» Ask Me Anything!
Anonymous asked: How did you know when you were ready to start querying agents?
The answer to this particular question generally changes depending on who you ask. I'll try to answer it first generally, and then specifically.
I've read a lot (A LOT) of agent blogs and chats and Q+As, and what I consistently see is that one of the major reasons an agent rejects a query is because of weak writing. What this typically means is that the writer queried too soon--not only because their book wasn't ready, but because their WRITING wasn't ready. A writer must not only be an engaging storyteller, but she must be a master of her craft. Writing for publication is a profession, the same as any other. Learn your craft.
Of course, the problem is that most writers are too close to their writing and can't tell where they need to improve. This is why it's so important to get third party opinions. And not just any outside opinion but someone preferably with the credentials to determine your strengths and weaknesses. I'm using 'credentials' loosely here to mean anyone from a professional editor to a fellow writer whose opinion you trust, and who will be HONEST and CONSTRUCTIVE.
Once you know what you need to work on, what's left is to write. Write and write and write. There are no shortcuts to improvement. Practice makes perfect. And then, apply it to your book, and when it's in the best shape you think it can be... query :)
For me, personally--how did I know I was ready to query agents? With my first manuscript, I totally made the mistake of querying too soon. Fortunately, an amazing agent liked it enough to not only finish it, but she gave me a 2-page editorial letter on what she loved and what needed work. I immediately stopped querying that manuscript and set it aside for a rewrite.
With my second manuscript, I was determined not to make the same mistake. I edited it to the point I had no idea what else to do with it. Then, I sent it off to my CPs, whose opinions I trust implicitly. They are seriously awesome. Once they got back to me (and they're so fast!), I incorporated their feedback and acquired a couple beta readers. I also went another round (or two) with the CPs. I incorporated more feedback (keep in mind it was only the feedback I agreed with and felt would improve the book). Finally, I did a line edit and tried to catch any last minute inconsistencies.
By then, I had no idea what else to do with the manuscript. I didn't know 100% if I was ready, but I knew I had done everything I could. The only thing left was to query. So I did :)
For additional resources, Bluestocking has this AMAZING resource roundup that covers everything from determining whether you're ready to query up through the call:
♥ Resource Roundup – Querying Your Masterpiece
ETA: Arwen asked a great question in the comments, which I'll paste here along with my answer. She said:
You addressed this to a degree, but is there a good answer to the flip side of this coin? How do you know when it's time to stop querying a given manuscript because it just isn't going to fly? 10 form rejections? 40? Never, just keep tweaking and trying again?
Great question, Arwen!
I think it depends not on the # of queries you send but on your request rate. I think a decent request rate is about 30%, but that changes depending on who you ask.
If you're seeing a lot of requests that turn into passes, then it's time to reevaluate your story. Maybe go another round with a new beta reader (for fresh eyes) or ask your CP to take another look with an even more critical eye. If you have a really low request rate, then your query isn't working for you, and you should consider reworking your query. If you're lucky enough to get some kind of personalized feedback (and you agree with it), then make those changes as well.
For this reason, I'm generally against sending 'query flurries' until you know whether your query and opening pages are working for you. You only get one chance to make an impression so don't rush it.
More answers next time! :D
Have a great week! ♥
March 12, 2012
February 27, 2012
Character Sheets
I like to keep my character sheets simple and to the point, namely because I won't really absorb a character's personality until I actually write him/her.
My character sheets contain the following information:
• physical statistics
• motivation and plot relevance
• character connections and how they perceive other characters
• history as it relates to the plot and world
• general outlook and personality traits
I don't need to know who their first crush was or what color their underwear is--unless it's relevant. Everything else can be made up along the way so long as it works.
The most important things on that list, imo, are motivation and plot relevance, which usually ties directly into character connections. Take THE HUNGER GAMES, for example.
What was Peeta's motivation? To protect Katniss and ensure her survival. His plot relevance, specifically, was to first garner sympathy from the viewers (star crossed lovers), then to protect Katniss from the Career tributes, and finally to provide something of an emotional arc later on when Katniss risked her life to return to the Cornucopia and retrieve the medicine for him. All these things are results of their character connections--their history together. Peeta is the boy with the bread. He saved Katniss from starving when they were kids, and his admiration for her eventually grew into love. Thus tying back to his motivation--ensuring Katniss survives The Hunger Games.
