So after some work and some rest, I’ve been able to progress in character development and the lore of my world. I’m stuck on vampires again, but temporarily. One of my characters is my vampire and an exorcist. I’m basing her spirit work skills on exorcism techniques they used in ancient Japan.
For the record, working on a novel isn’t doing the same thing every day, at least for me. To keep the mind active and the inspiration flowing, I think it’s okay to take different approaches to your work. It’s a great confidence booster too when you create a different way of developing your story and it leads to progress, but even when you don’t make the breakthrough you hoped for, taking in that experience is a progress in itself.
My struggles with anxiety have surprisingly inspired me to fight for a confident attitude towards my work and myself. Shadow work during this time (shadow work is a self-reflection process many pagans/witches do through divination or other means, in case you don’t know) has helped so much. I did start a daily Instagram posting of one of my shadow work methods, but now I’m behind because of some mental health issues on my end. I’m still trucking on though and wanted to say that things are still moving forward.
To end, a little advice from a teabag tassel I got yesterday: The purpose of life is to know yourself, love yourself, trust yourself, and be yourself.
Today I spent a part of the day keeping clarity with the exposition in mind. The importance of clarity really slapped me across the face today while editing. I do like it when the beginning of the story gives a good punch, but audiences get sour about the punch if they don’t have enough information as to why they were hit so hard (by the way, I don’t know why I’m using violence as a metaphor…maybe I just like it when stories make me feel something).
It reminds me of a time I tried to show a friend of mine an anime series that I thought was cool and she couldn’t get into it even with all of its action and mysterious characters because she said there was no one to care about. I was bitter at first thinking she just couldn’t keep track, but after discussing with it further, her points were based around the pacing of the first episode. Granted, with anime it’s a little different (we otaku have the rule of at least giving a show 2-3 episodes before you completely drop it), but if the pilot of a weekly anime series is airing, the writers and producers should be considerate of what will catch their audiences and keep them itching for more. That’s an important attribute of the exposition; there should be a character, an event, or some detail that makes you wonder about the bigger picture and persuade you to stay for the whole story.
I’ve sectioned off where the range of my exposition in my first draft and have decided to just read and edit it. Keeping it simple is helping me see the big picture of the novel series as a whole because the exposition is where the audience decides whether they want to invest time in the world and its characters or not. So I’m trying to read like a member of the audience, edit like a editor/publisher that wants the story to be enticing enough to sell, and that helps me brainstorm as an author that’s going to stick to their guns when it comes to themes of the story, yet flexible enough to make the changes needed. This is my mindset anyway. I even have a notebook set aside where I’m writing down my criticisms as an audience member. It’s helping a lot.
As for my article on the Hermetic Principles, I’ve realized that I want to do a literary analysis of all the principles and I know it’ll be fun, but I’m also afraid…because I keep leaning towards deconstructionism for my method of analysis…which is INSANE. They’re paradoxical enough. We’ll see. I’ll stay in touch.
I’m just glad I had the energy to work on both of these things today, even if it was for a short while. I’m so exhausted…
I did start this website to track the progress of my novel series and I nearly forgot that (not gonna lie, I feel I’ve said this before…yikes). I’ll be posting more updates regarding the novel and the side projects I’ll be doing for the sake of the novel (writing articles, blogging, making music, short stories, etc.) more frequently. I think this is the best way to keep myself on track.
The article series on the Hermetic Principles is still going on along with research on past life experiences, auras, and preparing another prose poetry piece on elemental magic. All of it is relevant to the novel. Pouring into those short-term projects and sharing them with you all helps others understand my writing style and build my audience. I’m grateful for all of you, by the way. The support and patience all around the world is really inspiring. I love connecting with other writers and other people who have had these metaphysical or paranormal experiences. With that being said…
I’m going to create a “Contact” page soon so anyone can message me through the website if they like. I’ve had a few messages via Facebook, Twitter, and Instagram, which is great, but I want there to be accessibility on the website too in case those of you who visit my page aren’t into social media. I’ll announce when that’s up.
Lastly, I have a worldbuilding idea that will allow me to share it with everyone in the midst of construction without spoiling the novel series. It’s been a dream I’ve put off for too long. So here we go.
