The Emperor Owl, Pt. 9 (Fiction)

I lowered the blankets down to my nose as bile surged into my throat. The bedroom had shrunk as if the missing furniture had been holding up its dimensions. From the mattress sprawled on the floor, the bedroom door towered, its jambs slanting toward the narrow lintel, resembling a monolith.

Feverish tremors rattled me. I sucked air into my lungs, but they rejected it.

I blinked, and the door burst open as if rammed by a battering ram. It swung on its hinges and slammed the wall, exploding into splinters. In the doorway loomed Father’s hulking frame. His inflamed breath illuminated black nostrils and a bristly snout.

I blinked again, and the door stayed shut. I strained to hear footsteps beneath the roaring gale in my ears, where screams floated like driftwood from a shipwreck.

As my vision prickled into blackness, I levitated in a void—but jolted awake, back to my starlit bedroom. I buried my head under the blankets. Once darkness swallowed me, nothing could hurt me.

My swollen bladder pulsed. I clenched my thighs to trap it. A lapse and I’d wet myself. I thrashed on the mattress—rolling onto one shoulder, the other, my back—shuddering as cold sweat glued my pajamas to my skin. Urine clawed to escape. When I imagined leaping from bed, sprinting down a kilometer-long hall to the bathroom, then emptying my bladder, relief flooded me.

Why hold back? Would it matter if I peed myself? Was I afraid of disturbing him?

I spread my thighs and relented. A hot stream soaked my crotch, fused my panties to the pajama pants, and pooled between my buttocks. My body from navel to thighs felt warm as if I were sinking into a bath.

I peeked from the blankets. In the view quivering like a tuning fork, the cork oak outside stretched toward the star-patched sky. An owl clung to a branch, hunched in black-and-olive streaked plumage, wind ruffling its citrine underfeathers. Its crest and beak-framing feathers had grayed; the rest of its head camouflaged with the forest. Two tufts spiked from its crown—antennae of a space helmet. Wide amber eyes locked onto mine as if commanded to witness what came next.

The owl spread its wings, flapped them, and swiftly soared out of sight. The branch and its sinuous leaves shuddered, then stilled.

Tears boiled in my ducts, glazing the oak. Even the owl wouldn’t stay. I cocooned under the blankets. Blind blackness greeted my opened eyes. I gulped stagnant, warm air that reeked of ammonia.

In the void, the owl’s outline gripped the branch. Its eyes warned me in a language to which I was born deaf.

I rose. The owl watched as I neared the window. When I opened it, cold air rushed in. The bird spread its wings, flapped them, and swiftly soared out of sight. I craned into the night, twisting to scan the roof.

“Wait.”

I climbed the window frame. Jumped, and found myself dangling between the facade and oak, suspended by an invisible thread tethered to the sky. I clawed upward through air, soaring past the roof as pine-clad hills and valleys shrank below.

The owl’s silhouette fluttered ahead, a black smudge against a spatter of stars.

My chest swelled. I chased the bird for ten minutes while muscles I never knew screamed in my limbs.

A hundred meters below, a greenish sea stretched horizon-to-horizon, waves wrinkling with reflections of the stars and moon. The owl glided toward a fleet of anchored galleys, and landed on the central ship’s deck. Two rows of figures flanked the bird. A delegation approached.

I swooped to the stern and landed feet-first, but momentum slammed me down, dragging me five meters across planks. I stood.

Two long-necked egrets in slashed doublets and ruffs slid a purple dalmatic over the owl’s wings and head. They wrapped its shoulders and torso in a sash embroidered with gold and silver filigree. Across its stripes glittered dozens of gemstones. Another egret wedged a conical crown onto the bird’s crest—silver adorned with raised reliefs of owls, runes, and geometric patterns.

The deck’s flanking figures converged on me, stalking like a cat encircled by hounds. Eagles clad in bronze helmets and breastplates tilted halberds my way.

“Sir, they followed you,” growled the lead eagle soldier.

A hiss echoed above. Bird silhouettes aimed crossbows from the crow’s nest and rigging.

