LJ Idol Topic #2: Deconstruction
This was the beginning of her story. She had a small conflict, one that immediately invited audiences to become engaged with her tale, and to sympathize with her as a character. Mind, she didn't come across as very multifaceted yet, but we would learn a few basic facts about her personality, and perhaps see a few flaws that lead to an early failure.
This also might be the part where we are introduced to a character who might be her love interest. If the story is well-written, we can’t be entirely sure that this other character is her love interest, but we are rooting for him or her to be, because the chemistry between the two characters is just so entertaining to read. This character might help our heroine during this early conflict, or might even be the cause of it, if it is a coming-of-age romance.
Of course, that early conflict was merely a hook to bring us more deeply into her story. It's shortly after we've been drawn in that the real plot of the story is revealed, and of course, the conflict that faces our heroine now seems insurmountable, to say the least! The biggest problem is that those character flaws that were introduced early really seem to make this conflict especially difficult for her to overcome. She will really have to grow and change as a person, or else we really can't see how she will get past this trial.
One thing she might have to work on is her form poetry. Unlike nearly every protagonist who fancies herself a writer, this one is actually rather poor at it, and try as she might, she is incapable at winning us over with her words.
Poetic Interlude I. How Not To Write a Villanelle
Before my grasp on form gets any worse,
I'd better try just one more metered rhyme
Repeat this line in every other verse.
I've rung the death-knell; now I'll drive the hearse
To bury metaphor in clay and lime.
Before my grasp on form gets any worse.
My simile is like a velvet purse,
And more ridiculous in the sublime
Repeat this line in every other verse.
Interpretation taught me how to curse
Analysis that verges on a crime,
Before my grasp on form gets any worse.
What's worse? A terminal rhyme that sounds forced,
Or pointless references? Optimus Prime!
Repeat this line in every other verse.
I'll wave my hands and watch you all disperse:
I've wasted my share of your precious time.
Before my grasp on form gets any worse,
Repeat this line in every other verse.
However, this is a minor problem compared to the growing conflict, which towers before her, and it’s always possible to skim the poetry, since the rest of the story is so riveting. She summons up her courage and tries to fix the problem, of course, in her usual way, but since she hasn't learned the crucial lesson, which will teach her to grow past her flaws, this early attempt to solve the conflict only results in exacerbating it! There also might be some phallic symbolism.
The worst part of her downfall at this stage in the plot is that now, in addition to the major conflict, she has created a more deeply personal crisis: perhaps a crisis of faith, perhaps one that causes her to doubt her ability in the realm of form poetry composition:
Poetic Interlude II. How Not To Write a Sonnet
This sonnet is a big pain in the ass,
With rhymes that alternate on sixteen lines.
After a few couplets, they all turn crass
And overwrought, like storebought Valentines.
They send your head to counting, A,B,A
And B again! Your mind turned metronome!
You notice that you start to talk that way:
In business meetings, on the bus ride home.
Your friends begin to whisper, "Is she well?"
"You think it might be catching?" "I don't know."
"It's like she's under some bad rhyming spell;
It's not long till she starts sestinas." "Whoa."
So heed my words: when writing sonnets, mind--
To make sure they're not the Shakespearean kind.
But in the end, this personal crisis leads the heroine to understand herself more deeply, and when she is able to battle her way past her inner demons, she has achieved the abilities needed to solve the larger conflict, which has made up the meat of the story. There is still the slightest bit of doubt as to whether she is truly capable of accomplishing it, for the sake of suspense, because a story without suspense is like a potato without butter (bland and soft in the middle, and the rest is dry, tough, and not even worth the effort). But of course, in the end, our heroine triumphs, and gets to kiss and/or have sex with her love interest, depending on the age of the story’s intended audience.
There is some denouement, where we are made to feel satisfied, and further proof that the heroine has grown and changed might show up at this point, so we know that she is going to be a better person, and also has switched to Petrarchan sonnets, which are much better. What a relief! Then again, there might be a sequel, so we had better be left with a few burning questions, or niggling doubts about this resolution…is it really, really resolved?
