods when public office was also shared among citizens from the middle and lower artisan class.
----------

Note how the writer's mind associates across all the barriers between France in 1850 and Forence's city republic and morphing governmental forms in the 1300's.  And here we are again in the 2000's.  Remember how we discussed cycles and oscillation as a key to understanding (and thus depicting) a character's "life."
http://aliendjinnromances.blogspot.com/2014/06/information-feed-tricks-and-tips-for.html

History is background, but also thematic substance.  One sort of thematic substance you can take from a pamphlet reference like THE LAW is that History moves in CYCLES, a spiral where even though the repetition is not exact, it's recognizably an "here we go round again" experience for those who know what happened before.

That effect (the cyclical nature of Life's events) can be used to add verisimilitude to the wildest fantasy settings.  It's used in the Sime~Gen Series where, a thousand years after the collapse of this civilization we're in now, humans pull together a whole new, global civilization and rebuild from scratch to reach out into Space The Final Frontier.

The cycle of history goes round again -- but with a difference. 

So read this list of issues covered in this 1850 pamphlet THE LAW, with the titles showing how it surfaces again in today's headlines and write it into your fantasy world.  This is the substance of High Drama, but even more-so it is the fuel of every great Romance (think Helen Of Troy!)

I'll list the 25 headlines here, but click through to the article for the substance behind each of these quotes.
To get the real gist of this list, you should read the article itself, but first ponder these excerpts from the article:
http://www.theblaze.com/blog/2014/01/24/this-obscure-french-pamphlet-from-1850-perfectly-describes-todays-america/

Each of the 25 could be made into a THEME for a Romance Novel, and if you sequence them properly you will have a SERIES -- or serial -- or an entire "Universe" if you do the science fiction worldbuilding to incorporate these fertile themes into your work.

Read this list as if it were a spelling list in a school course, and your task is to use each word in a sentence in such a way that the sentence adds up to a micro-short story.  Or you could do this for NanoWriMo this November.

Read this and monitor your blood pressure.  Imagine you want to break up a marriage so your main characters can get close without inappropriate spouses in the way.  Start a breakfast table (before coffee) conversation about one of these 25 points -- BAM! Divorce! 

------BEGIN HEAVILY EDITED QUOTE----------

: The following quotes come from French classical liberal, economic journalist and legislator Frédéric Bastiat’s 1850 pamphlet, “The Law.”

1. It started with “hope and change"  ”While society is struggling toward liberty, these famous men who put themselves at its head are filled with the spirit of the seventeenth and eighteenth centuries. They think only of subjecting mankind to the philanthropic tyranny of their own social inventions. Like Rousseau, they desire to force mankind docilely to bear this yoke of the public welfare that they have dreamed up in their own imaginations…".....

2. And a social justice agenda   "Now this must be said: When justice is organized by law — that is, by force — this excludes the idea of using law (force) to organize any human activity whatever, whether it be labor, charity, agriculture, commerce, industry, education, art, or religion. ..."...

3. That enabled Obamacare ”But when the law, by means of its necessary agent, force, imposes upon men a regulation of labor, a method or a subject of education, a religious faith or creed — then the law is no longer negative; ....

4. And the IRS scandal, DOJ malfeasances, etc. ”Sometimes the law defends plunder and participates in it...

5. Where law was used as a weapon ”But, generally, the law is made by one man or one class of men. And since law cannot operate without the sanction and support of a dominating force, this force must be entrusted to those who make the laws.

6. And condoned in a culture of political corruption ”

7. Imbued with such a philosophy, Washington was a political free-for-all  ”  Under the pretense of organization, regulation, protection, or encouragement, the law takes property from one person and gives it to another ....

8. Public education remained ever powerful “You say: “There are persons who lack education,” and you turn to the law. But the law is not, in itself, a torch of learning which shines its light abroad. ....

9. Leading to Common Core being foisted upon the children   "....Conventional classical thought everywhere says that behind passive society there is a concealed power called law or legislator (or called by some other terminology that designates some unnamed person or persons of undisputed influence and authority) which moves, controls, benefits, and improves mankind.”

10. The media was effectively an organ of the administration  

11. …Really ”  ....  just as the gardener needs axes, pruning hooks, saws, and shears to shape his trees, just so does the socialist writer need the force that he can find only in law to shape human beings. For this purpose, he devises tariff laws, tax laws, relief laws, and school laws.”

12. Truly ”   To these intellectuals and writers, the relationship between persons and the legislator appears to be the same as the relationship between the clay and the potter.” 