The owl adjusted its dalmatic, waddled closer, and raised a wing. Lemon-sized amber eyes fixed on me.

“I recognize this human. She hails from that sorrowful overseas land.” His voice dropped. “You were born into a bleak country, girl.”

I shuddered. Swallowed to unclench my throat.

“It is, sir.”

The owl glanced at his guards, then lowered a wing. The eagles retreated, nodding.

It stepped nearer, wingtips resting on my shoulders, fanning black-striped feathers.

“I hoped you’d choose to follow me.”

I clasped my hands, voice shrill.

“May I accompany you, sir?”

“Of course.”

He encircled my back with a wing, and guided me toward the prow.

“Rest as long as you need. When you wake, you will breakfast with me. Tomorrow we reach my domains.”

In the morning, as I stepped out of the captain’s cabin onto the deck, the orange hole in the sky dazzled me. It bathed chalk-white cliffs. Salty air cleansed my lungs.

The fleet sailed through the mouth between two capes into a gulf, its shores teeming with houses, towers, and multicolored crops, while the sparkling waters were dotted with fishing boats and cargo ships. We docked at a harbor. The towering masts of hundreds of vessels rose like a forest of bare trees and tangled vines.

On the cobblestones of the harbor, the owl invited me to a carriage that would be drawn by six horses. The vehicle was decorated with golden garlands that gleamed in the sun, and up close, you could make out the stylized figures of birds perched on branches or in flight. The wheels were rimmed with gilt flowers, the interior of the carriage covered with purple velvet curtains. The cherrywood panels depicted the emperor owl and his retinue.

Inside, I settled onto a cushioned bench. The owl positioned himself across from me and drew the curtain across the window. I insisted on speaking, but utterly exhausted, I kept babbling incoherently. The emperor suggested I rest. I stretched out along the bench, burying my head in a feather pillow, and closed my eyes.

The carriage wheels glided over earth and grass, clattered along cobblestone streets. The clamor of villages poured in. The music of street performers emerged and vanished amidst vendors’ cries. Every few minutes, the uproar of crowds swelled around the carriage as they cheered for the emperor.

That noon, I dined in his castle, within a throne room as lofty as a cathedral. Rows of marble pillars supported a ribbed vault, its surface carved with rosettes and inlaid with colorful mosaics depicting heroic deeds. I sat beside the emperor owl at a table whose ends curved at the horizon. Bathed in the soft glow of candlelight, dozens of birds dipped their spoons into bowls of soup and purée. They pecked at pork ribs drenched in a tangy vinegar and lemon juice sauce. Between sips and bites, they chattered and laughed.

Seated across, a kingfisher dressed in a doublet, with an indigo head speckled in turquoise, poured cider through its long beak. To its right, a peregrine falcon, its head a smoky gray, adjusted a monocle that magnified one brown eye. Boasting, it boomed its deep, braggadocious voice over a plate of sea bass and potatoes.

As I savored the third bite of my lasagna, the emperor owl clinked a knife against his goblet. The clamor ceased. The guests turned their attention to him as if he were a revered professor.

“Listen.” His voice echoed through the throne room and returned as if a choir were mimicking it. “I thank you for having restrained your curiosity. This human, as you may have heard, followed me from the overseas land. Just as with the rest of its inhabitants, every day the shadows that ravage those lands hammered her body with mallet and chisel, and one day they would have reduced her to nothing.”

Emotion clouded my voice.

“But the emperor owl found me, and in his wisdom, he allowed me to accompany him to his domains.”

He pulled back the chair and settled in beside me. His warm wing draped over my shoulder. He gazed at me with amber eyes, their gleaming pupils reflecting the flickering flames of candles. The corner of his beak curved into a smile.

“And from this day onward, brave girl, you will be my right hand. Your belly will never writhe with hunger. You will forget fear. Never again will you endure pains you were never meant to know.”


Author’s note: I wrote this novella in Spanish about ten years ago. It’s contained in the collection titled Los dominios del emperador búho.