This information builds the foundation for your character. These impressions are what the reader will carry with them through the book. Things like his favorite color (orange, I think, was Peeta's) are nice details but not necessary at this stage and can always be thought up later on as needed.
But what about voice?
A character's voice usually becomes more clear as I start writing so, for a character sheet, I tend to gloss over those. But if I'm looking for a stronger grip on a character's personality, I'll do a character interview. An interview helps settle voice and pick out some personality quirks. Then, for fun, I'll sometimes do a bust sketch to help me visualize him/her.
Have a great week, all! ♥
My character sheets contain the following information:
• physical statistics
• motivation and plot relevance
• character connections and how they perceive other characters
• history as it relates to the plot and world
• general outlook and personality traits
I don't need to know who their first crush was or what color their underwear is--unless it's relevant. Everything else can be made up along the way so long as it works.
The most important things on that list, imo, are motivation and plot relevance, which usually ties directly into character connections. Take THE HUNGER GAMES, for example.
What was Peeta's motivation? To protect Katniss and ensure her survival. His plot relevance, specifically, was to first garner sympathy from the viewers (star crossed lovers), then to protect Katniss from the Career tributes, and finally to provide something of an emotional arc later on when Katniss risked her life to return to the Cornucopia and retrieve the medicine for him. All these things are results of their character connections--their history together. Peeta is the boy with the bread. He saved Katniss from starving when they were kids, and his admiration for her eventually grew into love. Thus tying back to his motivation--ensuring Katniss survives The Hunger Games.
This information builds the foundation for your character. These impressions are what the reader will carry with them through the book. Things like his favorite color (orange, I think, was Peeta's) are nice details but not necessary at this stage and can always be thought up later on as needed.
But what about voice?
A character's voice usually becomes more clear as I start writing so, for a character sheet, I tend to gloss over those. But if I'm looking for a stronger grip on a character's personality, I'll do a character interview. An interview helps settle voice and pick out some personality quirks. Then, for fun, I'll sometimes do a bust sketch to help me visualize him/her.
Have a great week, all! ♥
February 20, 2012
Outlining: Start Big and Work Down to the Details
This week, I will (hopefully) be working on the outline for my WIP. So how do I start? Well, first, I answer these three questions:
Yep, I like to know how the book will end before I start outlining. Keep in mind, by this point, I'll have already finished world-building and character sheets. I'll also have jotted down a jumbled mess of ideas for scenes, how something might happen or questions for something that needs to happen, snippets of dialogue, character arcs, and what not--all of which are dependent upon knowing what my protag+antag want and where the book needs to go.
So, really, it's more just reorganizing those thoughts into something linear and coherent, because those questions will have already been answered in the plotting and world-building stage.
Some writers, pantsers and plotters alike, prefer to write without knowing how events will play out, instead letting their characters guide them. I'm not one of those =P With my first manuscript, I started writing not knowing how it would end or where it was going, and as noted in a previous post, it took me a year and a half to fix the mess.
It's essential for me to know how the story ends, because I use it to build the rest of the book. Every action and every piece of information must have a purpose—everything must work together to move the characters toward that end so that, when the plot twists happen and the climax settles, the reader will sit back and go 'I didn't see that coming... but I should have!'
However, even though I know how it ends, I don't yet know HOW the characters or the story led to it. Right now, I have a vague image in my head of the ending scene for this WIP, as well as some pieces of dialogue and character motivations, but that's about it. And for now, that's all I need.
So! I start by answering those 3 vital pieces of information. Once that's done, then I determine another piece—the reversal.
Within each scene, within every step forward into the story, there should ideally be some sort of minor reversal—conflict, questions, roadblocks popping up to impede your protag and maintain tension. But the one I'm talking about is the BIG one. It's not the climax, but it's something that completely upsets the hero's world thus far, something that either forces them to change or alters their goal.
To figure out what this should be, I answer these questions:
The reversal is the point in the story when the protag believes s/he's almost achieved his/her goal, only to come up against a brick wall and must now back up and regroup.
Example: when Frodo completes his task to deliver the ring to Rivendell and finds himself with an even greater and more treacherous journey to undertake. Or when Will Grayson (lowercase will) goes to [SPOILER!SPOILER!] meet his online boyfriend in person and is devastated to learn he was never real, resulting in crossing paths with the other Will and the life altering entity that is Tiny Cooper.