Antihero: “A central character, or protagonist, who lacks traditional heroic qualities and virtues (such as idealism, courage, and steadfastness). An antihero may be comic, antisocial, inept, or even pathetic, while retaining the sympathy of the reader. Antiheroes are typically in conflict with a world they cannot control or whose values they reject,” – The NTC’s Dictionary of Literary Terms
My Take on The Antihero
Honestly, this is my favorite type of character. They fall under other archetypes like tricksters, desperados, lone wolf, and the like. Ostracized, brooding, angsty, mischievous, chaotic, and neutral only when they want to be. These characters are near and dear to my heart probably because I’m the antihero of my own life. As I write my novel, I have several characters that fit this mold. I just love them.
I think what’s most important about this definition is the very last sentence: “Antiheroes are typically in conflict with a world they cannot control or whose values they reject.” The most prominent attribute of the antihero is conflict. This comes from their ambiguous alignment (not always lawful, chaotic, good, or evil), their “many shades of gray” point of view, and their autonomy. They conflict with many elements of the story because of their independence and resourcefulness. It’s them against the world, no matter if they have a few allies or not. Although these traits can be admirable, there is a lot of stress that comes with it, which is probably why they gain sympathy from the audience. Freedom isn’t free and you always have to watch your back. Antihero’s often come off as hardened, distant, or mistrusting. The conflicting circumstances they run into simultaneously reinforce the skills they have sharpened from their independent nature and challenge the morale they have for their lifestyle with ethical questions. I love watching a character who does their best to be neutral struggle with their ethics because it really is relatable; it’s how you establish your own personal philosophy.
Have you designed an antihero before, fellow writers? Do you favor this archetype more than others?
Some flowery writing is going to scratch you where you itch and some is going to bore you to death. Either way, I don’t think any of us want to get in the habit of using flowery language to describe a simple setting, character design, scene, or anything else. That’s what editing is for, right? Well, I also don’t want to be negligent of those who are picky with their diction. Sometimes we know that elaboration for something that could be described simply is necessary like the narrator’s tone, for example, or for characterization. Where’s the happy medium?
While researching this topic, I ran into a wonderful YouTube channel called Reedsy, a London-based, “…award-winning community of over 100,000 book publishing professionals,” according to LinkedIn. After watching this very helpful video on purple prose, I immediately added them to the list of resources to tap into later.
Learning about purple prose helped me think about how our mentality shifts when we’re writing in different forms of storytelling. I wanted to finally work on my short story last weekend and it was really hard to pull my mind away from fantasy novel writing. The first 900 words weren’t even elaborate. My narrator was info-dumping due to my insecurities–”it’s a fantasy short story, so I need to worldbuild and tell you the details about every culture involved”– yeah, no. A novel is more of a journey, from a stroll through unfamiliar woods to cautiously crossing a battleground; a short story is a quick trip across town, but the trip was far from ordinary or expected. You don’t want to go purple when you’re writing either. Purple prose is more unwanted projection than progress (excuse the alliteration). Being elaborate and emotive doesn’t require dumping extra adjectives and adverbs. This clicked when I thought about writing poetry or music.
I compared short story writing to writing a song or a poem because I get very picky with word choice and composition when I’m songwriting. Poetry has a bit more of a flow, but editing poems makes me particular. So in my experience, I’m not necessarily saying that short story writing or avoiding purple prose means make your narration robotic and bland; I’m saying consider if your story and your audience will favor your “dark and stormy” tendencies at certain places. Audiences don’t really like repetition or extravagance without meaning. For example, the chorus of a song is repeated 2-3 times during a performance and we don’t mind it if it’s harmonized with the melody, connects the verses and the bridge well, and ends the song in a satisfactory way. The person in the Tumblr post argued there was nothing wrong with “dark and stormy” because it gave you setting and tone; for that reader “dark and stormy” harmonized with the descriptions given later. This is what Shaylynn addressed in the video: “Dense or elaborate language doesn’t have to be purple if it’s substantial and adds to the story.” We’ve had elaborate writers for centuries, but the ones who stand out are the ones with masterful diction in their storytelling.
Time for an ungoth confession…I used to think Edgar Allan Poe was in the purple prose realm when I was a younger, less critical-thinking reader. After reading some analyses of his writing in college, my perspective changed. Poe was actually quite meticulous. Lovecraft is the same. So, if you break down someone else’s writing or your own writing and find descriptions, DIALOGUE (this is a big one), or anything else that isn’t contributing to the plot and theme of your work, you’re going purple. Get rid of it.
Hope this helps anyone who needs it and be sure to check out Reedsy because they seem pretty reliable.