I’ve been very busy lately. Between book reviews, writing gigs, and my home life, I can barely stop to think, let alone write. It’s an unfortunately common problem for writers. Considering that society, particularly American society, seems to expect more and more of people, it’s no wonder writers struggle to stay afloat. The question becomes: how do we make time for writing?
Writers at all levels have responsibilities which take precedent over writing. Family, friends, household chores, a 9-5 job, it’s no wonder they have to scrape together all the time they can for writing. That’s excluding the marketing and publicity they have to generate once something of theirs gets published, and don’t get me started on editing.
Often when I read articles about fitting time for writing, the author treats the matter as though it’s just as easy as telling people to leave you alone for a while or turning the TV and social media off. It really isn’t.
We can’t always force our schedule to allow space for a solid hour or so of writing. It’s even harder when other people, like employers and family, are involved. What should we do if we can’t reserve a long chunk of our day for writing?
The answer is obvious, although challenging in practice: take minutes here and there to write down whatever is on your mind. I’ve personally found that my brain wants to write and makes the time for writing when I’m trying to get to sleep. While I really just want to sleep, I still keep a notebook beside my bed and spend a few minutes–whether it’s five or thirty–writing the scene or story idea that has popped into my groggy head. The notes app on my iPhone has also proved helpful in such situations. Whether or not I can decipher my writing in the morning is a different story entirely.
Take a notebook with you everywhere or, at the very least, make your notes app easily accessible. Five minutes on the bus, five minutes during your lunch break, five minutes while waiting outside your kids’ school, it can really add up. This form of time management doesn’t always make for the best writing since the interruptions can jar your thought process. However, would you rather start out with crappy writing or no writing at all?
Some people can carve out an hour or so from their lives and write better that way. In a perfect world, that’s probably how we would all like to make time for writing. We don’t live in a perfect world. We have distractions and stubborn schedules which can’t be rearranged without some part of our lives tumbling down. That’s why we have to take our writing whenever we can get it; if that means stealing a few minutes here and a few minutes there, well, that’s just the sacrifice we have to make to continue with our craft.
Have advice for making time to write? Any tricks to sneak writing in when it seems impossible? Leave your thoughts in the comments.
Trigger Warning: The book reviewed here depicts sex, rape, violence, heavy amounts of gore, and regular use of profanity. Slavery, abuse, torture, and revenge also serve pivotal roles in the plot. If you have any sensitivities toward such subjects or otherwise take offense to them, proceed with caution.
Warning: This review contains spoilers for Sister of Echo: The Making of a Villain (Part One) and Sister of Echo: The Making of a Villain (Part Two). Keep this warning in mind as you continue reading.
Today I’m reviewing Sister of Echo: The Making of a Villain (Part Three) by Ameel Koro, the third installment in his Sister of Echo: The Making of a Villain series.
We last left Alina as she decided not to abandon Corina and to fulfill her promise of taking the woman to her former master, the ominous vampire lord Ovlar. Alina also hopes that, in helping Corina get the army she needs to take revenge on the Artucians, she will be able to rescue the man who loves her (and whom she loves), the young guard Sinna. Winter weather, a harsh terrain, predators, and Corina’s injured leg all stand in their way as they make the trek to Ovlar’s castle. Defying all odds, they finally reach the vampire’s realm, but how welcomed will they be? Can they convince Ovlar to mobilize against the Artucians? And if they do, will they survive the battle—and each other?
In the great city of Artucia, Cordillia attempts to prepare for Alina’s return and convince the other queens to do likewise, but that feat proves difficult when they begin mourning for the last Great Mother. Despite her best efforts, Cordillia cannot get the other queens to believe her on the vampire threat. She only has one choice left and it’s unthinkable, violating the dearest of all their laws set by the Great Mothers. Can Cordillia save her children, the other queens, and their people? Or is it already too late?