As I said in a previous post, an outline is a map. Having answered all the questions above, I now know where my final destination is and what stops I need to make along the way. All that's left is to plot my route, to figure out how to get from point A to point B to point C. This is where I start filling in details and fleshing out the world, when I REALLY get to play with the ideas I first jotted down while world building.
And this is also where I totally confuse you guys—the details can and will change your ending and/or reversal. And that's okay! The point is that you started with a plan. How things happen, why they happen, and character arcs along the way—these things SHOULD affect the overall story and major plot points.
But to find those details and really make them work for the story, I first have to start with the bigger picture.
So there you have it. That's how I outline and, hopefully, that's what I will be doing this week.
If you catch me on tumblr, please yell at me!
Have a great week! ♥
1. What does the protagonist want?
2. What does the antagonist want?
The answers to these should naturally be at odds with each other. Each of their goals, independent of each other, can be as innocuous or grand as you want so long as they conflict.
3. How does the book end? (the climax)
Yep, I like to know how the book will end before I start outlining. Keep in mind, by this point, I'll have already finished world-building and character sheets. I'll also have jotted down a jumbled mess of ideas for scenes, how something might happen or questions for something that needs to happen, snippets of dialogue, character arcs, and what not--all of which are dependent upon knowing what my protag+antag want and where the book needs to go.
So, really, it's more just reorganizing those thoughts into something linear and coherent, because those questions will have already been answered in the plotting and world-building stage.
Some writers, pantsers and plotters alike, prefer to write without knowing how events will play out, instead letting their characters guide them. I'm not one of those =P With my first manuscript, I started writing not knowing how it would end or where it was going, and as noted in a previous post, it took me a year and a half to fix the mess.
It's essential for me to know how the story ends, because I use it to build the rest of the book. Every action and every piece of information must have a purpose—everything must work together to move the characters toward that end so that, when the plot twists happen and the climax settles, the reader will sit back and go 'I didn't see that coming... but I should have!'
However, even though I know how it ends, I don't yet know HOW the characters or the story led to it. Right now, I have a vague image in my head of the ending scene for this WIP, as well as some pieces of dialogue and character motivations, but that's about it. And for now, that's all I need.
So! I start by answering those 3 vital pieces of information. Once that's done, then I determine another piece—the reversal.
Within each scene, within every step forward into the story, there should ideally be some sort of minor reversal—conflict, questions, roadblocks popping up to impede your protag and maintain tension. But the one I'm talking about is the BIG one. It's not the climax, but it's something that completely upsets the hero's world thus far, something that either forces them to change or alters their goal.
To figure out what this should be, I answer these questions:
1. What does the protag believe s/he has to do in order to achieve her goal?
2. What does the antag do to completely ruin it? (in most instances, this would coincide with the antag's goal as well)
The reversal is the point in the story when the protag believes s/he's almost achieved his/her goal, only to come up against a brick wall and must now back up and regroup.
Example: when Frodo completes his task to deliver the ring to Rivendell and finds himself with an even greater and more treacherous journey to undertake. Or when Will Grayson (lowercase will) goes to [SPOILER!SPOILER!] meet his online boyfriend in person and is devastated to learn he was never real, resulting in crossing paths with the other Will and the life altering entity that is Tiny Cooper.
As I said in a previous post, an outline is a map. Having answered all the questions above, I now know where my final destination is and what stops I need to make along the way. All that's left is to plot my route, to figure out how to get from point A to point B to point C. This is where I start filling in details and fleshing out the world, when I REALLY get to play with the ideas I first jotted down while world building.
And this is also where I totally confuse you guys—the details can and will change your ending and/or reversal. And that's okay! The point is that you started with a plan. How things happen, why they happen, and character arcs along the way—these things SHOULD affect the overall story and major plot points.
But to find those details and really make them work for the story, I first have to start with the bigger picture.
So there you have it. That's how I outline and, hopefully, that's what I will be doing this week.
If you catch me on tumblr, please yell at me!
Have a great week! ♥
January 30, 2012
Why I'm a Plotter
Writing confession: I used to be a pantser.
This worked fine for short stories and drabbles. But for longer, chaptered stories, this resulted in meandering scenes, vague plots, and then surprise twists that weren't properly foreshadowed at the end. Pantsing works for a lot of writers, but it clearly wasn't working for me. I turned to outlining.
