Hello, everyone! Yes, I’m still alive, and so are my kids.
The past few days have been quite the learning experience for the three Bs and myself regarding patience, kindness, listening…maybe some science in there too, but honestly, at this stage it’s all about learning to live with one another every waking hour of the day. Hopefully some of the school stuff is sinking in, but as I say whenever I sub in a classroom: So long as no one hurts themselves or each other, it’s a good day. 🙂
On top of learning to learn together, I still need to find time to teach my online university students. I’m going to try something Thursday and Friday to see if it’ll help bring a little balance to my teaching load…and hopefully free up time to write, too.
In the meantime, I wanted to share a few freebies with you. Aionios Books, publisher of my first novel Fallen Princeborn: Stolen, has made a number of their ebooks free through the end of April!
Be sure to visit them for books of Young Adult, Science Fiction, and Fantasy. Because these downloads are through them and not Amazon, I do hope you’ll make a separate trip to my Amazon Author page and leave a book review when possible. Those reviews make a HUGE difference for indie authors such as m’self.
I did manage to sneak in a quick couple of hours this past weekend to write. It wasn’t enough time for my short story, but it was enough time to answer the prompt for my university journal’s microfiction contest: create a story of 300 words or less featuring a famous woman from literature. This rough draft is a few words shy of 300, but I feel like there might need to be a little trimming done to make room for other details, depending on your feedback. I hope my choice in fictional character counts, too!
Title? Not sure yet. I’ll take any ideas you have!
Sally blew a perky blond curl out of her eyes. Every stitch had to be perfect.
“You sure you didn’t send it off with Marbles?” He called. “I know it’s all torn up, but it’s still mine.”
“Of course not, darling,” Sally cooed. The sewing machine needle pulsed up and down with the rhythm of their high school’s favorite slow song. She hummed as she shifted the pieces of delicate blue cotton beneath the point, her thread blending in perfectly.
“You don’t think someone walked off with it during the party, do you?”
Sally bit her lip to keep from laughing. “Maybe.”
“Look, I know it’s dumb, but I am not going on vacation without it.”
“Oh, I know, darling, I know.” Dim sunlight fell through the glass blocks near the ceiling and washed out a picture Sally had taped to the wall of a Christmas pageant from their childhood. The moment he held her hand to go out on stage, she swore she’d never let him go.
“Lucy probably snitched it. Damn, I knew she was pissed about the new realty job.”
There. Sally’s chair made a nasty scraping sound against the concrete as she stood to hold up her work: a sport coat. He could wear it every day without any stupid dog or sister or anyone else stealing it away.
Sally lay the coat over her chair and glanced over at the computers. There he was, pacing with his phone while that slut Violet packed lingerie.
Sally had a bag, too, only it contained plastic sheets, duct tape, and a hammer. She took it with her up the stairs and out her cottage door. Pumpkin vines roped the entire yard, their yellow flowers filling the air with sincerity.
Nobody takes Sally’s Sweet Baboo.
It’s not much, but it’s fiction, and it’s storytelling, and with all the staying at home and teaching 7 to 57-year-olds, it’s nice to create a little mayhem. 🙂
More homeschooling tips, writing, and music are on the way!
Good day, my friends! Thanks so much for sticking with me through this week of re-calibration and preparation for the coming spell of homeschooling. I do promise to get back into the writing soon; the plan is to go quiet on Jean Lee’s World for a few days so I can work on some flash and short fiction for my university’s journal (sharing here for feedback, of course), and then also write up a few lesson plan samples (ibid).
For those visiting my site for all the homeschooling stuff–welcome! Please don’t forget to take care of your own creative sparks to stay sane. I’ve been writing on this site for 5 years now, and I can’t emphasize enough how important it is to create and communicate in order to maintain one’s mental health. Please also check out some of those wonderful folks who follow my blog or have been interviewed here. You’re going to meet beautiful songwriters, poets, authors, and photographers on both sides of the globe. xxxxx
So, let’s finish the week strong with more resources dear friend and fellow indie author Anne Clare called to my attention. As a teacher and mother of three kids under the age of ten, Anne knows all too well how tough it is to keep kids engaged while also getting her own work done. After I shared my post yesterday of online and hands on activities, Anne emailed me a whole bunch of stuff she’s found in her own hunt for things to do with her kids. Her hunt was super successful, as you’ll soon see!
Extra Science Stuff
Mystery Science: Oodles of lessons and materials! A portion of it’s for free; if you help spread the word about the site, you level up on your access level.
Real Wild: A Youtube channel featuring some killer wildlife videos, including the late great Steve Irwin.
Scholastic has created a Learn at Home site with an amazing mix of reading, video, and hands-on activity all organized by theme, time frame, and age group. HUZZAH!
Extra Geography Stuff
Anybody else remember the PBS ’90s gem known as Where in the World is Carmen Sandiego? What had started as an ancient PC game with a pile of floppy disks transformed into books, more games, cartoons, and of course this game show focused on history and geography. I learned a lot from this show as a kid, and there are a bunch of episodes on YouTube.
More recently Google Earth has created a free online game to let your homebound gumshoes chase Carmen Sandiego all over the globe. Click here for more info!
More Art Stuff
Create Art with Me: This site is jam-packed with age-appropriate projects. Drawing, watercolor, painting, pastels, foils, charcoal–if you can create with it, it’s on here!
Fun-A-Day: Cool Crafts for the little Jedi–and Sith–in your household.
Pinterested Parent: More fun artsy ideas, such as this salt watercolor project, to keep kids occupied without busting your wallet.
Picklebums: When it comes to projects for multiple ages, simple is always best, such as this squish painting activity.
Easy Peasy and Fun: This one requires a membership if you want the printables, but browsing its crafts may give you ideas for adapting with your own materials.