The next 286 pages roll out a seemingly-endless chain of secrets, deception, grudges, and, of course, war. Koro provides a glimpse into the much, much wider world of vampires and other mythical creatures from as far away as Rome. More importantly, he throws readers insights into the intricate—and violent—interactions among multiple vampires, a concept which he will hopefully expanded upon in his future work. The vivid imagery, action, compelling character interactions, and creative energy behind his mythical creations make Koro’s book a hard one to put down.
I would argue that Koro’s writing gets better with each book. Sister of Echo: The Making of a Villain (Part Three) certainly exceeds the quality of Part One and, surprisingly, Part Two. My favorite aspect of the book became the numerous cases of bad blood among the high-ranking vampires in the second half of the book. Like Alina, I felt thrown out of the loop but I loved reading about their interactions, especially the backstabbing. They showed me that Alina is the least of Ovlar’s problems in the revenge and deceit department. They also create an unexpected obstacle for Alina in finding Sinna as she becomes stuck in the middle of multiple vampiric feuds.
In these feuds, Koro introduces many intriguing new characters. The three whom I grew most invested in are Rodica (the only female leader of a vampire realm at the battle), Allison (the servant of one the big three who takes a liking to Alina), and Allison’s unnamed vampire companion, a servant of The Snakeborn and an unparalleled force of power and mystery. I don’t think that these characters got the space on the page they deserve but, based on the end of the book, I hold hope that Koro will return to these three, even if it’s only in memory.
While the new elements revealed in Part Two and Part Three still overshadow the original concept from Part One, I did not mind that this time. Sinna and Alina’s love still plays a part here but it gives way to the much more compelling relationship between Alina and Corina, one filled with mutual hate and, for a time, dependence. I simultaneously love and hate these women, see their glaring flaws and still feel for them, a sign of good character development. Their relationship not only drives the plot behind Part Three but promises more emotional turmoil and bloodshed in the rest of the series.
I became distracted by a few aspects of the book, although not as many as in the previous installments. Some are technical in nature. Koro slips constantly between past and present tense without a purpose behind it, but that problem can be solved with a little more proofreading. Similarly, many grammar errors appear throughout the e-book. Again, that’s a matter of additional proofreading and doesn’t detract much from the story itself. Some of these errors include unnecessary commas, missing commas, unnecessary a’s, and, occasionally, the use of “complement” when the writer should have used “compliment”.
A few stylistic matters also bothered me. Koro uses “awe” and variations of “awe” too often, especially during action sequences. He also uses the word “guy” in the modern sense (i.e. “man”), which isn’t a big deal but that usage didn’t arise until sometime after 1800. This meaning makes the narration and dialogue feel too modern. Still, it’s an easy fix should he choose to address it.
I have mixed feelings about the action scenes within the battle. On the one hand, they are very exciting and compelling, as well as thoroughly planned. On the other hand, so many different fights among individuals and/or small groups are depicted that they slow down the narrative. At times too many players enter a scene, causing some confusion along with switching among all the components of the battle. However, that isn’t necessarily a bad thing. This technique reflects the chaos of the battlefield, allowing the reader to feel as lost and desperate as Alina.
Overall, Koro did not disappoint with Sister of Echo: The Making of a Villain (Part Three). Yes, some issues from the first two books still linger, such as some modern language and grammatical errors. Nevertheless, I really liked the book. It’s compelling, mysterious, and kept me guessing from beginning to end. I’m very much looking forward to the next book in the series, Sister of Echo: Bronze Chamber, and I hope that Koro will return to some of the many characters and interactions he touches on in Part Three.
I highly recommend this book for fans of epic fantasy, historical fantasy, and vampires. If you like powerful women who know how to get what they want, you’ll definitely love Allison, Corina, and many of the other women who populate the world of Sister of Echo. It’s quickly climbing up Amazon’s list of Top 100 Free Books in the Teen & Young Adult Survival Stories eBooks category, so check it out while it’s still hot.
Do you know of any books I should read or review? Want me to review a book you’ve published? Contact me at thewritersscrapbin@gmail.com or look me up on Fiverr.