(JL interjecting here -- John Denver song about the Potter's Wheel -- and current soaring fame of Harry Potter.  Metaphor and imagery are artistic tools that can propel writers into the category of Classic.)

13. So the welfare state that had once started small… ” ..... See if the law benefits one citizen at the expense of another by doing what the citizen himself cannot do without committing a crime. ...

14. Grew and grew and grew ”  ... It is not considered sufficient that the law should be just; it must be philanthropic. .....

15. When re-election time came, they spoke of Republicans ”throwing granny off the cliff” and wanting “dirtier air, dirtier water“ ”Socialism, like the ancient ideas from which it springs, confuses the distinction between government and society. As a result of this, every time we object to a thing being done by government, the socialists conclude that we object to its being done at all. ....

16. The community organizers sprung to action “..... If the natural tendencies of mankind are so bad that it is not safe to permit people to be free, how is it that the tendencies of these organizers are always good?  .....

17. Chanting slogans like ”This is what democracy looks like” “The strange phenomenon of our times — one which will probably astound our descendants — is the doctrine based on this triple hypothesis: the total inertness of mankind, the omnipotence of the law, and the infallibility of the legislator. These three ideas form the sacred symbol of those who proclaim themselves totally democratic.

18. And speaking of all sorts of previously unknown ”rights” ”The person who profits from this law will complain bitterly, defending his acquired rights. ...

19. While the President said ”You didn’t build that“ “Thus, according to [a tutor to the Dauphin in the Court of Louis XIV] Bossuet, persons derive nothing from themselves. Patriotism, prosperity, inventions, husbandry, science — all of these are given to the people by the operation of the laws, the rulers.

20. And while the President won re-election, due to efforts of the House and various scandals, he now makes statements like “I’ve got a pen and I’ve got a phone“ “In cases where the alleged evil is so great that ordinary governmental procedures cannot cure it, Mably recommends a dictatorship to promote virtue: “Resort,” he says, “to an extraordinary tribunal with considerable powers for a short time. The imagination of the citizens needs to be struck a hard blow.” This doctrine has not been forgotten. Listen to Robespierre: ...

21. While his party pushes an inequality meme ”  ..... Since all persons seek well-being and perfection, would not a condition of justice be sufficient to cause the greatest efforts toward progress, and the greatest possible equality that is compatible with individual responsibility?

22. And dreams of equalization ”You say: “There are persons who have no money,” and you turn to the law. But the law is not a breast that fills itself with milk. Nor are the lacteal veins of the law supplied with milk from a source outside the society. .....

23. And the conservatives are left with a tall task ”Now, legal plunder can be committed in an infinite number of ways. Thus we have an infinite number of plans for organizing it: tariffs, protection, benefits, subsidies, encouragements, progressive taxation, public schools, guaranteed jobs, guaranteed profits, minimum wages, a right to relief, a right to the tools of labor, free credit, and so on, and so on. All these plans as a whole — with their common aim of legal plunder — constitute socialism.  ... 

24. A very tall task ”Socialists desire to practice legal plunder, not illegal plunder. Socialists, like all other monopolists, desire to make the law their own weapon. And when once the law is on the side of socialism, how can it be used against socialism? For when plunder is abetted by the law, it does not fear your courts, your gendarmes, and your prisons. Rather, it may call upon them for help.

To prevent this, you would exclude socialism from entering into the making of laws? You would prevent socialists from entering the Legislative Palace? You shall not succeed, I predict, so long as legal plunder continues to be the main business of the legislature. It is illogical — in fact, absurd — to assume otherwise.”

25. And so here we stand today “As long as these ideas prevail, it is clear that the responsibility of government is enormous. Good fortune and bad fortune, wealth and destitution, equality and inequality, virtue and vice — all then depend upon political administration."

Where does it all end? Here’s what Bastiat says:

“But if the government undertakes to control and to raise wages, and cannot do it; if the government undertakes to care for all who may be in want, and cannot do it; if the government undertakes to support all unemployed workers, and cannot do it; if the government undertakes to lend interest-free money to all borrowers, and cannot do it; if, in these words that we regret to say escaped from the pen of Mr. de Lamartine, “The state considers that its purpose is to enlighten, to develop, to enlarge, to strengthen, to spiritualize, and to sanctify the soul of the people” — and if the government cannot do all of these things, what then? Is it not certain that after every government failure — which, alas! is more than probable — there will be an equally inevitable revolution?”

--------END HEAVILY EDITED QUOTE--------

Even before I edited out most of this article, the article was a caricature of a book from 1850 that painted a caricature of 1850 which could be taken as a caricature of today!