Artful Parent: Creativity abounds on this site! I particularly love the focus on sensory kiddos.
What a treasure trove of ideas! I’m excited to show these to my three little Bs and see what strikes their fancy before we head off to the craft store after lunch. So long as we avoid the cart races down the aisles, we should be okay. Enjoy your own explore here, and remember–we’re in this together! xxxxx
Few instruments grip my heart quite like the violin. Piano will always be my first love, yes, but there is something ethereal about the sound of a violin, be it a quiet backdrop or proud melody. Violinist Mari Samuelsen was one of my favorite discoveries of 2019, and now thanks to her I have also encountered a composer I cannot wait to share with you: Max Richter.
German by birth and English by education, Richter’s been considered a master of composition since his debut album Memoryhouse in 2002. He re-imagines classic writers like Vivaldi. He writes cries of pain and hope with added text from Kafka. He captures the cosmos. He writes an opus to sleep. This man finds inspiration everywhere.
Before spring settles itself upon my ice-crusted Wisconsin landscape, let’s begin our sampling of Max Richter with a quiet walk backward into the raw, green-less lands of “November.”
A beloved track from Memoryhouse, “November” is both timeless and frozen in time: listeners may close their eyes and feel the world grow chill with winter’s promise. Frost adorns the wild grasses. A deer exhales white swirls about its nostrils. The air’s cold purifies. The morning sun strikes the frost, and for a moment all the world is a field of light.
“On the Nature of Daylight” is another beauty, one a soul could listen to while watching the sun climb horizon’s edge. As you can see, I couldn’t help but share the version that includes Mari Samuelsen.
Even though I can imagine both songs playing with the dawn, each feels a different season. Can’t you just see the sun awaken as birds shake night’s melted frost from their feathers? There’s a distinct warmth here in the unity of sound, the orchestra’s rhythmic rise and fall not unlike the wind drying out the grass for birds to gather for a new nest, a new generation.
Restraint is the name of the game here. There’s that subtle foreshadowing of synth percussion every ten seconds until it starts rat-a-tap tapping at :45, slow, slow as clawed steps. Brass call out a low harmony over and over, like a beast hunting in the darkness.
Oh, 2020, you promise to be an exciting year for music. Not only do old favorites like Daniel Pemberton and Mychael Danna have new soundtracks out this year, but I’ve a whole new catalog to explore in the hall of Max Richter. Here is a man who has found the heart strings that play human nature to their joy and sorrow. Let his music inspire your storytelling of the human condition both real and imagined, and help you find your own unique story in this “great big world” of writers:
~STAY TUNED NEXT WEEK!~
I’m keen to share some of my own writing! Yes, fiction with characters and setting and all that jazz. We also need to discuss the damage done when a writer alters characters mid-stream through a story arc. Oh, Last Jedi, you never had a chance…
For this, “thank you” will never be enough. You are my community. You are my tribe. You are the stars in my night when depression’s clouds roll in.
You are wondrous, each and every one of you.
I am proud of my own stories developed these five years, to be sure…
…but what truly thrills me more than anything is the creativity I’ve seen blossom in my kids over the years.
Bash’s love for the robot Wall-E is as vast as the universe. He’s made stories with Wall-E meeting the Transformers, Santa Claus, My Little Ponies, Thomas the Tank Engine, and even the old Hanna-Barbara superhero Blue Falcon. This is a boy eternally creating, finding characters and conflicts where no one else does. My son, who fears failure so much, is one of the most fearless storytellers I’ve ever met.
To see Biff willing to write his own stories at all lifts my heart. This is a boy who finds what he loves and sticks with it, such as stories from the Island of Sodor, only here with the buses he rides to school: “Once upon a time in the busing company of L__, the buses were working hard…” His teacher tells me they’ll be working on “Expert Stories” soon–stories where the kids can write about things they know well. Biff is so thrilled to write about Star Trek he literally hops up and down when talking about it. We’ll see if the Sodor Style comes to Starfleet this spring!
And now, last but never least, comes Blondie, who’s written her own moment for this post. Allow me to bow and give the stage to my daughter, my heart’s smile, my Blondie.
I have been reading the Adventurer’s Guild book series. It is filled with unsuspecting (and sometimes a little terrifying) surprises. I am right now working on a 300-piece puzzle of the constellations. I hope I finish it today.
I would like to recommend some books and authors. You should read Endling: The Last and Endling: The First by Katherine Applegate because it is full of fun and exciting (and sad) parts in it. my favorite character is Byx the darine because she’s a girl and darines have things that I like, like soft, silky fur and looks like a dog, and I absolutely love dogs. It is my most favorite book series. Katherine Applegate did lots of other good books such as Wishtree, which when a tree named Red is the wishtree, and I really like the baby animals in it, and I haven’t read Crenshaw yet, but I will, and more.
Also, there’s Allan Zullo, who has done Bad Pets, Bad Pets on the Loose, and more. The Bad Pets series is about wacky and zany pets do crazy stuff, like a dog drove a garbage truck into a lake! More recommendations will be made when I write here again. I will be writing more on Alley Heroes in the future. It right now has 12 chapters ,I think, and is supposed to have 14 chapters, but I’ll probably go over 14. I would like to add that I love writing on this website to you and writing stories and drawing comics. Happy writing, y’all!
Best writing wishes to you,
Blondie (aka: Firewing) 🙂
Best writing wishes indeed! From my family to yours, may Heaven smile on your creative souls and inspire you to continue spreading the friendship and hope you have so graciously given us. What adventures await in the next five years? With companions like you and my family, I can’t wait to find out. x
~STAY TUNED NEXT WEEK!~
I think it’s high time for an interview, don’t you think? Plus I’ve more music to share, and maybe, JUST maybe, a little new fiction. Fingers crossed and turn thrice widdershins for me!