Happy Friday, readers and writers. It’s been quite a busy time for me. I’m scrambling to buy the books I need for my Master’s program, I’m getting more orders on Fiverr, and, of course, I’m trying to make time for my own writing. That’s the way I like it. When I have nothing to do for too long, the little demons of my mind set in. The circumstances have, however, made me think about decisions and untraveled paths a lot recently. That’s why today’s writing prompt is based on Robert Frost’s “The Road Not Taken”.
I’m sure that most of you know “The Road Not Taken”. For those who don’t, here’s a link to the Wikipedia entry on the poem. Robert Frost is one of my favorite poets. While I prefer “Stopping by Woods on a Snowy Evening”, “The Road Not Taken” is also wonderful.
As usual, the prompt is simple. Imagine the main character of your current work in progress walking home. On the way home, they always come to a fork in the road. One path leads directly to their home and is well-worn by your character’s continued use of the road. The other remains foreign to your character. They have never been down this other road before, don’t even know what lies beyond it, but today they decide to take the road less traveled.
Spend five minutes in a free-write about their experience taking the road not taken. How do they feel about the change? What awaits them on the path? What do they think they will encounter on the new path home?
After this free-write, walk away for a few minutes. Make a pot of tea, walk the dog, whatever. Just walk away from it and don’t think about your notes for a little while. Then return to your notes and write a scene, short story, poem, whatever you like based on the free-write.
Deciding to travel on “The Road Not Taken” can be a hard task in real life. The journey can reveal people’s strengths, weaknesses, insecurities, and desires. Forcing your character to do something outside of their normal routine can do the same thing. You may even learn something about the character that you didn’t know before. After all, Robert Frost once said that if there’s no surprise in the writer, there will be no surprise in the reader.
Have a great weekend, everyone!
What do you think of this exercise? Have you written anything you would like to share? Ideas for future writing prompts? Feel free to drop a line in the comments or e-mail me at thewritersscrapbin@gmail.com.
Go ahead, English Literature majors, groan. I’m actually going to talk about “The Intentional Fallacy”. I’m a nerd, what did you expect? I didn’t really like modern literary theory as an undergrad but I wouldn’t be doing literature justice if I ignored it entirely.
For those who don’t know, “The Intentional Fallacy” is an essay written by New Criticism literary theorists W.K. Wimsatt and Monroe Beardsley circa 1946. The essay argues, in essence, that the author’s intent when writing a work is impossible to know and highly undesirable when analyzing said work. What the author meant to say and what the writing actually says may be two entirely different things, especially when considering that many readers interpret texts differently, and so the author’s intent is negligible. If you want to know more, you can start with this Wikipedia entry on authorial intent. Beyond that, there are many resources you can explore, including the essay itself, but the Wikipedia entry provides a basic understanding.
We try so often to argue that an author meant this or that when we’re analyzing his/her work, but there’s a reason professors won’t let us get away with phrasing essays that way. It’s virtually impossible to know what a writer meant. We can’t step back in time and ask Herman Melville what he meant to say when writing Moby-Dick or what Percy Shelley tried to express in his poem “Ozymandias”. Even contemporary documents, such as letters and journals, may be unreliable.
Someone will probably counter that the prominence of social media allows modern writers, such as J.K. Rowling and Stephen King, to make their intent better-known. Does that mean we should utilize their intent in our analysis? That’s where we step into murkier waters.
In my critical honors thesis, “The Dumbledore Conundrum: The Presentation of Homosexuality in Harry Potter and the Production of Slash Fanfiction”, I address J.K. Rowling’s announcement regarding Dumbledore’s sexuality as a springboard for my overall argument. However, that does not serve as the sole–or the main–basis for my claims. I delve into textual analysis of both the books and the resulting fanfiction, theories regarding such topics as sexuality and the effects of children’s literature, and readers’ reactions to Rowling’s announcement. Certainly Rowling’s intent sparked a conversation but it does not drive the entire analysis of her books. Rather, readers compare and contrast their interpretations with her intention, thoroughly exploring the text for proof either supporting or disputing her claim.
