Lately, in a desire to understand why I write certain types of female characters and yet struggle with writing others, I’ve launched into an in-depth examination of female Archetypes. One thing I have realized is that I don’t struggle to write the archetypes that are most consistent in my own nature, Artemis and Hestia, but do struggle with Persephone and anything Aphrodite-related. So it’s important to not simply mirror my own character aspects but to reach beyond them and write female characters whose archetypes might be foreign to me. I do believe all the archetypes are alive in my psyche at any given time, which is the case with most of us. And though we are not limited to our core archetype, it is generally the one that drives us. Especially when under stress. That’s a great thing to know when creating fictional characters.
I’m currently looking at the Greek Goddesses (archetypes):
The seven goddesses:
- Athena, goddess of wisdom.
- Artemis, goddess of the hunt.
- Hestia, goddess of the hearth.
- Persephone, goddess of the underworld.
- Demeter, goddess of grain and agriculture.
- Hera, goddess of marriage.
- Aphrodite, goddess of love.
I’ll be sharing my female archetypes educational journey here on my blog, and also on my Instagram account at @Femarchetype, so please follow me there.
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I often am asked what #inspired my #awardwinning #shortstory on #Writersdigest? It’s complicated, but the short answer is it was a neighbor from my childhood. Her son was mentally disabled: sometimes when he tried to play with us, he accidentally hurt us; a broken arm, a bruised rib cage, a bloodied nose. He was 16 with the mind of a 4 year old and the strength of a line-backer. We were all under 10 years old. It was the early 1960s, people used the ugly word “retard” and mocked and teased him. But he wanted so desperately to be friends, so we played with him. He reminded me of #BooRadley #tokillamockingbird…I’ve never forgotten him. You can #read my tragic #story here on #WritersDigest where it won a #fiction contest.
Sometimes inspiration comes from the littlest, most insignificant things, like an image or a smell. I saw a man sitting in a boat on a lake once, he was slumped, holding his hat in his hands. I knew instinctively he was grieving. I felt it in my bones. It inspired a scene in my novel, Return to Sender, where the protagonist, Theo, sees the father of a young girl who was found murdered, sitting in a boat in the middle of the river. I wrote him exactly as I saw that man in the boat.
Return to Sender was initially inspired by a box of letters, love letters from during the Korean War that I found in my attic sixty years after the war.
I take notes on everything that tugs at my heart, my curiosity, or my sense of justice, or injustice. I save them and use them as story world material. There’s something new everyday, either from my daily beach walk or something I saw on tv. I never know where inspiration will be found, but I do know where to go when in search of, and for me that’s an art museum—where one of my greatest joys in life is to sit on a bench in the presence of great art, and write, whether it’s the Portland Art Museum, Amsterdam’s Rijksmuseum or the Louvre’ in Paris, that’s as good as it gets when seeking inspiration.
A hero (protagonist) is presented with a problem, challenge, or adventure to undertake. Once this happens, there’s no returning to normal, no lounging in her ordinary world, because the CTA (call to adventure/action) has upset that applecart…she must act. Remember, a story is about a character doing something.
A CTA can be as subtle as a letter arriving, or the death or illness of a family member that forces the protag to return home. How many stories have we read/seen about a reluctant protag turning home? Why, because they tap into universal themes that resonate with audiences of all genres and all demographics.
Examples of over the top, life altering death defying CTA’s are;
In the Hunger Games when Katniss Everdeen volunteers for the 74th Hunger Games in place of her 12-year-old sister. It’s the call to action that sets the story in motion. Primary Theme; Survival.
In Breaking Bad it’s when Walter White gets the news that he’s dying. He doesn’t tell his family, but instead goes on a unique journey to ensure his family’s financial security. Themes; Begins on Survival, and the importance of family themes, then graduates to sin, regret and envy, and the corrupting influence of greed and power.
Count of Monte Cristo, when Edmond Dante is unjustly imprisoned and his desire for revenge drives him to escape and retaliate. Themes are a delicate balance between, vengeance and forgiveness, power and powerlessness. These universal themes are why that story has been told and retold since Alexandre Dumas wrote it in 1844.
So, in your story, can you identify your call to action? Does a letter arrive? Does your protagonist have to return home? Does your protagonist have to volunteer for something in order to save someone else? Was your protagonist just given a death sentence? How can you use that CTA to develop character and set your plot in motion?….Without a call to action, what’s the point?
REMEMBER, there are twelve stages to the Hero’s Journey, The Call to Adventure is only one.
- Ordinary World: This step refers to the hero’s normal life at the start of the story, before the adventure begins.
- Call to Adventure: The hero is faced with something that makes him begin his adventure. This might be a problem or a challenge he needs to overcome.
- Refusal of the Call: The hero attempts to refuse the adventure because he is afraid.
- Meeting with the Mentor: The hero encounters someone who can give him advice and ready him for the journey ahead.
- Crossing the First Threshold: The hero leaves his ordinary world for the first time and crosses the threshold into adventure.
- Tests, Allies, Enemies: The hero learns the rules of his new world. During this time, he endures tests of strength of will, meets friends, and comes face to face with foes.
- Approach: Setbacks occur, sometimes causing the hero to try a new approach or adopt new ideas.
- Ordeal: The hero experiences a major hurdle or obstacle, such as a life or death crisis.
- Reward: After surviving death, the hero earns his reward or accomplishes his goal.
- The Road Back: The hero begins his journey back to his ordinary life.
- Resurrection Hero – The hero faces a final test where everything is at stake and he must use everything he has learned.
- Return with Elixir: The hero brings his knowledge or the “elixir” back to the ordinary world, where he applies it to help all who remain there.