Happy Monday, one and all! Yes, I know I’m a day late, but I’ve got the best of reasons: I got to spend ALL of Friday with Blondie at her Parent Visitation Day.No calls from the boys’ principal this time. Just me sharing hugs and silly faces with Blondie during her classes and scribbling “Captain Poop” on the name slot of her Spelling Test because I’m mature like that.
It was worth putting off the pile of grading and my interactions with you all because when you’ve got little loves in your life, you’ve got to make every hug count.
So, now that the brunt of grading has been completed and I’ve successfully ignored all calls to substitute teach in this county, let’s wrap up our look at The Force Awakens and prepare for our shift into The Last Jedi with a little talk about villains.
As far as Disney’s sequel Star Wars trilogy is concerned, I consider the villains to be at their strongest in The Force Awakens because they had the most potential here. Each villain has a unique look, sense of purpose in body language, and dialogue that consistently carries the story along. Each had a strong mix of elements that could leave lasting impressions on readers.
THE PRINCIPLE OF ANTAGONISM: A protagonist and his story can only be as intellectually fascinating and emotionally compelling as the forces of antagonism make them.
A big reason Episodes I-VI are still loved today is the cast of antagonists. Darth Vader was other-worldly with his powers and costume, yet impossibly human when he tells Luke he’s his father. The Emperor, a specter of white skin beneath a black hood, didn’t just carry power in his Force lightning, but in his voice, his speeches chipping away at Luke’s hope until the final showdown when Vader finds redemption in saving his son. The prequels take those two villains and re-cast them as protagonists, revealing the roads taken that transform Anakin Skywalker into Darth Vader and Senator Palpatine into…well okay, Palpatine was also evil in the prequels, but he wore the good-guy disguise. We were still watching that transformation of shedding the good-guy pretense and becoming the Emperor.
In both trilogies, there were transformations at work. The heroes were growing, yes, but so were the villains, and THAT is just as important if not moreso.
Rather than spending your creativity trying to invent likable, attractive aspects of protagonist and world, build the negative side to create a chain reaction that pays off naturally and honestly on the positive dimensions.
In any story, there must be a clear sense of cause and effect: if the hero does something, that’ll ripple over to the villain in X way. If the villain does something, it’s going to impact hero like Y. Audiences are quickly bored with a villain that simply twirls his mustaches and goes right on with the same schemes that tried and failed before.
Let’s break our four primary villains down and see what could have–should have–been.
A female storm trooper of authority–something audiences had not yet seen in Star Wars. Phasma had a cold-blooded voice and towering presence that could make anyone run for cover. The actress’ screen time in Game of Thronesproved she was capable of combat and other feats of bad-assery, so audiences expected to see some wicked work done by this daunting leader of First Order troops.
But it’s awfully hard to effectively show how bad-ass you are when you’re not even in the story for two whole minutes.
No joke. These are all her scenes in the first film.
For a character that looks like she should have plenty of conflict potential with Finn, the Storm Trooper Turned Good, we get practically nothing. The character is relegated to a few snippets of dialogue and a bit of fan service with the “trash compactor.”
Supreme Leader Snoke
Ah, the character that bred a thousand fan theories… Snoke’s hardly in the film–like Emperor Palpatine, Snoke only appears in hologram communication in this first film. Like Phasma, Snoke looks good. The towering projection of him dominates not only the villains of the film showing who’s in charge, but looms over audiences, too, freaking them out with his deformities twisted by shadows and ghostly light. Kylo Ren and General Hux are both eager for his approval, which adds an extra layer of conflict among the antagonists.
Not bad, right? A bunch of yes-men in uniforms quickly makes for dull viewing. Intrigue in the ranks is a great way to sneak in extra plot twists, shifts in power, etc. Mystery never hurts, either. This Snoke guy must be pretty powerful if he heads The First Order (wherever they came from), and if he’s trained Kylo Ren in the ways of the Dark Side, he’s got to be a powerful Force user, too. As much as I hate seeing too many Mystery Boxes in one film, JJ Abrams knew what he was doing in planting just enough information about Snoke to intrigue audiences and keep them talking about a character who’s only on screen for a few minutes.
Just as Vader had a very old Peter Cushing (I mean, Grand Moff Tarkin. Look, I only knew him as Peter Cushing even as a kid, okay? Peter Cushing was AWESOME and don’t let anyone tell you different.), Kylo Ren had a military counterpart that worked with him as much as he worked against him. The General Hux character of Force Awakens is sharp, curt, quick to please his Supreme Leader as he is to put down anyone beneath him. Ambition oozes from his body language and dialogue, especially in his speech to the troops.
The more powerful and complex the forces of antagonism opposing the character, the more completely realized…story must become.
Again, there is potential here. This is a character that feeds on power, thrives on stepping over the masses groveling at his feet. General Hux is no Force user, but he has forces of thousands at his command. Should a character like he choose to clash with one like Kylo Ren and/or even Snoke, there could be some fascinating political theater here. He’s a powerful speaker, for instance–he could persuade legions to follow him. Trick troops into thinking they’re carrying out Snoke’s commands. Pit lower-ranked commanders against one another. This general looked and sounded capable of all of this. Had the movies followed through on these established traits, they would have had some mischievously tricky plot threads to bind audiences to future stories.
For those who don’t know, Kylo Ren was born Ben Solo, the son of Han Solo and Leia Organa. In The Force Awakens, Ren is seen not to revere not his parents, but his grandfather, Darth Vader. For him, the temptation is from The Light, not Dark Side. He led other Padawans to become The Knights of Ren and destroy Luke Skywalker’s Jedi Temple and almost killed Luke Skywalker in the process. Some of this echoes the character arc of the now non-canonical Jacen Solo of several Star Wars novels, son of Han and Leia, TWIN BROTHER of sister Jaina who starts as his ally and ends his enemy.