Note the reference in point #1 to the 17th century, written in the 19th century.  Now we're in the 21st century talking about the 19th.  Remember this periodicity when worldbuilding. 

So you may consider all fiction and non-fiction as caricature -- and the Classics are all caricatures! 

To become classic like this book THE LAW, the work has to leave out or de-emphasize some truths and exaggerate others to dominate the picture, just as that line-drawing caricature of Bob Hope is not Bob Hope's picture.

Now do you see your Helen of Troy emerging from the juncture of Theme and Conflict?

Those 25 points are thematic.  Your characters will each read that pamphlet and SEE different things, just as two people assess a third differently.  And boy will they fight over breakfast the next morning! 

Imagine if your characters are each running for public office against each other, cramming for a "Debate."  Now imagine they each have the hots for the other (or better yet already married, and running against each other as an extension of that breakfast conversation), but are on opposite sides of this argument about the purpose of government. 

Each of your readers is convinced their OWN IDEAS are the correct assessment and each is rooting for a different spouse in this family quarrel.

Remember we discussed how "interesting" means the IDEA arises from within the reader, not from within the writer? 

ON WHAT MAKES AN INTERESTING STORY
http://aliendjinnromances.blogspot.com/2013/11/story-springboards-part-4-art-of.html
The Index to Springboards is here:
http://aliendjinnromances.blogspot.com/2014/01/index-to-story-springboards-series-by.html

The same is true of "reliable information."  That which the reader extracts (apparently on their own) from what they "see" (e.g. are SHOWN not told)  is convincing. 

That which is SHOWN to the reader becomes convincing because the reader has to put the puzzle together and arrive at an idea of what it means. 

What is TOLD to the reader is immediately suspect -- review your responses to reading that list of points! 

Your own assessment is TRUE -- someone else's assessment is SUSPECT, dubious or plain lies, and in any event uninteresting.

As a writer, you must find that spot where Theme and Conflict intersect, then SHOW it (not tell it) to your reader and let them discover their own truth, not yours.  Then the book you write will be "interesting" to your reader, and true (at least while reading.) 

Notice particularly how this set of 25 thematic issues all go together for form a perfect bundle -- the core theme is "purpose of government."  Each issue taken up in turn is individual, but the theme each issue illustrates is related in exactly the way we noted in previous posts that themes designed for long, multiple Point Of View novels, must be related.

Here is the Index to posts on THEME:

http://aliendjinnromances.blogspot.com/2012/08/how-to-use-theme-in-writing-romance.html

Here is one of the early posts listed in that index post:

http://aliendjinnromances.blogspot.com/2008/09/how-to-learn-to-use-theme-as-art.html

The reason themes forming the structure (and title) of a single work must be related is that the only things a reader will both enjoy and believe (if only temporarily for the story) are the thoughts the reader originates.

Nobody looking to read a whopping good story is at all interested in what you have to say, but your THEME is exactly what you have to say.  So don't say it.  Show it just the way that list of 25 points shows what the argument is regarding "What Is The Purpose Of Government?"  

Your job as a writer is to provide the disciplined framework (the nest) and the energetic spark that begins the reader's question, (the egg) leading to the reader hatching their own idea -- not yours.  Yes, people are as possessive of their own ideas as a mother hen of her chicks.

Watch yourself discard the writer's ideas as you read the next few novels you pick up.  It is very instructive when you catch yourself hatching your own chicks -- but it's very hard to catch yourself. 

Jacqueline Lichtenberg
http://jacquelinelichtenberg.com

What Does She See In Him?

This is going to be an oddly rambling post, especially juxtaposed to the 2 on Scene structure and the Plot Vs. Story one on walking and chewing gum.

But trust me, all these rambling bits and pieces will eventually come together into something you might use to generate that elusive Mega-Alien Romance Movie-TV Series.

First I have to acknowledge that August 6th was a sad day for us as writers and as movie goers. Several of the Titans of The Biz passed away during that week, including the young and vibrant genius I keep quoting here, Blake Snyder.

Go to his website and drop a note on the blog at http://www.blakesnyder.com

His third book is due out this fall. I'm sure I'll be quoting it.

See a shortened list of those who've passed on at
http://editingcircle.blogspot.com/2009/08/rip-notices.html

I hope I don't have to add any more any time soon.

As I've said before, what I'm attempting to convey with these posts on writing craft and the internal dynamics of the PNRomance, is just the essence our common heritage of campfire storytelling art and craft passed down through the generations.

These losses just make our task more formidable but also more urgent. Techniques must be passed on, taken up, carried on, and passed on again. This is our legacy for the far, far future of humankind. Our job here is to infuse that legacy with love.