Does such an argument fall under intentional fallacy? It’s possible. After all, the initial question behind the analysis relies on Rowling’s intention. However, the continuation of the argument relies on a much wider range of factors, including existing theories and textual evidence.
With the rise of writers’ presence and discussion of their own works on social media, we are met with an intriguing question: does the intentional fallacy still apply when studying 21st-century authors?
I don’t have a straightforward answer. The literary theorist in me wants to say yes. After all, writing is like any other form of art; the writer’s intention may have led to the creation but that isn’t what’s necessarily being expressed by the piece itself. Still, the curious reader in me wants to say that it’s not that simple. A writer’s intention may expose a side of his/her work that we simply hadn’t considered before but, now that it’s been brought to our attention, we see it everywhere.
I suppose my answer is this: authorial intent can start a conversation about the work but should not be primary evidence for any of the ensuing arguments. An author’s intent can be an interesting factoid and shed new light on his/her work but it does not prove that the work conveys that intent. Take what a writer says about his/her own writing with a grain of salt, especially when trying to formulate an argument about the piece.
What’s your opinion on the intentional fallacy? Does it still apply? Does social media and the Internet at large complicate matters? Leave your thoughts in the comments.
At the end of July, I told you about a website called the Online Book Club (OBC), where you can read and review books or have your books reviewed. I opted to become a reviewer, partly for the exposure brought by reviewing other writers’ work and partly because I get some new books for free. The possibility of paid reviews doesn’t hurt, either. On that site, I am known as dragonet07, similar to my Twitter handle.
I’ve only reviewed two books as dragonet07 so far. However, I am currently working on two others for the OBC.
For exclusivity and copyright reasons, I can’t put the original reviews from the OBC on my blog but I will put links to my first two OBC reviews and provide more links as more of my reviews get published. After all, exposure is key for books and book club sites.
Please head over and check out my reviews. You may even find new books to read while exploring the website. Here are the links:
On behalf of readers and writers, I would like to thank the OBC for the opportunity their site provides. We could spend hours combing through online or physical bookstores in order to find books that are off the beaten trail, but it’s better to get recommendations from one place, from fellow readers. The community they have built is also very supportive and helpful. I have yet to witness any issues with trolling or bullying on the site, even when users have differing opinions. I hope that this trend continues. Books are meant to bring people together, not rip them apart.
Please join me on the Online Book Club. At the very least you can find free or discounted books. You could also sign up to have your own book reviewed or become one of their reviewers, both volunteer and paid.
Keep an eye out for future posts in which I provide you with links to other dragonet07 reviews. Until then, happy reading and writing.
Know of any unique opportunities for writers to be read or for readers to review? Leave your thoughts in the comments or e-mail me at thewritersscrapbin@gmail.com so I may feature it in a future post.
Let’s face it, we’re conditioned from a young age to associate the summer months with taking a break from everything and relaxing. At least, that’s what Americans learn. I can’t speak for anyone else. Regardless, the school system I grew up with enforced the idea that summer is a time for relaxing and having fun, not doing any work. Suffice to say, this idea breeds bad habits which must be broken abruptly as adults. Considering I’m still attending school in the form of a Master’s program, I’m having a hard time remolding my way of thinking. It’s led to an annoying writer’s block, which I will call my “summer writing slump.”
Image retrieved from this travel blogMy writer’s block usually follows the same pattern. First, I have a hard time conjuring an idea for a story or I can’t focus on one idea at a time. My brain bounces from one thought to the next, never settling on one long enough for me to fully pursue it. Then I slip into the worry that nothing I write will ever be of significance and/or live up to what people liked in my writing before. It feels like I’m trying to capture lightning in a bottle, a fruitless effort. The end result? I get nothing done and I have to up my “as-needed” anti-anxiety pills.