This also might be the part where we are introduced to a character who might be her love interest. If the story is well-written, we can’t be entirely sure that this other character is her love interest, but we are rooting for him or her to be, because the chemistry between the two characters is just so entertaining to read. This character might help our heroine during this early conflict, or might even be the cause of it, if it is a coming-of-age romance.
Of course, that early conflict was merely a hook to bring us more deeply into her story. It's shortly after we've been drawn in that the real plot of the story is revealed, and of course, the conflict that faces our heroine now seems insurmountable, to say the least! The biggest problem is that those character flaws that were introduced early really seem to make this conflict especially difficult for her to overcome. She will really have to grow and change as a person, or else we really can't see how she will get past this trial.
One thing she might have to work on is her form poetry. Unlike nearly every protagonist who fancies herself a writer, this one is actually rather poor at it, and try as she might, she is incapable at winning us over with her words.
Poetic Interlude I. How Not To Write a Villanelle
Before my grasp on form gets any worse,
I'd better try just one more metered rhyme
Repeat this line in every other verse.
I've rung the death-knell; now I'll drive the hearse
To bury metaphor in clay and lime.
Before my grasp on form gets any worse.
My simile is like a velvet purse,
And more ridiculous in the sublime
Repeat this line in every other verse.
Interpretation taught me how to curse
Analysis that verges on a crime,
Before my grasp on form gets any worse.
What's worse? A terminal rhyme that sounds forced,
Or pointless references? Optimus Prime!
Repeat this line in every other verse.
I'll wave my hands and watch you all disperse:
I've wasted my share of your precious time.
Before my grasp on form gets any worse,
Repeat this line in every other verse.
However, this is a minor problem compared to the growing conflict, which towers before her, and it’s always possible to skim the poetry, since the rest of the story is so riveting. She summons up her courage and tries to fix the problem, of course, in her usual way, but since she hasn't learned the crucial lesson, which will teach her to grow past her flaws, this early attempt to solve the conflict only results in exacerbating it! There also might be some phallic symbolism.
The worst part of her downfall at this stage in the plot is that now, in addition to the major conflict, she has created a more deeply personal crisis: perhaps a crisis of faith, perhaps one that causes her to doubt her ability in the realm of form poetry composition:
Poetic Interlude II. How Not To Write a Sonnet
This sonnet is a big pain in the ass,
With rhymes that alternate on sixteen lines.
After a few couplets, they all turn crass
And overwrought, like storebought Valentines.
They send your head to counting, A,B,A
And B again! Your mind turned metronome!
You notice that you start to talk that way:
In business meetings, on the bus ride home.
Your friends begin to whisper, "Is she well?"
"You think it might be catching?" "I don't know."
"It's like she's under some bad rhyming spell;
It's not long till she starts sestinas." "Whoa."
So heed my words: when writing sonnets, mind--
To make sure they're not the Shakespearean kind.
But in the end, this personal crisis leads the heroine to understand herself more deeply, and when she is able to battle her way past her inner demons, she has achieved the abilities needed to solve the larger conflict, which has made up the meat of the story. There is still the slightest bit of doubt as to whether she is truly capable of accomplishing it, for the sake of suspense, because a story without suspense is like a potato without butter (bland and soft in the middle, and the rest is dry, tough, and not even worth the effort). But of course, in the end, our heroine triumphs, and gets to kiss and/or have sex with her love interest, depending on the age of the story’s intended audience.
There is some denouement, where we are made to feel satisfied, and further proof that the heroine has grown and changed might show up at this point, so we know that she is going to be a better person, and also has switched to Petrarchan sonnets, which are much better. What a relief! Then again, there might be a sequel, so we had better be left with a few burning questions, or niggling doubts about this resolution…is it really, really resolved?