Don't think that because you haven't heard of or memorized some director's or writer's byline that they haven't been contributing to our success with this task of illuminating a genre.

We are regarding Alien Romance as a genre or a crossed-genre. Some people are using the term "Speculative Romance" but SF never succeeded under the title "Speculative Fiction." It makes dictionary sense, but somehow not commercial sense. But this post isn't about what we call what we do. It's about the components that will eventually generate a label that will carry the genre to prominence. In this case "What Does She See In Him?"

See my comment on Margaret Carter's August 6th entry on this blog about Lovecraft and Romance that somehow lacks a title and thus a specific URL.

So once again let's revisit several of the craft techniques we've been discussing and synthesize them, doing several at once, finding the connecting links among all these apparently different writing processes.

In this effort, we may be able to resolve some of the conflicts we see between ways of teaching and ways of learning the fictioneer's trade.

So, what the heck DOES "she" see in "him?"

The reason that obvious question (that every Romance editor reads MS's looking for the answer to) is so hard to answer (in a writing lesson, in life, and when writing a novel) is that it is incredibly poorly phrased.

A good half, maybe 90%, of the answer to any math problem lies within the statement of the problem.

This key question to the Romance Genre Signature is poorly phrased for the same reason I discussed in Plot Vs. Story

http://aliendjinnromances.blogspot.com/2009/08/plot-vs-story.html

Writers who set out to teach writing all seem to use different words to refer to the same moving parts of stories because writers are mostly readers who are self-taught to become writers (since it's unskilled work, a hobby anyone can do, who would deign to teach it?) and have to make up their own vocabulary for what their artist's eye sees.

Yeah, it's not just the Romance or Alien Romance genres that are disregarded. It's WRITING that bears a stigma (not the stories produced but the craft itself). Ask any wife with a contract to deliver a book on deadline. Editors get more respect.

I have yet to cover in this blog the difference between an Editor and a Writer. These two skills require two totally separate brain functions which produce individuals with completely distinctive traits.

Producers and Writers likewise are distinctively different, which you'll see after you know a bunch.

But sometimes you get both in one package. Fred Pohl leaps instantly to mind. It will be a long post when I tackle that personality difference, but for the moment, let's focus on this nagging question that you, as a writer, must answer for the editor to decipher well enough to buy your MS.

What does she see in him?

To answer that question in your fiction convincingly, you must have an answer that makes sense to you, then you need to orchestrate a large number of these individual writing craft skills we've been illuminating, and you must do that orchestrating not with the conscious mind but with the subconscious.

That means "walk and chew gum," Or drive and sing along with your iPod, or cook and watch soap opera. Yeah, now you've got it. You must multi-task when you write.

You learn the procedures individually, then you combine them, doing two at once, then three at once, etc. until you're doing everything at once and don't even know it.

The typical daily 5PM routine of a Mother of small children comes to mind. You can do that; you can write a novel.

So using all these skills you have to convince an editor or producer that "She" does indeed see something in "Him," something that the READER/VIEWER will actually understand without having to think too hard, and that something explains why "She" does wacky things to be with "Him."

And you have to convince an editor your characters' actions make sense when the editor herself (himself sometimes) has no clue that the question is indeed poorly phrased.

What a tall order. (yeah, I love cliches)

So where to start figuring this out?

We discussed the construction of the HEA, the Happily Ever After ending that is so much a signature element of the Romance Genre that it must be the target ending for the Alien Romance, nevermind that not all SF ends happily.

http://aliendjinnromances.blogspot.com/2009/03/beauty-and-beast-constructing-hea.html

The HEA ending has to evoke a certain feeling in a reader.

More, it has to ping that bell for a huge readership composed of a lot of different kinds of people who maybe have at most one or two things in common.

An ENDING can be factored into its component parts to create a BEGINNING, which is why some writers start by writing the ending first.

The ENDING (HEA or not) contains all the elements within the story. All. No exceptions unless it's a series, in which case the Story Arc overarching all the volumes is the DRAMATIC UNIT that contains all the smaller ones, and each volume is a dramatic unit holding up that arch.

The structure-within-a-structure motif applies to every genre. Nothing can be in the composition that does not figure into understanding the ending. That's what it means "end." It won't feel like an ending at all if there are pieces in the drama that are left out of the ending (of the novel or the series, whichever, but everything drives toward that ENDING). It has to be an ending to be satisfying to the consumer who paid you to do this. And "ending" by definition contains ALL the elements that went before it.

The HEA is an ending.

But the HEA is not the ending of the Plot. It's not the ending of the Story. It's the ending of a DRAMATIC UNIT.