My first original manuscript (I wrote a couple novel-length fanfics) was a partial pants job because I wrote it for NaNoWriMo and my outlines had yet to reach any sort of coherent structure. I had only outlined part of the book, and I didn't actually know how it would end. To make my daily word count, I wrote down whatever struck me, and once I passed the 50k mark, I was so burned out that I just stopped even though the book was far from finished and I still had a week left in November.
It took me months to continue writing it (thanks to Tithe), and over a year to fix the mess I'd made. I had even skipped an entire plot point that I hadn't known how to resolve and left a note reminding me to come back and fill it in. *facepalm*
Learning to outline.
My second manuscript, in comparison, was meticulously outlined. I prepared by thoroughly world-building, completing simple character sheets (I'll cover character sheets in a future post), and writing a structured outline broken down into acts and scenes. As a result, I completed my first draft in four weeks.
Why outline?
• There's less chance of running into a plot hole b/c you'll hopefully have sorted those out BEFORE starting to write. Being able to look at the plot and story events as a whole works wonders for spotting inconsistencies and plot holes.
• There's also less chance of hitting writer's block. Having an outline means you know exactly what needs to happen and how to get there, so you can power on.
• Being able to look at the story as a whole can also help you spot issues with pacing. You can easily see the scenes that might sag and quickly make changes in order to avoid massive rewrites later on.
Stay flexible!
Being a plotter doesn't mean I stick rigidly to my outline. There can and WILL be surprises along the way. There were moments while writing my second manuscript when a new scene naturally developed that hadn't been in my outline, and I went with it. There were also moments when a plot idea struck me, and I made adjustments accordingly.
The purpose of an outline is to be your map. Some writers like to set out into the writing wild and find their way as they go. Some work well with only a compass to point them in the right direction. I like to have a clearly plotted route, with each stop marked along the way.
But that doesn't mean I can't take detours or change my final destination :)
Today's art: Rokudo Mukuro (I've been feeling nostalgic)
Have a great week! ♥
This worked fine for short stories and drabbles. But for longer, chaptered stories, this resulted in meandering scenes, vague plots, and then surprise twists that weren't properly foreshadowed at the end. Pantsing works for a lot of writers, but it clearly wasn't working for me. I turned to outlining.
My first original manuscript (I wrote a couple novel-length fanfics) was a partial pants job because I wrote it for NaNoWriMo and my outlines had yet to reach any sort of coherent structure. I had only outlined part of the book, and I didn't actually know how it would end. To make my daily word count, I wrote down whatever struck me, and once I passed the 50k mark, I was so burned out that I just stopped even though the book was far from finished and I still had a week left in November.
It took me months to continue writing it (thanks to Tithe), and over a year to fix the mess I'd made. I had even skipped an entire plot point that I hadn't known how to resolve and left a note reminding me to come back and fill it in. *facepalm*
Learning to outline.
My second manuscript, in comparison, was meticulously outlined. I prepared by thoroughly world-building, completing simple character sheets (I'll cover character sheets in a future post), and writing a structured outline broken down into acts and scenes. As a result, I completed my first draft in four weeks.
Why outline?
• There's less chance of running into a plot hole b/c you'll hopefully have sorted those out BEFORE starting to write. Being able to look at the plot and story events as a whole works wonders for spotting inconsistencies and plot holes.
• There's also less chance of hitting writer's block. Having an outline means you know exactly what needs to happen and how to get there, so you can power on.
• Being able to look at the story as a whole can also help you spot issues with pacing. You can easily see the scenes that might sag and quickly make changes in order to avoid massive rewrites later on.
Stay flexible!
Being a plotter doesn't mean I stick rigidly to my outline. There can and WILL be surprises along the way. There were moments while writing my second manuscript when a new scene naturally developed that hadn't been in my outline, and I went with it. There were also moments when a plot idea struck me, and I made adjustments accordingly.
The purpose of an outline is to be your map. Some writers like to set out into the writing wild and find their way as they go. Some work well with only a compass to point them in the right direction. I like to have a clearly plotted route, with each stop marked along the way.