How is the summer writing slump different? I have a built-in excuse: I have all summer to knock the rust off before classes start again. I don’t need to force the muse yet. I have plenty of time to get myself back into shape and have a really productive year.
Well, it’s August now and I’ve only written one short, really cruddy story, if it can be called that. I know that everyone gets into a writing slump occasionally, but I can’t let myself get too rusty or else I’ll lose my edge entirely. It’s taken a long time for me to create my arsenal of writing tools; it’ll only be a lateral move to let myself slip out of practice while my program’s on break.
Why am I telling you this? To remind my readers to never take too long a break from writing. Yes, a break can help you shake off writer’s block when you’re really stuck. However, it can also lead to writer’s block. Just like we can’t have the entire summer off from our 9-5 jobs, we can’t have the entire summer off from our writing. It’s a job and a skill. We have to be disciplined enough to maintain momentum in our careers and take the time to practice our craft.
We must also remind ourselves that it’s OK to write crappy first drafts. Heck, it’s OK to have all drafts of a story be crappy (if we don’t plan to publish it). At least then we can learn what does not work in our writing. If we’re too afraid to let ourselves write badly, we won’t write at all. Then we’ll be stuck in a perpetual summer writing slump.
Thoughts? Comments? Advice for escaping the summer writing slump? Leave your thoughts in the comments and remember to sign up for our newsletter for a chance at the monthly giveaway.
Happy Friday, folks. Today I’m announcing the August monthly giveaway, available only to readers who also subscribe to The Writer’s Scrap Bin’s newsletter, The Scrapbook.
For this month’s giveaway, I want to provide a prize which can also help struggling writers to progress on their paths to becoming published. I will, for the month of August only, be extending to The Scrapbook subscribers the opportunity to have their work critiqued by me for free. If you sign up for the newsletter and follow the instructions provided in the August e-mail, I will read and critique your short story, a section of your novel, or an essay/memoir up to 10,000 words in length. (Unfortunately, I cannot critique poetry because I do not feel I have the grasp on that genre well enough to provide useful remarks.)
I typically charge $10 or more for this service on Fiverr, depending on the length of the manuscript. I have extensive experience editing and proofreading, particularly in providing feedback. I have taken several creative writing courses throughout my academic career and those classes always included a workshop element, so I know how to provide critique while remaining kind and building the writer up instead of tearing him/her down.
Right now I can only promise one round of revisions as the prize for this giveaway, but I may be persuaded to participate in multiple revisions. Of course, you will also be able to ask me as many questions as you have regarding my feedback for free.
If you are interested in this prize, please sign up for The Scrapbook using the link provided in the website menu.
Have any ideas for future monthly giveaways? Any questions about this giveaway or the newsletter? Feel free to drop a line in the comments or e-mail me at thewritersscrapbin@gmail.com.
Trigger Warning: The book reviewed here depicts sex, rape, heavy amounts of gore, and regular use of profanity. Slavery, abuse, and torture also serve pivotal roles in the plot. If you have any sensitivities toward such subjects or otherwise take offense to them, proceed with caution.
Warning: This review contains spoilers for the first book, Sister of Echo: The Making of a Villain (Part One). Do not continue reading unless you have read Part One.
Today I’m reviewing Sister of Echo: The Making of a Villain (Part Two), the second installment in the Sister of Echo: The Making of a Villain series by Ameel Koro.
When we last left the world of Sister of Echo, Alina’s secret identity as a vampire had been revealed to Corina and Cotiso, and Alina’s jealousy had driven a wedge between her and Sinna. At the beginning of this new adventure, the company is trying to leave Artucia when soldiers stop them to take Corina and Alina back to the arena for another round of slave fights. The questions on everyone’s mind: Why are they being dragged into another competition? And by whom?
Little do Alina and her friends know, the competition has been arranged to force Alina’s return. Cordillia, the richest woman in the city and leader of Artucia, believes that she knows what Alina is. She longs to meet the young woman, show her off to the other nobles, and reunite Alina with their kind. But is Alina what Cordillia thinks she is? Are Cordillia and her children really what the readers are lead to believe? When mysteries start unraveling, what will become of Alina and the rest of the company?