Today’s song is “White Rabbit” by Jefferson Airplane.

The Emperor Owl, Pt. 8 (Fiction)

When I rounded the hallway corner toward my bedroom, my dresser blocked the path, its drawers slightly ajar as if they had slid forward while the piece was being pulled. I pushed the dresser aside until I squeezed through the gap between its edge and the wall. From my open bedroom spilled a harsh scrape. It was punctured by the footsteps of a hulking mass, their vibrations trembling the floor.

I crept forward on tiptoe, fingertips grazing the grainy texture of the wallpaper. Congestion glazed my eyes, and static fogged my mind. My mouth, through which I was breathing, tasted stale.

From the bedroom doorway jutted a hand’s breadth of desk. It inched outward in jerks until halfway. Father growled. With a shove, the desk emerged fully, revealing the man behind it, his meaty palms planted on the furniture. When his gaze flicked toward me, I ducked my head as if I risked turning to stone. The desk legs screeched against the wooden floor as Father wedged it flush against the wall.

I lunged to the bedroom threshold, arms flung wide to block it.

“No.”

Father marched toward me and swatted me aside like a curtain. The bristles of his arm pierced the skin of my shoulder and chest through my sweater, shirt, and bra. I staggered against the hallway wall and crumpled to the floor.

Father muttered in the gutted space. He yanked open the screeching doors of my closet.

I rose as if waking from a faint. I couldn’t stop this man, nor persuade him to leave me alone. What could I do? Had he warned Mother? Told her he planned to strip my room of furniture that might barricade the door? Was she absent because she objected, or because she didn’t care?

My vision blurred. After wiping my nose on a snot-crusted handkerchief, I hurried down the hall, descended the stairs, crossed the living room, and stepped into a dusk that chilled my face and hands. The moon and first stars pierced clotted clouds. I scanned the pasture for Mother’s gaunt silhouette.

Chains clinked. The cows.

I rushed to the barn, plunging into its musky, dung-thick air. The beasts, chained in their stalls, chewed hay. Mother sat hunched on a stool beside one of the cows, squeezing the swollen teats of its udders, which were ridged with bulging veins. Milk jets splashed into a half-full bucket. She tilted her face toward the wall, hiding behind straggly, unkempt hair.

I halted beside her, fists clenched.

“Tell him to leave my furniture alone. Please.”

Mother tugged another udder, spraying milk. I crouched to glimpse her profile: features scratched into rotted wood, lips a mere slit. She stared down at the milk-filled bucket, making it seem like she had closed her eyes.

I softened my voice as much as my trembling allowed.

“Mother, do you know what he intends? If he told you, I don’t know if you could’ve stopped him. But you have to help me.”

“Don’t call me that.”

The volume of her voice had matched the splashing in the bucket, her words as though I’d imagined them in the gurgle of aching guts.

When I placed a hand on her sweatered shoulder, a bony lump pressed my palm.

“Do you know why he’s taking my furniture? Do you know what he does to me?”

She shot upright, the stool clattering on stone. Mother clamped her hand around my cheeks and squeezed. It hurt as if she might rip my mouth off with a tug. Her tangled gray mane framed creased and shovel-colored skin, and the paint with which her eyes had been drawn threatened to flake away. Her breath smelled of garlic.

She let go of my face. With her other hand, she gripped my nape, then shoved me beneath the cow and plunged my head into the milk bucket. I gulped a mouthful that flooded my lungs. I convulsed, trying to sneeze the milk out, but each spasm swallowed more, drowning my eyes, drenching my brain. Mother pressed my head deeper, the bucket’s curved edge digging into my collarbones. I grabbed the cow’s hide—it mooed and thrashed about, the chains binding its legs clinking.

Mother yanked my hair, and I fell backward onto bits of straw. I coughed bursts of milk. Sneezes and hacking shuddered through me, raking my nostrils and throat raw.

When I lifted my gaze from the straw-strewn floor, Mother was gone. The bucket lay overturned by the stool, and a milk puddle spread around the cow’s hoof.