But that doesn't mean I can't take detours or change my final destination :)
Have a great week! ♥
January 11, 2012
2011 Numbers
2011 Numbers
I read 36 books in 2011, excluding about a dozen manuscripts from CPs and beta exchanges. Not a bad number, but not that great either. It's about one book every 1.5 weeks. I'd like to do better in 2012.
In 2011, I also wrote about 110,000 words. A good number, but nowhere near what other writers would be able to boast =P Since I want to write two novels this year, I'm hoping to beat this number!
Have a great rest of the week! ♥
I read 36 books in 2011, excluding about a dozen manuscripts from CPs and beta exchanges. Not a bad number, but not that great either. It's about one book every 1.5 weeks. I'd like to do better in 2012.
In 2011, I also wrote about 110,000 words. A good number, but nowhere near what other writers would be able to boast =P Since I want to write two novels this year, I'm hoping to beat this number!
Have a great rest of the week! ♥
January 2, 2012
2012 Goals and a Brief 2011 Review
I'm terrible at keeping resolutions so I generally give myself one goal to strive for. In 2011, it was to get an agent.
This year, I'm keeping it simple. My goal is to write two novels. I'm already world building the first. Whether or not I write the second book will depend on a number of things. But if not that one, then I'm sure I'll be able to find something else.
The things in 2011 that I'm MOST proud of:
♥ Starting a new blog. I already had a blog over on LJ, but I wanted one a) clearly separate from fandom and b) on blogger where the majority of the aspiring writers community seemed to be. It was scary and I had no idea what to blog about, but I don't regret it at all.
♥ Trial and error with a couple critique partners until I found Bluestocking, Mindee found me, and Anna and I sort of found each other :) I am so, SO lucky to have these ladies on my side.
♥ Sold a short story and a novella to two epublishers (under a pen name).
♥ Signed with an agent o_o Same agent as my CP Mindee. We think it must be fate :)
♥ I never gave up. Despite the oftentimes crushing disappointment and the perpetual self-doubt, I knew that the most important thing was to not give up. Pick yourself up and push on, push on, push on.
Here's to 2012 ♥
This year, I'm keeping it simple. My goal is to write two novels. I'm already world building the first. Whether or not I write the second book will depend on a number of things. But if not that one, then I'm sure I'll be able to find something else.
The things in 2011 that I'm MOST proud of:
♥ Starting a new blog. I already had a blog over on LJ, but I wanted one a) clearly separate from fandom and b) on blogger where the majority of the aspiring writers community seemed to be. It was scary and I had no idea what to blog about, but I don't regret it at all.
♥ Trial and error with a couple critique partners until I found Bluestocking, Mindee found me, and Anna and I sort of found each other :) I am so, SO lucky to have these ladies on my side.
♥ Sold a short story and a novella to two epublishers (under a pen name).
♥ Signed with an agent o_o Same agent as my CP Mindee. We think it must be fate :)
♥ I never gave up. Despite the oftentimes crushing disappointment and the perpetual self-doubt, I knew that the most important thing was to not give up. Pick yourself up and push on, push on, push on.
Here's to 2012 ♥
December 11, 2011
Special Announcement: I Have an Agent!
I am now represented by Suzie Townsend of Nancy Coffey Literary & Media Representation.
Yes, I know. SUZIE TOWNSEND. *mental freak out*
This is my agent :D :D :D MY AGENT. I'm never going to get tired of saying that.
I still can't quite believe this is happening, despite that I've had a week for it to sink in. Suzie is nothing short of my dream agent, and I'm fully aware of how fortunate I am to have her. *still freaking out*
I began querying this project in early November, and Suzie was pretty much the first agent I contacted (she was expecting my submission--I won a crit from one of her authors a couple months prior, which turned into a referral to Suzie). She finished my manuscript quickly, but due to an email malfunction, I didn't get her email asking to talk until almost a month later! But it all worked out :D
This past week has been insane--full of uncertainty and excitement and really tough choices. I found myself in the unbelievable position of having multiple offers, which was a dream I never quite dared to have. In the end though, my heart was set on Suzie.
If you have any questions, I'd be happy to answer them as best I can, but otherwise... *eee* I have an agent!!!
♥
Yes, I know. SUZIE TOWNSEND. *mental freak out*
This is my agent :D :D :D MY AGENT. I'm never going to get tired of saying that.