Empathetic means “like me.” Deep within the protagonist the audience recognizes a certain shared humanity.
So, so many of us have fought against that “which is in our blood,” have struggled to be anything BUT our parents, yearned to be something bigger than ourselves. More than any other character, it is Kylo Ren with whom audiences connect. No one condones his determination to remain on the Dark Side, but audiences fight for his redemption, even here, because they know who his parents are. Even after Kylo Ren kills his own father, audiences know there is “good in him” like Luke knew there was good in Vader. Audiences want to see this character succeed–not as a villain, but as a villain-turned-good.
What went wrong?
Death Star 3.0, for starters.
Flawed and false storytelling is forced to substitute spectacle for substance, trickery for truth. Weak stories, desperate to hold audience attention, degenerate into multimillion-dollar razzle-dazzle demo reels.
The dissonance is subtle at first, but it swells quickly. For all the hype over Captain Phasma, it occurs to us in her last scene with Finn that she’s hardly done anything throughout the story. For all the booming threats from Hux, he becomes inept when he himself is faced with a threat. For all the “Ye GODS” Force-wielding moments Kylo Ren has early in the film, by movie’s end he can barely duel Rey, who’s never held a lightsaber in her life.
But the worst offender by far is that Starkiller Base. You and I know it as Death Star 3.0 because that is PRECISELY what it f’ing is.
What Abrams and/or Disney thought could be pulled with this stunt, I do not know. George Lucas succeeded with his reveal in the first Star Wars because it hadn’t been done before.
Even the second Death Star in Return of the Jedi feels redundant, but because Emperor Palpatine is on board, audiences are willing to set aside the déjà vu and see how this new conflict unfolds.
“But look!” Disney seems to say. “This time it’s a whoooole planet and it can blow up a bunch of planets at once! It’s bigger, better, more blastier than ever!”
Yuh huh. No it’s not.
Cliché is at the root of audience dissatisfaction, and like a plague spread through ignorance, it now infects all story media… The cause of this worldwide epidemic is simple and clear; the source of all clichés can be traced to one thing and one thing alone: The writer does not know the world of his story.
All four villains in The Force Awakens had the potential to become something special in the Star Wars universe. Each had characteristics and made choices that affected a protagonist, creating promising conflict for the upcoming films. Had Disney’s “creative team” followed the antagonists’ choices to the logical next step, they could have given audiences thrilling adventures with minimal cases of déjà vu.
But Disney wasn’t about making something new, at least not with The Force Awakens. They wanted something that would ignite the nostalgia in my generation and engage my generation’s children to invest their time, money, and Christmas lists in whatever Disney slapped the Star Wars seal on. I have no doubt that JJ Abrams and any other director involved with Star Wars sincerely enjoys the classic adventures in the galaxy far, far away. But the potential of their Mystery Boxes, villains, and heroes was crushed beneath the demands of The Mouse’s Committee.
Heed this, writers, and heed it well. When a writer doesn’t take time to explore the potential of his own story-world, instead choosing to depend on what is considered “a sure thing” in the publishing industry, a writer ends up no only disappointing audiences but his own storytelling spirit. Never is this clearer when an antagonist’s traits are altered, choices limited, or ambitions doused for the sake of a trend or gimmick. As author Michael Scott once told me:
I have always believed that for the hero to be successful, the villain has to be their equal…I always try to write the villains as the heroes of their own stories.
Do not damage the potential of your own story’s villain for the sake of pleasing some committee. Know your story. Know what drives the Dark so that you may better create its counterpart in the Light. If you ignore one, the other’s arc will burn to inconsequential ash.
~STAY TUNED NEXT WEEK!~
We’ll see if I can get Blondie to say what she’s been up to, Miss “I want to write book reviews on my own website!” xxxxx I’ve also got some choice words about the state of literacy in Wisconsin, few of them good.
Or we might just talk about mental health. Or music. Frankly my mind’s so fried from grading I’m amazed this post got written.
Miss Parts 1and/or 2 of my Robert McKee & Star Wars series? Click a number to catch up!
Nothing grinds a writer like plot holes. Hell, I STILL can’t watch the film adaptation of Harry Potter and the Prisoner of Azkaban without griping at the screen about the absent explanation of how Lupin understands the Marauders’ Map.
No writer tells a story with the intention of digging plot holes (one would hope, anyway). If a writer loves the craft enough, that writer will do their utmost to tell a complete story, avoiding intentional plot holes like Biff avoids broccoli.
The bugger comes when the story sprawls over the course of multiple installments. Now the writer doesn’t have to reveal everything before the end of Act III. Important reveals can be put off until Act VIII, or XI, or even XIV. After all, what else engages audiences like a good mystery?
You do not keep the audience’s interest by giving it information, but by withholding information, except that which is absolutely necessary for comprehension.
JJ Abrams has never been shy over sharing his love of mystery. To him, storytelling is all about The Mystery Box, as this excerpt from his 2007 TED Talk shows.
On this page, it would seem that Abrams and McKee agree. If one answers aaaaaaall the questions before the story’s even begun, why should readers care about the story? I can only imagine how readers would have felt if Rowling had wedged Voldemort’s backstory into the first book of the Harry Potter series instead of the sixth. Honestly, I know what I’d have done:
Glazed over it.
But after reading five books about this villain, seeing his various reincarnations and the consequences of his ambitions, I’m dying to know who this dark wizard is and what drives him. Harry Potter and the Half-Blood Prince has always felt like the least action-oriented book of the series, but readers are still okay with this because a degree of the mystery is being revealed to them. After the monumental battles in the fifth book, the series’ pacing allowed for a slow-down.
