I spent yesterday’s session working on the end of SPREY. The climax is pretty solidified at this point, so I was looking at what happens afterwards. The end determines what else the build up up to it might need. I wrote some villain biographies, motives and relationships down, so that I have a clearer picture who will do what in the final fight. I was focussing on the Executioner until now, because he is…well…easy to look through. He is named after activities he likes to do. The Speaker on the other hand has a telling name as well, but his words have more intention than just making noise. Ryu got some new attention as well, although I’m doubtful he survives until the last duel. And then there’s the old king of the slashers who loomed ominous over the early drafts. I cut him out of the story entirely for a while, but now that I’m reworking SPREY and dealing with a core of civilizations theme, he seems to fit in pretty well again. Let’s not start with Motofiend whom you don’t know yet.
Also a huge shoutout to my friend Vergil who patiently listened to several drafts of my final fight scene and gave me a new perspective on the slasher genre and the deeper seated symbolism. The killer doesn’t come from nothing. He has been either wronged personally in the past or is more, is a manifestation of a whole group of victims now turned into a raging beast past any eye for an eye retribution as they received no justice, turning against the innocent and blindly creating more injustice now. The virgin breaks the cycle of violence. Some cultures sacrifice her, let her symbolically innocent blood be the last spilled, maybe even hinting at political marriages. And some cultures apparently let her defeat the monster instead, laying it at rest again. SPREY does beautifully fit and not fit in this at the same time. My virgin ends the violence by becoming the slasher king and ordering the tribe to dissolve (probably). One small parasitic civilization collapses while also uncovering the rottenness, yet the strengths of the host it tries to nest itself inside. A lot of people fall over their own ego. But my slashers do try to sacrifice one of their worst enemies to avenge their dead and improve their morale again.
Another bit of confusion waned when I found an old fragment I had written. SPREY contains excessive flashbacks. While I love all that is happening I was doubtful whether I shouldn’t just trim that out and be more action oriented in the present. Then I read this little loving conversation between Rich and Willard and was like, no, moments like these probably give my comic soul. I will not spoil it for now, but imagine something like a couple of words lovers whispering into each other’s ears gives me confidence for the whole project…then there must be something to it. I’ll work on making this comic happen, like every day!
See you next blogpost!
Exciting news, I finished reading Brian McDonald’s “Invisible Ink” and started reading the next book already. I will put “Invisible Ink” away for a couple of weeks and then read it again, just to make sure I haven’t missed the point. Then, I was very lucky as my kindle recommended K.M. Weiland’s “Writing your story’s theme” to me. Perfect, I told myself, reading another voice dealing with exactly what plagues me at the moment could be the best call now. And I found a treasure indeed.
First of all, according to Weiland what I have gone through and discovered througout my own past blog entries and writing sessions is true. Theme is indeed ethereal and you can actually craft a story without ever consciously dealing with any of it. You then just aren’t guaranteed a coherent theme will manifest through your instincts alone.
Weiland offers a more open view on theme than McDonald declaring theme a personal practise of each writer. She does for example not exclude single word themes or a preaching approach where you offer an answer to humanity’s biggest problems yourself from being acceptable themes. What I learn from this is that I can treat it like the discussion which art style is the best…none of them. I just have to find out where I fall on the spectrum of approaches and make the best of it. This of course in turn changes my search for SPREY’s theme. I don’t have to find that one statement that clutches the story climax and in turn is reflected through everything else in the story, although it would be good for structure’s sake.
Yesterday I figured out that current SPREY is a wild mix of themes. Weiland says if you can’t figure your theme out and are worried about the consistency of your story, you can always fall back on genre. At least that’s what I understood. It is probably not the most elegant way to do things, but if you at least do your genre right, you aren’t lost completely. After all, it wouldn’t be a genre if it’s archetypes and must have scenes weren’t tested. I took that to heart and put in an extra reading session yesterday, diving into the romance genre and slasher movies. I was surprised by what even a superficial look at both unveiled.
Genres are powerful tools indeed. A romance can be more than primarily dealing with a love relationship in your story. Actually, a classical romance can even work without a love interest. If you are interested in that genre and it’s history at all, look it up, you will not be disappointed. Looking into slashers was also pretty revealing. I have truly seen my share of them and never actually thought about the ritualistic nature and symbols in most of them. A virgin woman is protecting herself from a sometimes supernatural danger that has been killing her whole peer group. That’s like tossing an ancient Greek princess into a labyrinth to please that minotaur monster inside. Truly, some things never change. This time around the princess, rarely a prince, saves herself though. Here I’m baffled how I ever assumed SPREY had anything to do with the essence of slashers. I guess I just copied some of the aesthetics. On the other hand, they’re putting Rich on an altar to cut his heart out in the end. But he never was in a peer group that was killed off and left him alone to be tested. Also if anyone is a typical final girl it’s Willard, because he’s the only virgin I know of in the story. But Willard is also the one who returns to kill the monster. Decisions decisions. But at least I’m having a lot of new ideas to play with in my writing. I have no idea where this is going but I must write and test. I also hope I’m not being dishonest with myself here though. I don’t think the final girl protects “just” her virginity. This must go deeper.
See you next blogpost!