I still can't quite believe this is happening, despite that I've had a week for it to sink in. Suzie is nothing short of my dream agent, and I'm fully aware of how fortunate I am to have her. *still freaking out*
I began querying this project in early November, and Suzie was pretty much the first agent I contacted (she was expecting my submission--I won a crit from one of her authors a couple months prior, which turned into a referral to Suzie). She finished my manuscript quickly, but due to an email malfunction, I didn't get her email asking to talk until almost a month later! But it all worked out :D
This past week has been insane--full of uncertainty and excitement and really tough choices. I found myself in the unbelievable position of having multiple offers, which was a dream I never quite dared to have. In the end though, my heart was set on Suzie.
If you have any questions, I'd be happy to answer them as best I can, but otherwise... *eee* I have an agent!!!
♥
December 5, 2011
The Mighty Archetype: Good Guys Gone Bad
Good Guys Gone Bad - These are the ones who break your heart.
Exhibit A: Phoenix from the Marvel Universe
*Official art* When Jean Grey apparently died saving the rest of her team from a shuttle crash, she emerged from the depths of the ocean in X-Men #101 as The Phoenix, an incredibly powerful being.
She maintains her new power level as a hero for about two years, before the Hellfire Club starts messing with her mind, guiding her toward, for lack of a better term, the dark side. (Source.)
Exhibit B: Chun-Woo Han from The Breaker
*Official art by illustrator Jin-Hwan Park* Also known as Goomoonryong, or "Nine Arts Dragon," he had some ambiguous morals, but he always pulled through in the end, including nearly getting himself killed a couple times to protect his pupil. But when the girl he's been pretending not to be in love sacrifices herself for him (and he fails to save her), it pushes him over the edge. He abandons his pupil and sets out for revenge.
So, as you can see, the transformation from good to evil can be a result of both external and internal causes. Maybe the character gets captured and fitted with a device like Sam's watch in Transformers: Dark of the Moon, which forces him to betray his friends and comrades. Or maybe making the "wrong" decision becomes the right one in order to save someone important. Or, like Chun-Woo (and Riku from Kingdom Hearts or Sasuke from Naruto), maybe he's always had a little bit of darkness inside him, and all it took was a compelling push to cross the line.
It hurts most when, like Chun-Woo, the character starts out perfectly likable. He's flawed and kind of shallow, but he's a good person. Readers grow to love him, to see him as their security blanket for how insanely kickass he is and how he always pulls through. So when something happens and the light switches, it's devastating. If you can do that to your readers, you're doing something right :) (and they might hate you for it, but that might be okay too lol)
So what do you guys think? Harvey Dent from The Dark Knight would also be a great example of this archetype! Who else fits?
♥
Previous posts in the archetype series:
• 1: Broody Jerks with Hearts of Gold
• 2: The Hero Who Hides Behind a Smile
• 3: The Goofy Guy Who Secretly Kicks Ass
• 4: The Designated Psychopath
• 5: The Mad Scientist
• 6: The Child Prodigy
Have a great week!
*Official art*
She maintains her new power level as a hero for about two years, before the Hellfire Club starts messing with her mind, guiding her toward, for lack of a better term, the dark side. (Source.)
*Official art by illustrator Jin-Hwan Park*
So, as you can see, the transformation from good to evil can be a result of both external and internal causes. Maybe the character gets captured and fitted with a device like Sam's watch in Transformers: Dark of the Moon, which forces him to betray his friends and comrades. Or maybe making the "wrong" decision becomes the right one in order to save someone important. Or, like Chun-Woo (and Riku from Kingdom Hearts or Sasuke from Naruto), maybe he's always had a little bit of darkness inside him, and all it took was a compelling push to cross the line.
It hurts most when, like Chun-Woo, the character starts out perfectly likable. He's flawed and kind of shallow, but he's a good person. Readers grow to love him, to see him as their security blanket for how insanely kickass he is and how he always pulls through. So when something happens and the light switches, it's devastating. If you can do that to your readers, you're doing something right :) (and they might hate you for it, but that might be okay too lol)
So what do you guys think? Harvey Dent from The Dark Knight would also be a great example of this archetype! Who else fits?
♥
Previous posts in the archetype series:
• 1: Broody Jerks with Hearts of Gold
• 2: The Hero Who Hides Behind a Smile
• 3: The Goofy Guy Who Secretly Kicks Ass
• 4: The Designated Psychopath
• 5: The Mad Scientist
• 6: The Child Prodigy
Have a great week!
