Tag Archives: Villain

If the Story Requires It

As  a writer I have no real problem with heading straight for the dark-side. I’ll write a torture scene or a bloody fight scene or some nasty vicious bit of political chicanery without a qualm if the story requires it. But that’s the important bit, If the story requires it. I do not write torture porn because I don’t really see the point. A story with the single purpose of showing people being treated abominably is a story I really don’t want to read.

It’s writers missing the point. The point of blood and gore is not the blood and gore, it’s the story and the story can’t just be, ‘Here’s some blood and gore, aren’t my characters nasty pieces of work?’ It’s like they read Elric and identified with Stormbringer.

SF&F is my bailiwick, but you see it in thrillers and other genres too.

The important thing about brutality in a story is consequences. It’s always about the consequences. If something bad happens then it reverberates, it throws out ripples of cause and effect. Should bad guys always get their comeuppance? Not always. That sort of morality play is also boring because it takes away the tension. Should they lose something because of their vicious behaviour? Yes.

This isn’t the real world. This is fiction. If, as a writer, somebody decides (and it is a decision) that a brutal character should be written as somebody to admire, then I wonder about that writer’s morality. Not religious morality, not philosophical morality, but their common decency. There is nothing admirable about rape, or torture, or mass-murder. Characters who do this are not anti-heroes, they are villains.

And don’t tell me (in the case of fantasy) that this was the way it was back in the Middle-Ages, because you ain’t writing about the Middle-Ages. You’re writing about a world that you made-up; this is your world, your rules, your choice.

Besides, the strong-men of history, the nobles who went on Crusades and slaughtered entire cities, the Mongols who gave cities a choice, surrender or die, the Spartans who created a society based completely on war, and all others of that ilk. Yeah, they were the bad guys. They were not heroes.

They may have done heroic things on times, but they did that stuff by accident. If you have a society based on might is right, death before dishonour, and unthinking obedience to a leader, every so often you are going to find yourself doing something seemingly heroic because you can’t back down. Does that make you a hero? Well, if the rest of the time you are raping, pillaging, and slaughtering people by the gross, not so much.

This holds true at smaller scales too.

Bullies are weaklings. Always. If somebody has to damage somebody else either physically or emotionally to make themselves feel stronger, then they are by definition not strong. Unless of course they are psychopaths, who do things simply because they can, because they have no empathy. Psychopaths aren’t strong either, they are sick and lacking in humanity.

Therefore, there are consequences for bullies. They are weak and will break easily. And there are consequences for psychopaths. They will never know the simple joy of a smile reciprocated.

If a character is neither a bully or a psychopath, but are damaged by their upbringing, then they’re damaged. That’s a pretty big consequence and something worth exploring.

As far as I am concerned, morality is not about how you fight but why you fight. Once the gloves come off there are no rules, but there are rules about why the gloves come off. A character who uses violence simply to get their own way is weak.

There are of course a lot of nuances here. Is a soldier ordered into an immoral war, immoral? Is a law-keeper upholding an immoral law, immoral?  Is somebody raised in an immoral society, immoral? And so on. These are the juicy bits that every writer should want to sink their teeth into. And please remember when I talk about morality, I’m not talking about religious morality, but the morality of decency, fairness, and doing the right thing.

The nuances are the tension in a story and there should always be consequences.

PK’s Caveats: Caveat 1: I may not know what I’m blathering about. Caveat 2: There are no rules about writing, there are just things you can get terribly wrong. Caveat 3: If people apply the words never or always to storytelling techniques, ignore them.

First posted to ‘Firedance Blogs’: http://firedancebooks.com/blog/

 

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Filed under Character, Character Dynamics, and Character Interactions., Storytelling, Art, and Craft, Structure and Plot

Mainstream Fantasy: There’s Craft in Them There Words.

There are so many sub-genres of Fantasy Fiction now that it is sometimes difficult to know where to place a particular work. So let’s look at just one major sub-genre.

Mainstream Fantasy, at least to me, is straight Fantasy. It may be epic or it may be heroic, but it isn’t trying to reinvent the wheel or trying to capture the lightning of somebody else’s ideas; it’s just straightforward fantasy.

Set in a secondary, or alternate, world, which has its own history and geography and ethnicities, it does not impinged upon our world in any way, shape, or form. It may have impossibly tall mountains, incredibly wide seas, impassable deserts or impenetrable jungles. It may have creatures that strike fear into your heart or wonder into your gaze. It may have other races of humans or other species that are definitely not human. It may have politics and intrigue, dark deeds and brave acts, love and hate and everything in between.

But it will always have magic.

The magic may be filled with rules that make it a system akin to science, with checks and balances, and experiments that always give the same result when repeated, or the magic may be as wild and fickle as the wind, or the sea, or the earth, or the flame, or the world, or the universe itself, impossible to fully comprehend and dangerous to misuse.

There may be gods and monsters and wizards and witches, powerful beings who can interact with the stuff of magic in ways that no mere mortal can. There may be immortal beings or beings who stretched out their lives with magic. There may be wise herbalists and generous healers, wild warlocks and dangerous enchantresses. There may be strange necromancers and stranger spirits: ghosts, and ghouls, and things that stalk the night.

Lands of kings and queens, warriors and poets, harlots and matriarchs. Men and women of worth to be respected or worthless people to be avoided at all costs — and it is not always easy to tell the difference. Magic and humanity, prophesy and fate, weirds and geasa will spill over this land and make it different from ours.

The connection between a secondary world and the world in which we live is a fragile thing for it is based on the willing suspension of disbelief. We, the readers, will believe that a dragon can breathe fire and covert gold, that a ghost can creep through the night and steal your soul, that a wizard can change the weather or make a flower bloom out of season, these things are easy to believe because they are fantastical.

But have a man or a woman with no training pick up a sword and fight off an attack from seasoned warriors, or get up on a horse and jump the high fences, or simply fix a leaky roof first time out, and we will start to doubt. Have people talking like a yokel one moment and a king the next and we will frown. Have a peasant disrespect a king and not lose his head and we will wonder.

All these things can work: if the sword does the fighting instead of the man or the woman wielding it, if the horse is sentient and keeps the rider in the saddle, if the novice roofer is being taught by some sort of telepathy, if the man whose accent changes is a spy about his business, and if the culture is created so that a peasant can disrespect a king: then we will be ready for such things to happen.

If it is part of the magic or the difference of the world, and makes sense, then we will happily believe it, but if it is just sloppy writing then the story will fail.

There are those that disparage Fantasy. They think it is simply fairytales where anything can happen. They are wrong. Only things that work within that world can happen and when you are dealing with the fantastical then the normal has to be pitch-perfect or it will throw the reader out of the story and they will probably never return.

Mainstream Fantasy is Fantasy without any bells and whistles, which makes it the hardest form of Fantasy to do well. There’s craft in them there words.

PK’s Caveats: Caveat 1: I may not know what I’m blathering about. Caveat 2: There are no rules about writing, there are just things you can get terribly wrong. Caveat 3: If people apply the words never or always to storytelling techniques, ignore them.

First posted to ‘Firedance Blogs’: http://firedancebooks.com/blog/

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