We discussed The Scene as a DRAMATIC UNIT, but I don't think I pointed out strongly enough that the entire story is a DRAMATIC UNIT, and if the story is in a series, then the whole series is likewise a DRAMATIC UNIT. (I'm putting these moving-parts tech terms in CAPS for a reason. I'm not shouting at you. I want you to be able to find the section of this discussion that answers questions that will arise later.)

Think about what that "entire story is a dramatic unit composed of smaller but identical dramatic units" concept means in terms of this poorly stated question, "What Does She See In Him?"

A Dramatic Unit starts with a feeling -- ANTICIPATION -- and ends with a feeling -- SATISFACTION.

The little dramatic units all string together in a rising arc of tension, driving toward that ultimate satisfaction, but to get there, to "rise" in emotional tension, each small unit must deliver something, a teaser, a hint of how that ending will feel. (sound familiar? It is, pretty much, like sex.)

HEA is a type of satisfaction. It is primarily the reader's satisfaction. Readers pay the bills, and have to get what they thought they paid for or they won't buy again.

So something has to be satisfied.

Before you can deliver an emotion driven by anticipated satisfaction, you (as any salesman knows) must first awaken curiosity, desire, need, an awareness of the lack of something. But more than an awareness of a lack (at a friend's wedding, crying because you don't have anyone to marry), the salesman (i.e. the writer, in this case) must first awaken ANTICIPATION that the lack, whatever it is, will be SATISFIED at the end.

In general, the novel can deliver any sort of satisfaction.

A mystery delivers the solution, satisfying the need to know (and the best is when the reader gets their guess about the solution ratified, but it can't be too easy.) A Western or Action Drama delivers dead bad buys and righteous good guys surviving.

The Romance and all genres crossed into Romance (Vampire, Lovecraft Horror, SF, Paranormal, Action, etc) has to deliver the HEA. The HEA is an extrapolation into a SECURE and PREDICTABLE future.

So if the HEA is the defining element in Romance, why does "she" have to see anything at all in "him?"

Take for example the woman on the hunt for a man, let's title this story STALKING WOMAN.

She cries at a friend's wedding, bereft with loneliness. She spies a guy. She sets her sights. She executes her plan. She hooks him. She preens at her wedding. She has achieved her goal, totally triumphant.

Is that an HEA?

No, it's an Action Adventure ending, goal achieved. War won. Captivity escaped or survived. Or as a romance reader might assess that ending, it's trouble in the making. Therefore, in a Romance, that wedding would be the MIDDLE (down-point) of the novel, where her real troubles begin, with the stakes raised, maybe Mr. Right appears as a waiter at her wedding to Mr. Wrong? Or it might make a decent opening to something like MR. AND MRS. SMITH which I discussed at some length in

http://aliendjinnromances.blogspot.com/2009/06/writers-eye-finds-symmetry.html
and
http://aliendjinnromances.blogspot.com/2009/06/choosing-age-of-your-protagonist-to-win.html

What's the connection (walk and chew gum) between the CAUSE OF THE ATTRACTION and the EXTRAPOLATION INTO THE FUTURE ending? Think again of STALKING WOMAN.

Where is the error in phrasing the question, "What Does She See In Him?" And vice-versa of course.

Your objective is to deliver an HEA to a reader you've never met and probably won't. How do you know what will satisfy that reader, what their idea of HAPPY might be? How do you know that your reader will be enthralled by a woman who sees heroism in a truck driver? They might be repelled by heroism in a truck driver. What kind of HEA can a truck driver's wife expect?

Does it matter "what" causes the attraction in "What Does She See In Him?" Will any human trait work as "attractive" enough for any reader you might reach to anticipate the satisfaction of a permanent relationship?

Next think about "See." What does she SEE in him (& Vice-Versa).

Does the character have to "see" something in another character in order to have their romance genes activated?

That is, "see" in the sense of be consciously aware.

Is it indeed the CHARACTER who has to understand why she is attracted to this guy, in order for the READER to experience anticipation satisfied?

Do people in real life know why they marry a particular person? Are they always right about that?

Does a reader have to know the exact and true REASON that one character is attracted to another? And does the reader have to agree with the character about "what" the attracting trait is? Might not the reader "see" a different attracting attribute than the attracted character THINKS is causing the attraction?

Who among us understands themselves deeply enough to articulate what it is about our spouse that attracted or attracts us?

Do you know why you dislike certain people? Or do you just make up excuses, rationalizations for a feeling you feel, but somehow need to explain because our culture demands that we explain ourselves?