Regarding JJ Abrams and Star Wars, he likely felt comfortable building oodles of Mystery Boxes in The Force Awakens because he expected the later movies to open his boxes and reveal the answers. If we learned eeeeverything about the First Order, Rey, Luke Skywalker, etc in The Force Awakens, then we wouldn’t be curious to see what’s coming in the other films.
A certain amount of audience curiosity is essential. Without it, Narrative Drive grinds to a halt…. But you must not abuse this power. If so, the audience, in frustration, will tune out…. No dirty tricks, no Cheap Surprise, no False Mystery. False Mystery is a counterfeit curiosity caused by the artificial concealment of fact.
Over-telling too early causes people to forget what is important and be confused by what isn’t. Under-telling, however, can be just as dangerous, and on this, Abrams is VERY guilty. Let’s walk through a few plot holes in The Force Awakens and consider whether or not these “conceals” are necessary or artificial. For comparison’s sake, I’ll use two very different trilogies, one of blockbuster scale (Hunger Games), the other not (Southern Reach).
ONE: The Beginning
I already whinged enough about how The Force Awakens simply dictated the universe must have the same stakes as the Original Trilogy without showing how the heck this galaxy far, far away started the vicious cycle all over again. This information, however, didn’t have to come in The Force Awakens. The first Hunger Games book doesn’t dive too much into the world’s history; instead, we get this information in bits and pieces throughout the second and third books. For the films, this storytelling method worked pretty well, as the first film could focus strictly on Katniss’ preparation and battle for survival in The Hunger Games at hand. In Annihilation, we have no idea where Area X came from, let alone the backstory of nearly all the characters. It’s not until Acceptance, the final book of The Southern Reach trilogy, that we learn the true motivations of the antagonist from the first book as well as where Area X came from. Had all that information been dumped on readers in the first 100 pages, they’d be bogged down and ignoring what really was important, focused instead on whatever words relay the current protagonist’s plight.
So as far as these opening stakes go, Abrams, you get a small pass.
TWO: Pilot Poe’s Survival
As I described in Part 2, the character Finn, our Storm Trooper Turned Good, escapes the First Order with Rebel Pilot Poe. They crash the TIE fighter, and when Finn awakes, he finds himself alone with Poe’s jacket. The ship sinks in the sand, and as far as Finn knows, Poe’s died in the sand already. He says as much to the droid BB-8, and the story goes on, treating the pilot as lost…
…until he shows up at the Resistance base, healthy and whole.
How’d he survive the crash?
How’d he get off the planet without the First Order noticing? They were all over the place chasing down Finn, Rey, and BB-8.
And we never find out.
Now if Poe were a tertiary character, one with little presence in the story or impact on the overall plot, we could probably evade this plot hole without much trouble. Easy peasy–Poe woke up first and got away from the ship. He left his jacket because…well it doesn’t matter. He abandoned his new friend Finn because…well, it doesn’t matter. He got off the planet without looking for his droid BB-8 because…well, it doesn’t matter. What matters is that he got back to the Resistance to fight another day.
That sure is a lot of “doesn’t matters” for one character’s choice, isn’t it? A character’s choice that, considering what little we do know of the character, doesn’t make sense. Poe’s the one who wanted to return to this desert planet to find his droid, and yet he vanishes from the story entirely to arrive just in time to wave happily to the droid that, by all accounts, he was determined to find. But we never see him try to find the droid, the sole motivation for his actions in the first half of the movie.
A “hole” is another way to lose credibility. Rather than a lack of motivation, now the story lacks logic, a missing link in the chain of cause and effect….Maybe the audience won’t notice. But maybe it will. Then what? Cowardly writers try to kick sand over such holes and hope the audience doesn’t notice. Other writers face this problem manfully. They expose the hole to the audience, then deny that it is a hole.
What frustrates a writer like m’self so much over a plot hole like this is that it would not have taken much to fill the hole. Abrams could have kept Poe out of the plot until Finn and Rey arrive at the Resistance base, sure. We could have seen him still recovering from the crash, demanding a ship to fly back for BB-8. We could have seen him on a communicator, checking in with ships on any signs of BB-8.
A character’s absence may be forgivable, but not the absence of motivation. When Katniss and Peeta are separated in the arena, we find out later on what Peeta was doing, and his physical/emotional state show proof of this. When the psychologist separates from the biologist, we don’t know what she’s up to. The biologist shoots her at the end of Annihilation, so we’re left to assume the psychologist was up to something nefarious. It’s at the end of Acceptance that we at last fully understand the psychologist’s motivations–and what the hell she was doing at the lighthouse in the moments before the biologist shoots her.
If Poe needed to be removed from the film to give time for Rey and Finn, then so be it. But that didn’t mean Poe’s arc gets to be fast-forwarded to where it’s convenient. He needed to be off-screen following through on his motivation so that when he’s back on screen, he looks like he was off-screen for a reason.
So as far as Poe goes, Abrams, that ship don’t fly.
THREE: Talking Lightsabers That Just So Happen To Be In A Mysterious Box In A Tavern’s Basement
This is the point where I audibly said “Bullshit” in the theater.
Finn, Rey, and BB-8 travel with Han Solo and Chewbacca on the Millennium Falcon to some ancient looking planet’s cantina, where the owner Maz Kanata provides sage advice. While Maz and Han talk, Rey hears something and goes under the cantina into a big storage area, where a faint voice calls from a box. She opens the box to discover what the audience immediate recognizes as Luke Skywalker’s lightsaber. Maz finds Rey and tells her about the force, but Rey refuses the lightsaber and runs off. So, Maz brings the lightsaber to Han.
“A good question, for another time.”
…coincidence is a part of life, often a powerful part, rocking existence, then vanishing as absurdly as it arrived. The solution, therefore, is not to avoid coincidence, but to dramatize how it may enter life meaninglessly, but in time gain meaning, how the antilogic of randomness becomes the logic of life-as-lived.