Over the following 210 pages, Koro throws readers through a series of twists, losses, torture, and just as many new questions as answers. We travel deeper into the social construct of slavery, Dacian religion, and a world of mythical beings which you can’t begin to imagine. With vivid imagery, a compelling plot, and heart-pounding action, it’s almost impossible to put this installment down until the very end.
I’m happy that, despite some minor reservations, I continued with the second book of the series. Sister of Echo: The Making of a Villain (Part Two) far exceeded my expectations based on Part One. Koro utilizes the social hierarchy and religious beliefs of the time more to the story’s advantage in regards to world development, character development, and plot. The characters of Alina and Corina also gain more depth with Alina becoming a more realistic person and Corina growing more emotionally complex.
Unfortunately, new elements introduced in this book overshadow much of the premise set by the first book, which left me with a lack of resolution. Alina’s jealousy drove her away from Sinna by the end of Part One, but Sinna still plays too little of a role in this book given how “in love” the two supposedly were. In fact, I am given serious reason to suspect that Alina may not have actually had real feelings for Sinna at all, but this suspicion may have been by design. Even Corina questions Alina’s love for Sinna, and Sinna’s ultimate fate remains a mystery. Could Sinna still be Alina’s happy ending? Or is that just an illusion? Oddly, this question of Alina’s true feelings made me more interested in the relationship than when they acted lovey-dovey in the first story.
Other characters also get too little time on the page in this book. Tati and Cotiso, while in the first few chapters of the book, seem to fall away with their fates revealed only in dialogue. Other characters, including Tsuri, receive such treatment, although I did not have such an objection with them because they did not serve much a role in the first place. I feel that Tati and Cotiso deserved more of an ending, and Cotiso’s ending deserved more of an emotional impact. Tati, at least, had an effect on Corina. Still, too many of these events take place off-screen, so to speak. Even much of the torture, with the exception of the introduction to Cornel and his “experiments” on Alina, appears to the reader in exposition.
The amount of exposition aside, the imagery improved significantly with this book and even as the novel progressed. Things get dark and gory quickly, but that’s one of the things I liked about this book over the first. With “The Making of a Villain” in the title, one expects things to grow dark and bloody. A lot more action appears in Part Two as well, allowing for more displays of Alina’s powers and the powers of her foes.
Most importantly to me, however, is the character growth which Alina and Corina experience. We see much more of Alina’s heartless side in this installment, and much more of Corina’s twisted and, strangely, vulnerable sides. While I started to hate Alina as a person, she actually seemed like a real person. The naïve, innocent pretty-girl act in the first book made her a rather flat character. In this book, we see just what Alina will do to stay alive and, in a much different way than in the first story, how ignorant she is to human interactions. I understand her and I pity her but I also hate her, which is the sign of a good character; I have conflicting feelings for her, as I would with someone like her in real life. On the other hand, I began to like Corina even more. She is still crude and self-centered, but she also displays sparks of true human emotion underneath that crusty exterior.
Sister of Echo: The Making of a Villain (Part Two) is not a perfect book. I identified several proofreading errors throughout the e-book. I also wish that Koro would ease up on the exposition, especially since readers would be able to infer much of it from the action and visual cues. Some of the more modern elements of the language, such as the “yeah” which persisted throughout the first book, have been corrected. Still, the writing maintains a modern element which I can’t quite identify and, honestly, don’t know how to fix. It may be the (what I consider to be) overuse of profanity throughout the story, or it may be a personal writing taste. The number of exclamation marks in the narration also annoyed me. I’m OK with exclamation marks used prudently in dialogue; in the narration, it can border on a slapstick feel.
Overall, I really recommend this book for lovers of epic fantasy. Koro introduced me to a species of mythical creatures that I never would have imagined myself, and I’m eager to continue to the next book.
Be sure to check back for my next review, Sister of Echo: The Making of a Villain (Part Three).