Can a reader attain satisfaction and an HEA sensation if all you offer is a rationalization about why one character is attracted to another, knowing that what one person sees in another may not always actually be there?

Thus the dual-POV Romance lets the reader see what he sees in her, what she sees in him, and maybe that neither one is seeing correctly.

But then does everyone reading this know what is REALLY going on inside their own subconscious mind? As the writer, you need to do most of your writing work subconsciously, outside your own awareness, and you need to trust your subconscious to produce usable material. How much do you really need to understand about your own subconscious in order to achieve that? (Well, as everyone knows, writing is unskilled labor, you see. So easy anyone can do it.)

Remember, we're talking about SF or SF Romance, or Paranormal Romance, where the two characters involved might not be of the same species. There may be no "she" or "him" involved at all.

For me, that's what makes it interesting. (see my Dushau Trilogy - and if you can't find it at a reasonable price, I'm expecting it'll be available again in a new edition. Subscribe to this blog, or see my FriendFeed box for other ways to get announcements.)

So this discussion of such a simple question is getting really confusing. Such a mess.

"What does "She" see in "Him?"

When answering a question that is so apparently simple leads to a mess like this, it's reasonable to suspect the question was not phrased well, and so can't be answered directly.

We're juggling a lot of parameters here, all moving parts in the fiction delivery system.

A) The Editor
B) The Reader
C) The Characters
D) The Reviewer
E) The Writer

All of these have to achieve satisfaction at the end of your dramatic unit. Yes, you get to be satisfied, too.

All these people are all different. Three of them you'll never really know well, or at least don't know now. (even if you write a book on contract for a given editor, that editor may move before your book is turned in)

How do you figure out what all these people are anticipating and what will satisfy their anticipation and give them a sense of a secure future? And what has the answer to that question got to do with the problem of what one character sees in another?

I have an answer to that. It may not be your answer.

Some writers maybe shouldn't even know their own answer to that! Too much conscious input can ruin a story, which is another reason I use editingcircle.blogspot.com for analyzing THROW AWAY exercises at writing craft techniques. If you workshop a story you want to sell, focusing conscious critical attention on every moving part, you end up producing an unsellable mess that looks like an assignment for a writing course, not a story for publication. So you need to make up toss-off stuff to workshop and practice techniques, (doing scales at home) then PERFORM your actual story for sale and send it to an editor (dress rehearsal) THEN finally perform the rewrite to editorial specs for publication.

Now that you've gnawed on this problem set a bit, I'll show you my answer if you show me yours (that's what the comments section here is for).

If you've been reading my posts here for the last two years or so, you probably know my answer.

PHILOSOPHY.

Philosophy is the carrier wave that you impress your information on, and it carries that information to your editor, reader, reviewer (me), and back to yourself, delivering satisfaction.

The carrier wave of the universe.

I hope you all understand radio and broadcast TV well enough to understand how a carrier wave works. It's like the dial tone you hear when you open your telephone and it's ready for a call. (but a dial tone isn't a carrier wave)

A carrier wave is a plain, simple, smooth, regular ripple, a hum underneath the universe. In STAR WARS terms, The Force which can carry A DISTURBANCE to those sensitive to the carrier wave.

In the case of humans and culture (yours, your reader's, your editor's), the carrier wave is our ambient culture's values. Our philosophy.

The USA is an amalgam of dozens of disparate and often conflicting cultural heritages, which is one reason some of our artistic products such as films do well in other countries. Most individuals in the USA partake of several conflicting philosophies. It's a wonder we're even a little bit functional!

The writer is a performing artist who selectively recreates the reader's reality (which is the carrier wave that connects writer and reader).

Your philosophy (you have one even if you don't know it) shapes what you "see" as reality. No two of us see the same reality. We filter whatever objective reality may be out there into a shape and color that fits our philosophy.

Philosophy comes first. Emotions are shaped by philosophy. Actions are powered by emotion. Results proceed to manifest - and this is the spooky part - to express in concrete, everyday reality, the exact philosophy the subconscious holds as that philosophy flows down through the lower 3 levels. The universe is all of one piece.

In previous posts here, I showed you how that works with the level of Actions and Material results, in the 20 posts on the Tarot.

http://aliendjinnromances.blogspot.com/2007/10/10-swords-your-chickens-come-home-to.html -- has an index of the previous posts

The levels of Philosophy and Emotion, Wands and Cups, are covered in two as yet unpublished volumes, but I'm hoping to have those available soon. Delays keep happening.

The artist selects carefully among all the bits of philosophy that she knows, to highlight and explicate those bits of philosophy that the writer, editor, reviewer and reader have in common. That's why a writer must know more philosophy than almost any other profession, philosophers included.