When used well, coincidences help tie together plot elements and propel the narrative along. In the first Hunger Games, for instance, it’s a pretty big coincidence that the other candidate chosen to fight for Katniss’ district has also been crushing on her for years. In Authority, the second book of The Southern Reach Trilogy, the new director stumbles upon the psychologist’s old phone and, thinking it might hold useful data, takes it home. This just so happens to be the same phone the psychologist had taken into Area X on a secret expedition, so of course, that phone has changed into something else…a something that is now skulking around the new director’s home.
On Rey’s desert planet Jakku, there just so happens to be a seller of parts scavenged from other ships, and this seller just so happens to keep some junk ships…like the Millennium Falcon.
While I have a hard time imagining Solo losing his ship, I can accept it being considered garbage; after all, in A New Hope Luke takes one look at the Falcon and says, “What a piece of junk!” So that a scavenger has allocated the Falcon on the planet where Rey just so happens to live is an acceptable coincidence.
That Han Solo just so happens to fly Rey to a cantina where a sage-like character just so happens to have a vault with a box that just so happens to have Luke’s lightsaber that just so happens to connect with Rey…
That is not acceptable.
Had Maz mentioned living in Cloud City (where Luke had lost the lightsaber in his duel with Vader in The Empire Strikes Back), okay. Weird, but okay. At least there’s some sort of intent, a trail of motivation: Force-sensitive Maz discovers the lightsaber and feels its importance, so she keeps it safe until finding its owner. Or Lando’s team recovers it and gives it to Han, who entrusts it to Maz for whatever reason. Heck, in Rey’s vision of the Jedi temple burning and Luke crouched low by R2-D2, Maz could have been there ready to give him the lightsaber, but upon seeing the Knights of Ren hides instead.
Instead, we have none of these things. We have only the Mystery Box, and “another time.”
And maybe Abrams did intend to explain this Mystery Box another time. There were two more movies, after all, and he had notes for the other directors to help keep the storyline unified across the trilogy.
Only The Powers That Be in Disney and Lucasfilm didn’t see the importance of paying off those expectations. They had their own agendas, agendas that would take the galaxy far, far away into a new cosmos:
Political and social commentary.
Disney wanted a Star Wars trilogy that would inspire new and old generations alike to buy millions of movie tickets, toys, and theme park passes. Creating a story befitting the lStar Wars universe was never the top priority, not for them. Was JJ Abrams passionate about this project? Let’s just say yes. But loving a story-world and its characters is not the same as creating in that world. Abrams selected bits of the Original Trilogy he wanted to share in his own way; some of it worked, and some of it didn’t. The plot’s true shortcomings, though, can be summed up in two words:
Too often we are wondering how X happened, or why Z did ___. It’s one thing to have a mysterious villain, or an unknown backstory. But when a writer takes time to establish a character’s motivations only to ignore them until the plot makes it convenient for the motivations to come back, or a writer ignores the older characters’ stories so the plot’s MacGuffin can move to the newer characters, then there are serious problems afoot.
And we haven’t even TOUCHED the flippin’ Death Star 3.0 yet.
~STAY TUNED NEXT WEEK!~
More student assignments are coming my way in a few days, so I think we’ll have a lovely author interview next week. After that, we’ll wrap up The Force Awakens with a discussion of what makes a great villain…and why it’s unwise to go the safe route.
Good morning, all, from a wintry Wisconsin! At long last, snow’s found my corner of the Midwest. Biff, Bash, and Blondie had a blast sledding upon our wee hill. It’s the sort of blizzardy day that encourages one to tuck into a blanket and a book–not that I can, with my pile of student projects requiring grades and the kids now planning to convert the house into one giant Gotham City/Sodor hybrid because I was fool enough to leave those old toys out. Still, isn’t it a lovely thought to just wile away the day with a cozy mystery? Or, perhaps an epic adventure into the Elsewhere…
Dark Crystalis a film I’ve only watched a handful of times, and yet I can still remember the awe of my first encounter. Everything glowed, moved, lived. I knew these were puppets, and yet they felt real to me, so real that their torture under the Skeksis scared the pants off of me. Heck, I still have the occasional nightmare about that chair.
Dark Crystal is also one of the few creations by Jim Henson Disney doesn’t own, which is why Netflix was able to produce its own prequel series. I’ll be the first to admit I was skeptical, but the music alone has won me over.
To the lovers of fantasy, the lovers of adventure: here is a theme to call you over that threshold for a hero’s journey.
Oh, Daniel Pemberton, you do not disappoint. The mix of zither and medieval instruments atop a foundation of strings inspire the feeling of a dirt track beneath leather boots, of dusty wind whipping rain-washed hair. We close our eyes to a sun first rising over old forests and older mountains, the road lost in a valley of thorns and uncertainty.
I’m such a sucker for the medieval flair in this score. The feel of history, I think, and the simplicity in its emotional expression.
The score to Dark Crystal: Age of Resistance doesn’t just count on the medieval flavor, however. The moments of synthesized melodies seems to hearken back to the 80s while also remaining distinctly…distinctly itself. “Unnatural” would be my description, an antithesis for the skin drumheads and soft flutes of before. The result unsettles the imagination, cracking it as a clawed foot cracks the ice.
When winter turns our real world bleak with cold, music like Pemberton’s reminds us there’s magic both frightening and fragile beyond the snow. We’ve only to turn our writing eyes inward, and watch music awaken Story’s Landscape.
That, and there’s nothing quite so lovely as a fluttering solo violin. 🙂
Someday, I hope to see the story actually paired with Pemberton’s music (Yes, I’m one of thooose people who has no streaming service of any kind.) Until then, I’m thrilled Pemberton’s found a way to bring the music of Henson’s original story together with his own, just as the writers of Age of Resistance found a way to create a new story in Henson’s universe.