Do you know of any books I should read or review? Want me to review a book you’ve published? Contact me at thewritersscrapbin@gmail.com or look me up on Fiverr.
Everyone is flawed. We claim to know that and yet, in some cases, we either can’t accept it or won’t allow it. This fact is especially true with people raised to the status of “hero”. Flawed heroes, well, we can’t let them be flawed and heroes. Perfect or villainous, no in-between. While some real-life and fictional “heroes” are truly flawed to the point of incompetence or villainy, many just make mistakes. That’s how it should be and that’s how we should portray the world in our writing.
Here’s a real-life “flawed hero” moment: J.K. Rowling recently came under attack for a mistake, i.e. a Twitter attack against President Trump regarding his treatment of a disabled boy. Her criticism, it turned out, was based on a video taken out of context. According to the boy’s uncle’s Tweet, Rowling’s words seemed to cause emotional distress to the boy involved and his family. Rowling admitted that the source did not present the information in the complete context and apologized profusely and politely to the boy and his family. That should’ve been the end of it but, of course, it wasn’t. While some appreciate her honesty and willingness to apologize, others insist on villainizing her for an honest mistake and for not apologizing to President Trump. She’s either a hero or a villain, not just a generally admirable but flawed human.
It’s interesting how we can’t allow our heroes to have slip-ups. Either they must always act perfect or we must be so delusional as to think they are always perfect no matter what they do. We can never admit to the existence of flawed heroes. It makes me wonder, do we hold the same delusions in fiction? Should we?
In an earlier post, I discussed the appeal of flawed characters, particularly flawed protagonists. Flawed characters are human, and readers relate to human characters. That’s why a flawed–maybe even hated–protagonist is better than a Mary Sue or Gary Stu.
If this appeal applies to flawed characters, including flawed protagonists, shouldn’t it still apply to flawed heroes? As writers, we strongly believe so. As readers, it’s a more bitter pill to swallow when thinking our heroes could be flawed.
In the “Return of the Bling” episode of American Dad, Stan has to learn the hard way that even our heroes do questionable things.
While the line is very fine, there is still a difference between flawed protagonists and flawed heroes. The plot of a novel focuses on a protagonist, i.e. the main character. This character can be good or bad, loved or reviled, active or sedentary, etc. Heroes, on the other hand, become role models of sorts, characters to whom we aspire. For example, Macbeth is the protagonist of Shakespeare’s MacBeth but, I would argue, is no hero, certainly not someone I would use for a role model. Nymphadora Tonks, on the other hand, is not a minor character in Harry Potter, not a protagonist. Nevertheless, I look up to her and would not hesitate to call her a hero because of her sacrifices and bravery.
With this difference in mind, should there be flawed heroes in literature? My answer is of course.
Flaws, whether in heroes or a minor villain, give the reader something to hold on to, something of themselves which they can find in the character. I would go so far as to argue that flaws make heroes in literature possible. We see all our possible successes in our fictional heroes; when we see these successes coupled with flaws much like our own, we latch onto that character as a possible version of ourselves. We sympathize with their struggles, root for them to prevail, and feel their emotions at every turn. Flaws give us our connection to fictional heroes; take them away and we just have another saint or martyr who’s nothing more than a name.
Being flawed doesn’t make a hero any less of a hero; it makes them interesting.
Theoretically, heroes are like any other character. Readers relate more to them when they’re flawed, and so the best heroes should be flawed. Yet readers have a hard time admitting that their heroes are flawed heroes. Criticize Harry Potter for being a hormonal teenaged boy soaking up the limelight and Potterheads will descend upon you like a flock of vultures. (I would know, I used to react that way and sometimes still do.) What we don’t realize is that we can still look up to certain characters even with their flaws. We just cannot make them some inhuman idol to worship. We must also remember that the flaws make the stories interesting. If our heroes didn’t have flaws, we wouldn’t have any reason to worry about their success, would we?