To create the bonding force between two characters, a romance writer selects bits of reality and leaves out other bits, to bring a picture, an image, a pattern to the foreground, a pattern the reader (and editor) will recognize only subconsciously.

When a reader recognizes some pattern in a story subconsciously, they "buy into" the premise of the fiction (believe six impossible things before breakfast). The World the writer has Built becomes real to the reader even if it mostly doesn't resemble their ambient reality.

The congruence between the reader's perceived ambient reality and the fictional built world becomes the CARRIER WAVE, the philosophical juncture between the subconscious of the writer and the subconscious of the reader.

THUS

The question, "What does she see in him" becomes utterly meaningless.

What she is consciously aware of, uses as an excuse, or rationalizes about him is NOT the source of the attraction, and satisfying that rationalization would produce no more pleasure than satisfying any other neurotic need ever does.

Neurotic need: take for example someone whose neurotic need is to be rich. Goes to school, gets degrees, works hard, workaholic trait busts up the family, gets HUGE fortune amassed, commits suicide leaving a note about misery. (notice that I told a story here in PLOT OUTLINE form)

A neurotic need is one that can't be satisfied by the apparent target of that need.

"What she sees in him" is that kind of illusion or twist. No amount of "him" will satisfy her need for him.

That's how it is in the real world. Our subconscious, true needs, bind us to each other, not our conscious rationalized needs (which often drive us apart - hey, guys, CONFLICT IS THE ESSENCE OF STORY).

Depict that subconscious binding force via your selective recreation of reality, i.e. worldbuilding, in your fiction, and your characters walk off the page into your readers' dreams.

Trying to answer the question "What does she see in him" creates what Hollywood calls "on the nose" dialogue and plotting. It just fails to communicate, or amuse, or to mean anything because it says what it means rather than placing the real meaning in subtext.

"On the nose" dialogue gets instant rejection in Hollywood. "On the nose" plotting gets instant rejection in Manhattan.

So "What does she see in him" becomes a totally new question. You should restate it for yourself, because your restatement may not be mine, and the stating is an artform in itself.

But mine is, "What subconscious element binds writer, reader, editor, reviewer, and CHARACTER together? What is the carrier wave?"

The carrier wave will be found in the philosophy.

Once you've sorted the carrier wave out of the background noise of our ambient culture, you can use it to carry your information (emotion is information). Then you will have the tone or wavelength that becomes your THEME.

How do you find themes? How do you figure out what themes will work for this or that story, plot or drama?

This subject is a big, amorphous mass of sticky stuff. How can you train your subconscious to sort through it all and find ART you can use to convey your ideas?

Remember, readers live in a big amorphous mass of sticky stuff that doesn't make any sense to them. They read novels to be shown patterns which they can later see hidden in the stuff of life. That's what artists do, find and display patterns that art consumers won't discover on their own.

So how do you train yourself to look at your world, the same world your readers live in, and re-sort the amorphous mass of reality into a pattern your readers will enjoy because you can make life make sense to them? (i.e. deliver to them an HEA that is plausible enough to feel in their bones)

Back again to PHILOSOPHY (my answer to most questions).

That big amorphous mass we call reality sorts itself very neatly into patterns of 10 compartments, and once sorted neatly enough, every living person on this earth will find something in it to recognize, and something to respond to emotionally because it communicates directly to the subconscious.

That pattern of 10 is most commonly and easily available as the Tarot.

One of the first things you learn when you start to study Tarot is that it pretty much pre-dates most religions and contains the recognizable basics of all religions. The understructure is the structure of the universe, and all religions are derived from ways that Avatars have used to explain what they saw when then ascended on High and viewed All Reality from the perspective of the Throne.

Thus, internalizing the structure of The Tarot, and using that structure as your carrier wave, can let you communicate with readers of vastly disparate religions, and even atheists and agnostics.

The Tarot is particularly well suited to communicating Love.

That's why, when this blog posed the question of why it is that Alien Romance is not a highly respected genre, and the question of what we can do to change that arose, I decided to finish my series of volumes on The Tarot and make them available.

The way of looking at the world through the structure of Tarot shows reality as iterations of a unified pattern of 10. It is just one of the many (MANY) philosophies extant in the USA nevermind the rest of the world. It's not a question of "right" or "wrong." It's a question of what we have in common, and of all those elements in common, what can be used in Worldbuilding.

This pattern of 10 method, and subsets of it, subsume religious and philosophical barriers, and can be accessed by any artist (you don't need a mathematical mind).