May your own stories, whether unique to you or inspired by others, contain such magic as to enchant your readers and leave them breathless in a land of hope and shadows.
~STAY TUNED NEXT WEEK!~
I’m keen to get back into my Star Wars series by studying some plot holes in The Force Awakens and how those holes affect the strength of the trilogy overall. I’ve also got some FANTASTIC interviews lined up, with the first to be posted in the next few weeks. Blondie’s also been pestering me to write on here, too, so you may be hearing from her soon. xxxxxx
But the love of a good story, of terrific characters and a world driven by your passion, courage and creative gifts is still not enough. Your goal must be a good story well told.
Robert Mckee, Story
It’s an opening as known as Once upon a time.It’s the sort of opening to calls upon readers to leave the reality they know and enter a story both of the future and of the past—a hero’s journey, a villain’s redemption, a coming of age, a coming together of hearts, of friends…
The dialogue over Disney’s contributions to the Star Wars universe has been….well, a pretty shitty one. We’ve reached the point where Star Wars fans are like the Yooks and Zooks of Dr. Seuss’ The Great Butter Battle, and if you know that story, you know it doesn’t end well for anyone.
So let’s just put aside our Bitsy Big-Boy Boomeroos for a second, lean against the wall à la Charlie Brown–
–and talk like storytellers. Not as rabid fans, or haters, or menaces, or warriors. Just people who love crafting good stories as much as they love experiencing them. And what better way to focus on the craft than by utilizing wisdom from one of the most revered voices in storytelling?
Robert McKee has been a revered voice in Hollywood for decades, as he’s taught notable storytellers like Peter Jackson,Paul Haggis, and William Goldman. His book Story is one of the few texts I’ve kept from my hellish graduate school days, as it utilizes films from several different genres to show how smart writing with character development, tension, and scene structure can build a powerful story with which audiences can connect.
It is with McKee’s craft lessons in Story I’d like to discuss the flaws that plague Episodes VII, VIII, and IX of the Star Wars saga. As storytellers, I think we can all agree on some pretty important things are necessary to make a strong story, and therefore understand certain choices that both JJ Abrams and Rian Johnson made with their installments. To be clear,I’m not going to bash either director. On the contrary, I think both brought some positive elements to Star Wars that shouldn’t be dismissed just because you don’t agree with all of their other creative choices.
No, the flaw lies in the foundation of the sequel trilogy. Like the parable of the foolish man who builds his house upon the sand, the recent Star Wars trilogy was built without a solid foundation. In other words, the creative powers of Disney failed to do the necessary worldbuilding—galaxy-building, if you will—for the stakes of the new trilogy to appeal to audiences old or new.
In this blog series, I’m going to utilize McKee’s words on story craft to break down where the sequel trilogy’s potential shines as well as where it dims. Every film has its moments, so I’m not going to dwell for a thousand words on one and then just rush through another.
And the truly tragic part? This could have aaaaaaall been avoided had Disney stuck with what it already built.
Story is about originality, not duplication.
Robert McKee, Story
Disney purchased Lucasfilm and rights to Star Wars in 2012, and by 2014 had created its own original storyline in the Star Wars Universe. The story was set between the prequels and original trilogy, a time when the Empire are hunting down any surviving Jedi and the Rebellion is slowly beginning to form.
Star Wars: Rebels ran for just four seasons, but in that time gained a solid following of fans, a good merchandise line, and even splinter stories in books and comics. The cast was a mix of alien and human-like folks, male and female, adults and kids, each with unique talents that came together to create a strong team to deal with a vicious gallery of Imperial foes.
The storyline fit snugly in the between the established trilogies without disturbing any of the arcs of previously established characters in the Skywalker episodes. Audiences were happy to go on adventures with the scrappy kid, laugh at the cranky droid, marvel at the piloting smarts of the lady alien, feel for the Jedi mourning the loss of his brethren…
…in other words, Disney had successfully built a solid setting in this galaxy far, far away that was unique while also adhering to the state of this galaxy as Revenge of the Sith left it.
Story is about eternal, universal forms, not formulas.
Robert McKee, Story
You’d think that for a studio that loves making live-action remakes of their animated properties, bringing a live-action adaptation of Rebels to film would have been the easy-peasy choice for their feature debut with the Star Wars franchise. They had fans happy with the show, they had storylines all written out ready to go, characters fun and fleshed out. All the hard work of worldbuilding, character development, and plotting was already done.
But perhaps, to those Disney Powers That Be, this was the problem.
Ezra the kid wasn’t like Luke enough.
Hera the pilot wasn’t like Leia enough.
Kanan the Jedi wasn’t like Kenobi enough.
The Inquisitor wasn’t not like Vader enough.
Rebels wasn’t enough like Star Wars’ original trilogy, a film series loved by millions across multiple generations. Rebels’ own successes just weren’t enough.
Disney was determined to repeat the cosmic success of the 70s and 80s, and decided the best way to do this was by treating those original films as a formula to follow.
This choice, right here, before ANY director could say “Action!”, marks the beginning of the troubles for Disney’s Star Wars films. Had they begun with a feature film cast with their own characters and followed previously tested storylines, they would have planted the seeds of goodwill among audiences while also learning the ins and outs of producing a sci-fi adventure epic that is a Star Wars film.
Instead, they chose to fly as close to A New Hope as possible. Too close, as we shall see.
~STAY TUNED NEXT TIME!~
Oh, I’m keen to do some analysis of the entire sequel trilogy, so you’re stuck with me on this topic for a little while. 🙂 But I’ll also throw in some AMAZING music by Daniel Pemberton I got for Christmas, plus there’s some swanky author interviews coming, too.