November 21, 2011
The Mighty Archetype: The Child Prodigy
The Child Prodigy - This is the kid too young to drive or even sit in the front passenger side seat, and yet makes the adults feel inadequate. What others would normally struggle with comes naturally to them. But with great power comes great--er. I mean. Sometimes being a prodigy is awesome. Sometimes, it sucks.
Exhibit A: Toushiro Hitsugaya from Bleach
*Official art by creator Kubo Tite* Hitsugaya's actual age is unknown, but he is the youngest of the thirteen captains of Soul Society. Despite entering the Academy far behind a couple of his older friends, as a prodigy, he quickly rose through the ranks and is now their superior. (I adore his serious little face lol)
Exhibit B: Hatake Kakashi from Naruto
*Official art by creator Masashi Kishimoto* Kakashi graduated from the Ninja Academy at the age of five (yes, FIVE). He became a jounin (top ranked ninja) at thirteen, and joined ANBU (Special Assassination and Tactical Squad) shortly after.
Yes, Doogie Howser was a child prodigy =P
The most interesting part of creating a child prodigy, imo, is throwing these kids into positions adults have spent years vying for and watching the resulting human interaction. Do the adults around them respect them? Resent them? Sabotage them? Either way, conflict is inevitable.
Did the kid take on the adult role willingly? And as a child, regardless of intellect and skill, are they capable of understanding an adult's world? In Naruto, the third ninja world war was happening when Kakashi was promoted to jounin, and he lost one of his teammates (and his eye) in a battle. Things like this, in addition to all the responsibilities typically given to adults, force the child to grow up far more quickly than other "normal" kids.
I've found that a lot of these child prodigies are rather angsty kids. But I like my literary angst :D While there's always that good old 'just want to be a normal kid' trope, I'm more a fan of the 'yeah, I'm younger and smarter/stronger than you--deal with it' mind camp :D Which one are you?
Old artwork of Edward Elric from Full Metal Alchemist, another child prodigy who could understand complex alchemy texts before his age hit double digits. And then he tried to unsuccessfully resurrect his dead mother. Sorry, kiddo.
Previous posts in the archetype series:
• 1: Broody Jerks with Hearts of Gold
• 2: The Hero Who Hides Behind a Smile
• 3: The Goofy Guy Who Secretly Kicks Ass
• 4: The Designated Psychopath
• 5: The Mad Scientist
♥
*Official art by creator Kubo Tite*
*Official art by creator Masashi Kishimoto*
Yes, Doogie Howser was a child prodigy =P
The most interesting part of creating a child prodigy, imo, is throwing these kids into positions adults have spent years vying for and watching the resulting human interaction. Do the adults around them respect them? Resent them? Sabotage them? Either way, conflict is inevitable.
Did the kid take on the adult role willingly? And as a child, regardless of intellect and skill, are they capable of understanding an adult's world? In Naruto, the third ninja world war was happening when Kakashi was promoted to jounin, and he lost one of his teammates (and his eye) in a battle. Things like this, in addition to all the responsibilities typically given to adults, force the child to grow up far more quickly than other "normal" kids.
I've found that a lot of these child prodigies are rather angsty kids. But I like my literary angst :D While there's always that good old 'just want to be a normal kid' trope, I'm more a fan of the 'yeah, I'm younger and smarter/stronger than you--deal with it' mind camp :D Which one are you?
Previous posts in the archetype series:
• 1: Broody Jerks with Hearts of Gold
• 2: The Hero Who Hides Behind a Smile
• 3: The Goofy Guy Who Secretly Kicks Ass
• 4: The Designated Psychopath
• 5: The Mad Scientist
♥
November 7, 2011
The Mighty Archetype: The Mad Scientist
• The Mighty Archetype 1: Broody Jerks with Hearts of Gold
• The Mighty Archetype 2: The Hero Who Hides Behind a Smile
• The Mighty Archetype 3: The Goofy Guy Who Secretly Kicks Ass
• The Mighty Archetype 4: The Designated Psychopath
The Mad Scientist - You guys know the one. He's typically a supporting character (although not always), the scientific and/or medical genius the main antagonist goes to to do his dirty work, whether that's to brew up biological weapons, design highly advanced laser weaponry, or perform a good old-fashioned torture and dissection of helpless paranormal beings. If he's a protagonist, then... well, nothing changes except the people he's working for lol.