From explaining Tarot for writers, I went to giving a primer on Astrology in a series of posts starting 7/15/2008
http://aliendjinnromances.blogspot.com/2008/07/astrology-just-for-writers.html

There are 5 posts so far directly on astrology and a few other posts mentioning it in passing.

Astrology is also mentioned in the posts on Tarot because they are really the same subject, and if you know one, it's easy to explain the other in terms of the one. It doesn't matter which you start with.

These two esoteric disciplines, Tarot and Astrology, address the SYMBOLISM we all share as human beings. I've barely touched on how the writer can use symbolism in fiction. Academics write papers on it. I'm sure you've all studied it in college.

Tarot and Astrology are not separate and apart from Psychology, Sociology, Archeology, Anthropology, Linguistics, or even bio-physics.

If you know any of those academic disciplines, you will immediately pick up on the repetitive echoes of them in Tarot and Astrology. You may discover there's nothing left for you to learn from Tarot and Astrology. Most of your readers won't know these disciplines either, and you should never let your knowledge show through "on the nose" in your fiction.

As with the terminology of the difference between plot and story and drama, it doesn't matter what you call this carrier wave element of humanity that binds us all, and binds us into pairs, and then families. I call it philosophy. Invent your own term.

You don't have to be gnostic or agnostic or atheist or a follower of any religion to "get it" on the level an artist needs to have it in order to create with philosophy.

It doesn't matter what you CALL the human soul, or the way our souls connect.

It does matter that you have a clean, clear, operational, precise and accurate personal internal grasp of the moving parts and working components of the amorphous sticky-ball we are embedded in.

The ARTIST's job is to peel away the layers of sticky and amorphous slop in our universe and reveal the pattern underneath it.

That is what those who formulated the question "What Does She See In Him?" were groping toward without knowing it.

The question that the artist must answer for the reader in metaphorical visual terms, though the characters are ignorant and should remain ignorant, is "Which universal elements do "She" and "Him" share?"

Do they live in the same universe or different universes?

What two lovers believe doesn't matter. Look how many mixed marriages work just fine!

The binding force of the universe that rivets us into pairs is not affected by belief or rationalizations. It is a product of the carrier wave subsuming our reality.

The easiest and quickest way I have found for understanding the relationship between Philosophy, Emotion, Thought, and Deed is this Tarot Structure study that I walked you through on this blog.

But I only explored a single pathway connecting the 10 different states of mind. There are ever so many other ways to connect Her this to His that.

The interconnecting pathways between the 10 different states of consciousness sort the impossibly complex mess of reality into something even the human mind can handle and the human heart can respond to. All readers subconsciously know this pattern, and exult to see it depicted in art.

Tarot is the artist's filing system. It clarifies the subconscious and makes it accessible to your art.

It's not what one person "sees" in another. It's what one person responds to in another (CUPS - Romance is all about CUPS, EMOTION), and why that response happens.

Once you can parse the universe of your everyday reality into this ten-fold filing system, the binding forces among souls becomes clear. If you can show that clarity to your readers, they will respond with joy and relief and satisfaction of understanding that love is not mysterious nor bewildering nor crippling.

This 10-unit model of the universe explicated by Tarot corresponds to what the old time mystics called The Music Of The Spheres, and yes there is a relationship to the planets of our solar system. And you can learn it well enough to play that Music - writing is a performing art. Love, Romance and even Sex all have an analogue in Music.

So you take my 25 blog posts and amalgamate them, infuse the result with your OWN philosophy (not mine, for crying out loud!), select from that amalgam, and extract a theme you can build a world to showcase.

Then answer the question in your fiction: What note is "She" tuned to? What scale is "She" singing on?

She will bond with a lover who can play her as if she were the Stradivarius among women. He will bond with a lover who can play him as if he were a Steinway among men.

See? It's not "what" or conscious awareness of a trait. It's recognition of that 10-fold pattern underlying the Tarot, and the 10-fold variable model of human personality inherent in Astrology (9 planets, Sun and Moon make 11 just like Tarot's shadowy 11th Sepherah). Isn't it odd that Pluto was demoted from planet status, a shadowy 11th element in our Astrology?

Western music uses an 8 tone based musical scale. But that's not an intrinsic property of sound. It's a convention. Ever listened to Japanese music?

Analogy, archetype, meta-cognition, fuzzy math. Meat and potatoes for the writer.

Go listen to the Music of the Spheres and determine what scale you will perform your masterpiece in. Listen to some Opera duets between male and female singers. There's no "what" and no "see" involved. It's soul level attunement.

Jacqueline Lichtenberg
http://www.simegen.com/jl/