…just in time for our Christmas church service, no less! At least Blondie’s ready and raring to recite Luke 2 and sing oodles of carols.
But enough whinging over fevers.
Firstly, I wanted to thank you for supporting me through what’s been a very bumpy year. My publisher discontinued my series, which meant I had to pull my free short stories Tales of the River Vine and overhaul my platform. You held me up when I felt like the game was over, and you encouraged me to write on and fight on.
So I did, and got a novella published in the process.
It seems so bloody easy to walk away. To give up the battle because the world says we’re just not good enough. I’ve seen these faces of defeat in many classrooms over the past few months: eight-year-olds who still cannot connect letters to sounds. Twelve-year-olds who’d rather throw books than read them out loud. Eighteen-year-olds who’ve never learned to use an index, let alone critically dissect a few textbook paragraphs. And the teachers? The teachers will move them onward and outward whether the students are ready or not.
We live in illiterate times, my friends. You may know proficiency rates are low where you live, but do you know how low? I learned last week that in the public schools of Wisconsin’s capital, only 36.6% tested proficient in reading.
Think about that for a second.
Only three in ten can read at grade level. And that’s just the basic stuff without all the critical thinking skills to go with it. These kids are graduating high school without the skills to read literature appropriate to any profession, let alone write a resumé. They’re simply dumped into the workforce and expected to survive.
Not for lack of trying, mind. Teachers in Madison, Wisconsin, and anywhere are in a terrible place. When I see what they’re up against, I can’t help but think of World War 1: embedded in trenches dug by faulty philosophy, living with almost no resources, struggling through the barbed wire that is parental criticism with little support from administration, their very livelihood determined by the results of tests created without their input.
This Christmas, let’s tell our kids stories by the light of the Christmas tree. Let’s enchant them, spook them, tickle them. Let’s engage them with characters and places realer than real. Whether it’s a story about Christmas or a story to love all year long, it is time to give the sweet gift of story…with cookies. Never forget the cookies!
From our sniffly house to yours, may you have a most blessed Christmas and an adventurous new year!
~STAY TUNED NEXT WEEK!~
It’s so exciting to see my author interviews fill up for 2020! I can’t wait to share these wonderful writers with you. I also got an early Christmas present of music I MUST share with you next month. First, however, we need to discuss a serious writer’s problem, one which has gotten lots, and lots, and LOTS of press lately.
Oh yes. Next week, we are going to a galaxy far, far away to discuss what went wrong with Disney’s sequel trilogy…and no, I’m not just going to bash Rian Johnson and/or JJ Abrams for a thousand words.
Hullo hullo, everyone! While most of the Midwest is buried beneath vast amounts of the white stuff, southern Wisconsin remains primarily bare. Cold, and bare. Cold, drab, and bare. Cold, drab, starless, and bare.
Whether you love Christmas for Christ or Claus or whatever else, the music of the season always carries an extra touch of magic. This year, I want to take you on a ride with that music, but not through carols or reindeer. This year, let’s take a train.
I first learned of The Polar Express via its Robert Zemeckis film adaptation in 2004. I got kids, and those kid love trains, so borrowing this film from the library was a no-brainer. The film came out during the 3-D craze, so there are several roller-coaster style sequences thrown in for…reasons.
Still, there’s a lot to love here. The original illustrations in the book are simple and elegant, so when the film brings those illustrations to life, the story glows on the screen.
Silvestri utilizes the caroler element of Christmas music to build a majestic sound to compliment the orchestra: like “Carol of the Bells” or “Deck the Halls,” a portion of the choir sings onomatopoeia bell sounds while the others maintain a traditional harmony as they sing “Spirit of the Season.” When you combine the choir with a bit of brass and bells on top of sweeping strings, you have a song of majesty unbounded.
Of all the tracks, however, my favorite comes from near the film’s end. Will Santa Claus appear to these children after their adventures on the Polar Express? Do these kids truly, truly believe in the magic?
Unlike the opening to “Spirit of the Season,” Silvestri starts low, almost ominous. The bells aren’t quite traditional harmony–more like playing in fifths, perhaps, with the same low note playing over, and over, and over, so when the percussion and low brass begin it feels like a train slowly building steam to go. Something is building to happen…it picks up speed…and a melody. And drums.
Oh, those drums at 1:52 are my favorite. Like the pounding of reindeer hooves, the drums signal a change to a smashing of Christmas songs galloping by us, around us, spinning us like tops for Santa’s toy sack. While the choir dances in and out of these songs, the brass are the heroes in this track. Those trumpets nail the intense run from carol to carol with precision so perfect I fear many must have needed ice packs for their mouths after playing. 🙂 But back to the music. After the fantastic gallop of carols we return to the sweeping theme of majesty and flying magic. Santa cracks a whip made of the Northern Lights, and color splashes across the sky as his sleigh snaps out of sight into the night.
As you embark on your own seasonal adventures real or imagined, always keep the right music ready to transport you to the furthest reaches of snowy magic…or to return you to your home’s hearth of warmth and laughter.
~ STAY TUNED NEXT WEEK! ~
Blondie’s excited to share her writing and reading updates with you! I’m also eager to share more music and storytelling joys. Oh, and if you’re interested in one of my 2020 Author Interview slots, let me know!
Lastly, if you haven’t written a review for your favorite writers in a while, please be sure to do so. No gift is as meaningful to any writer, indie or mainstream, like a review from a reader. I‘ve got my two books, sure, but this is a gift that means to world to ALL writers. x
I Lang hae thought, my youthfu' friend, A something to have sent you, Tho' it should serve nae ither end Than just a kind memento: But how the subject-theme may gang, Let time and chance determine; Perhaps it may turn out a sang: Perhaps turn out a sermon. - Robert Burns