In life, we have to take our heroes and their digressions with a grain of salt. Some are forgivable, others are not. Some mistakes can be righted with an apology and others take much more, if they can ever be righted at all. Mistakes are a part of life and as long as our heroes learn from them–more importantly, so long as we learn from them–then some bit of good may come from it. Admire the good flawed heroes have done but judge their wrongs as you would anyone else’s. After all, they’re human, too.
Thoughts on creating flawed heroes? On our tendency to idolize heroes, both fictional and in real life? Drop a line in the comments. Let’s start a discussion!
We all know the saying: jack of all trades, master of none. For those who don’t know, the phrase refers to someone who dabbles in many areas but does not master any. The saying makes sense overall; the more we spread our focus and talents, the less energy we have to put into any one task. Hence, we know a lot of trades but we master none of them. But is that truly the case nowadays, especially for writers? Do we really have to choose between being a jack of all trades or mastering one?
I’m sure that, by now, you’ve read some variation of the article on Business Insider which lists the fifteen habits of self-made millionaires. If you haven’t, I highly recommend it. Even if those habits won’t work for you, it makes for a fascinating read.
These habits include developing multiple sources of income.
This concept is not exactly the same as dabbling in multiple trades–after all, investing in stocks can be considered a source of income but not necessarily a “trade” like we are discussing here–but some of the reasoning can apply to both. In earning money, the wider you cast your net, the more you’re likely to bring in. The same is true with trades and hobbies. The more we do, the more experiences and skills we gather.
Does that mean it’s better to be a jack of all trades than a master of one? Not necessarily.
Can you be a success AND a value in multiple areas at once?
If we spread ourselves too thin, we will have neither the energy nor the focus to really complete any task competently. Let’s say that you’re trying to write a novel, edit a project for a client, write a blog review of the latest episode of American Horror Story, and dabble in a traditional 9-to-5 job at Barnes and Noble. I’m guessing you’re exhausted just thinking about it; I know I am. Odds are that you won’t get all of this done in the same week. Heck, balancing it all within the same month plus your daily social and familial obligations would be a stretch. We can’t do it all without burning ourselves out.
I learned this lesson early on, although I probably haven’t heeded it too well since my first experience. In high school, I tried to do it all: zero-period Physics, AP Calculus, Yearbook, leadership (a class, basically a form of student government with volunteering mixed in), student representative to the school staff, school liaison to the school board and city council, and a weekend volunteer at a local museum. I was incredibly overwhelmed, and it was this period in my life which really sparked my anxiety and stomach problems. (There were issues at home which made it worse, too.) I don’t like looking back at that time out of embarrassment and a feeling of failure. Frankly, I’m not sure how I made valedictorian.
In addition to causing us to explore things superficially, too much dabbling and multitasking can kill us inside. As I said in my workaholics post, writers tend to work too hard because we’re a bit addicted to it. Still, that habit of being a jack of all trades can wear us down.
Does that mean that we should only master one trade? Again, not necessarily.
The experiences and skills which we gather from our other trades and hobbies feed into the trades we master. For me, the trades I am attempting to master are writing and literature. In particular, I focus on fiction and academic creative writing. However, I have other hobbies and trades which fuel these two. I workshop and proofread other writers’ manuscripts, which helps me to strengthen my self-critiquing skills. I review published books, which forces me to see books simultaneously as a reader and a writer. Oddly enough, I also dabble into business concepts. I don’t try to master business or anything like that; I’m just fascinated by everything behind it, from finding the break-even point to marketing and promotion. This interest makes me better prepared to promote my own work, as well as the work of those I review and critique.
Being a jack of all trades does not always mean you’re a master of none, not in this day and age. You have to tread lightly and balance every aspect of your life very carefully, but you can still dabble in multiple areas and master one or two. As with reading and writing diversely, sharpening your skills with multiple trades and hobbies can teach you lessons which you then bring back to your main focus. Rather than one or the other, I think that all well-rounded people, writers especially, must be both a jack of all trades and a master of one (or some).