Consider writing a 500 word narrative of the scene where your character receives their call to action/adventure.
Harvey Weinstein is GUILTY!!! Duh! But YEY!
Beyond the Hero’s Journey, there’s no denying it, rebellious female characters—from Katniss Everdeen to Olive Kitteridge—dominate literary fiction.
Following the countless cases of male victimization and sexual harassment in the headlines lately, it seems that fictional heroines reflect a mood of defiance with the world that men have programmed and ruled. There’s a new movement of modern-day heroines who are damaged, flawed or even unapologetically ridiculous. Some who still seek romance, sure, but others who just as self-assuredly seek a one-night stand with or without a man. And while she may change in the progression of the story, divulging strengths and tactics that astonish us, a woman’s conformity is no longer required.
Carl Jung’s archetypes are the building blocks of the story world. In Chris Vogler’s book, The Writers Journey: Mythic Structure for Writers, he teaches about the vital use of archetypes in storytelling; the hero, the mentor, the threshold guardian and so on….
Beyond those central standards are the 8 FEMALE ARCHETYPES writers should be paying close attention to.
According to Jungian psychologists, there are 7 feminine archetypes prevailing in modern society—the Mother, the Maiden, the Queen, the Huntress, the Wise Woman, the Mystic and the Lover, to which I add, the emergent, Mermaid.
The Mermaid Archetype is emerging in today’s troubled world. This seductive, wild, Mermaid represents the feminine power of water—strong, loving, nurturing, self-indulgent and gorgeous, yet at the same time untamable, belligerent and outrageously independent—picture Aquaman’s mermaid mother, played by Nicole Kidman. She is a shapeshifter, a turbulent temptress, representative of both the loving abundant features of the ocean and the raw immense power of the seas and its undercurrents. Love and adore her, yes, but don’t piss her off!
These newly resurrected and empowered archetypes are used in modern day literature, on screen, and they now permeate society far beyond the secret whisperings of Jane Austen, to the anger of Lizbeth Salander, to the controlled madness of Gone Girl, and the literal Mermaid in Aquaman.
Archetypes have a language all their own. In the DNA of that unspoken language we often find the words and images essential for communicating our (personal and fictional) otherwise indescribable inner worlds (thoughts and feelings). Inner and outer continuously seek one another, and it is the sacred labor of the writer (or artist) to bring the two into artistic relationship; to reach deep into the hearts and minds of readers and provoke a rich and enlightening story experience.
Writers should be having fun with these emerging archetypes and should be delving DEEP into their imaginations to tap these mythic like women, Amazons or Mystics, for the multi-layered storytelling of which the world hungers.
Oh, and did I mention, Harvey Weinstein is GUILTY!!!
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We must get all the cantankerous, crabby, complaining stuff out in order to clear the path for what’s to come.
As a fiction writer, I find this to be an invaluable tool. Often it’s tough to get my brain to stop obsessing about the day; my grocery list, meetings, phone calls, arguments, what time does my husband get home, and for goodness sakes I need to call my mom, and etc.…the day at hand. I need to get through those twenty-foot reeds to get to the creative side of my brain, and sometimes I just can’t get through them on my own. That’s where the morning pages come in. Writing LONGHAND, which means no typing, gives you access to your subconscious mind in a way that does not happen when using a computer. In addition, it’s good for your brain, science says so. Don’t believe me, read this Forbes article.
I like to think of my shadow self as the seven dwarfs; Grumpy, Dopey, Doc, Happy, Bashful, Sneezy and Sleepy.
The seven dwarfs symbolize different aspects of our self (dark and light sides).
Happy embraces the universe from a delighted state of mind and emotions.
Sneezy repels or banishes anything unwholesome that comes from the world.
Bashful helps us return to our secluded cosmos, giving us respite from the world.
Grumpy is the part of us that struggles against light.
Doc leads the parade in whining and complaining. Doc is the intellectual side that keeps us in touch with spiteful reality.
Sleepy is the turn-the-power-off apparatus within us, enabling us to take a break from chaos, to shut down when we need time alone.
Then there’s Dopey who embodies our naïve, innocent nature wonderfully unaware of the perils whirling around us.
Once I’ve written my way through those disruptive dwarfs, and they are all down for their nap, I start my writing journey and when I’m lucky I often arrive on Snow White’s doorstep—my inner writer.
Snow White symbolizes the purity and innocence that exists within us all. She beautifies the scenery of our mind, our thoughts, and feelings. She echoes our innermost radiance and reveals our most imaginative intelligence.
From this safe creative space—dwarves hushed—I can create.
And once I’ve started creating, I delve deeper into the stories I’m trying to tell. It’s only then, when the dwarfs are quiet, and Snow White is safe, that I can access my even darker self and craft an antagonist, aspiring to one like Snow White’s Queen.
The Queen—Snow White’s antagonist—represents our inner demons, the untamed ego, greed and the desire of self-gratifying pursuits. The Queen is the false (image) of self—the truest representation of a shadow-self.
Anyway, for me to arrive at a place where I can write a protagonist and an antagonist worth exploring, I need to silence the voices inside my head—That’s tongue-in-cheek, people. I do not really hear voices in my head. Just workin’ an analogy here—That means those annoying dwarves must take a nap. They have to behave, be quiet, and let me write.
Therefore, I allow them to have their say first, like toddlers; once I’ve listened to their wants, needs and complaints, they can go down for nap. QUIET TIME!
Moreover, for me, one way to achieve that goal is through morning pages, afternoon pages, writing in my car, or maybe sitting in a cafe in Florence writing my morning pages while my husband climbs the Duomo.
Keep writing everyone. Silence those dwarves, but let them play on occasion.