Exhibit A: Dr. Franken Stein from Soul Eater
*Official art by creator Atsushi Okubo*
Dr. Stein works as a teacher at DWMA (Death Weapon Meister Academy), and he views everything in the world as a specimen to be experimented on, including himself, leading him to drive a large screw through the side of his head and interweave his own skin, clothes, and even his laboratory with stitches. Other than being a scientist, Stein is considered to be the most powerful meister to ever graduate from DWMA and is a master martial artist, making him a deadly opponent in any situation. (Source: wiki)
Exhibit B: Mayuri Kurotsuchi from Bleach
*Official art by creator Kubo Tite*
Mayuri is the current Captain of the 12th Division in Soul Society. He views everyone as objects to be dissected in the lab. He has even made extensive modifications to his own body. Mayuri has little regard for life or allegiances, even going as far as turning his own subordinates into human bombs on one occasion. In the past, the potential danger he posed to the Soul Society led to his imprisonment when he joined the Soul Reapers. Kisuke Urahara (see: Goofy Guys who Kick Ass) recognized his potential as a scientist and released Mayuri to help him with his research. (Source: wiki)
The interesting thing is that both these characters are supposed to be protagonists. Mayuri, I would argue, is neither--he serves himself and his pursuit of knowledge only. He just happens to be on the side of the protag. Stein, on the other hand, might have a number of questionable morals (and an underlying "madness" that he oftentimes fails to suppress), but he is very clearly a "good" guy who protects his students.
Good or bad, these characters aren't necessarily motivated by ideas like "right" or "wrong," which is why they can be either. Their motivations stem from the desire to learn, to dissect a problem (both literally and figuratively), to uncover and extend their abilities for the sake of science and knowledge. And, oftentimes, out of hubris. High intelligence often breeds big egos lol.
*Official art
What do you guys think of this archetype? Who else fits?
Have a great week! ♥
• The Mighty Archetype 2: The Hero Who Hides Behind a Smile
• The Mighty Archetype 3: The Goofy Guy Who Secretly Kicks Ass
• The Mighty Archetype 4: The Designated Psychopath
The Mad Scientist - You guys know the one. He's typically a supporting character (although not always), the scientific and/or medical genius the main antagonist goes to to do his dirty work, whether that's to brew up biological weapons, design highly advanced laser weaponry, or perform a good old-fashioned torture and dissection of helpless paranormal beings. If he's a protagonist, then... well, nothing changes except the people he's working for lol.
*Official art by creator Atsushi Okubo*
Dr. Stein works as a teacher at DWMA (Death Weapon Meister Academy), and he views everything in the world as a specimen to be experimented on, including himself, leading him to drive a large screw through the side of his head and interweave his own skin, clothes, and even his laboratory with stitches. Other than being a scientist, Stein is considered to be the most powerful meister to ever graduate from DWMA and is a master martial artist, making him a deadly opponent in any situation. (Source: wiki)
*Official art by creator Kubo Tite*
Mayuri is the current Captain of the 12th Division in Soul Society. He views everyone as objects to be dissected in the lab. He has even made extensive modifications to his own body. Mayuri has little regard for life or allegiances, even going as far as turning his own subordinates into human bombs on one occasion. In the past, the potential danger he posed to the Soul Society led to his imprisonment when he joined the Soul Reapers. Kisuke Urahara (see: Goofy Guys who Kick Ass) recognized his potential as a scientist and released Mayuri to help him with his research. (Source: wiki)
The interesting thing is that both these characters are supposed to be protagonists. Mayuri, I would argue, is neither--he serves himself and his pursuit of knowledge only. He just happens to be on the side of the protag. Stein, on the other hand, might have a number of questionable morals (and an underlying "madness" that he oftentimes fails to suppress), but he is very clearly a "good" guy who protects his students.
Good or bad, these characters aren't necessarily motivated by ideas like "right" or "wrong," which is why they can be either. Their motivations stem from the desire to learn, to dissect a problem (both literally and figuratively), to uncover and extend their abilities for the sake of science and knowledge. And, oftentimes, out of hubris. High intelligence often breeds big egos lol.
*Official art
What do you guys think of this archetype? Who else fits?
Have a great week! ♥
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