Rising would waste energy. Someone should chalk my outline.

The cow nudged its muzzle close and lowed. Its nostrils exhaled a cloudy breath that warmed my cheek, glassy eyes gazing at me as if I were a wounded calf.


Author’s note: I wrote this novella in Spanish about ten years ago. It’s contained in the collection titled Los dominios del emperador búho.

Today’s song is “Screen Shot” by Swans.

The Emperor Owl, Pt. 7 (Fiction)

Before I stifled the sneeze, snot shrapnel sprayed my drawing, speckling the page with translucent blotches, smothering some strokes with globs. What did it matter? My trembling hand had sketched shaky curves. The scene I’d created was hazy, mirroring my mental fog, as if I were glimpsing a landscape through greased paper.

I crumpled the sheet into a ball. When I dropped it beside me, it rolled over the portfolio and lodged between chunks of bark. I blew my nose as if I were filled with liters of mucus, but ten seconds later, a trickle slid from one nostril. The wings of my nose were raw. My mouth tasted of phlegm. I should—and wanted—to lie in bed, but why stay under that roof when I could escape for a few hours?

I twisted my nose with the handkerchief, which muffled my voice.

“Can I ask you something?”

“Whatever you like,” said the man. “We’ll see what I answer.”

“Do you like me?”

The air thickened near the blackened circle, charged like static.

“You think I don’t?”

“Would you betray me?”

“Have you given me reason?”

“I don’t know. You might think I have, even if I didn’t mean to.”

“Is that cold of yours messing with your head? Why worry?”

“It is messing with me. I can’t think straight. But maybe you’re pretending to like me as a distraction.”

“A distraction from what?”

“From planning to hurt me.”

The man sighed, his breath prickling my face.

“I’m not planning to. Though if I were, I imagine I’d hide it.”

“If someone I thought cared for me switched sides, I assumed I would know.”

“It’s been years since anyone entertained me like you. Though, to be fair, I’ve never delved deeper into a relationship than telling someone to leave and watching them flee.”

I blew my nose until I needed a fresh handkerchief. The sight of the charred grass circle wavered, and the taste of my saliva sickened me. I set the cloth-covered tureen on my thigh, loosened the elastic, and lifted a corner of the fabric. If I could smell, maybe the aroma of marmitako inside would’ve stirred my hunger.

“Will it taste like anything to you?” said the man.

“Maybe it’ll taste like something to you.”

“Want me to try it?”

“I brought it to offer you. Even an invisible man needs to eat. What kind of person would let you starve?”

At the edge of my hearing floated the murmur of clashing thoughts, mingled with wind whistling, birds trilling, and the creek’s whisper.

“I should refuse.”

I crawled forward, but stopped a meter and a half from the circle to avoid the pins stabbing me. Bowing, I placed the open tureen on the grass. I jerked backward, then leaned on my hands, damp leaves and grass beneath my palms.

“If I ate, it’d be wasted. It’d taste like phlegm.”

“Charming word to hear while I consider eating.”

I opened my mouth to speak, but the image of the circle, the beeches, the tangle of branches beyond, slid toward the tureen as if painted on a stretching rubber band. The distortion coiled around the tureen like a claw, contracted, and swallowed it into a mirrored lake. The rustle of crumpled fabric. Chewing. A gulp.

A cough exploded, convulsing the beeches and the circle, the shockwave knocking me onto my back. The tureen flew past my head. My legs folded against my chest—firecracker-like coughs jolted me as if trying to make me roll. Needles stabbed my face and hands like a swarm of bees, their stings piercing my sweater and pants.

When the man stopped coughing, I lay supine. Above the quivering lattice of branches, a mass of gray-blue clouds slid south. I sat up. Snot bubbled in one nostril, and my exposed skin burned.

Before the circle of withered grass, a black, mercurial vomit had flattened the blades and buried the debris. I couldn’t smell, but the fumes attacked my nose like smoke-itch. The view of the blackened circle had stilled.

Had I poisoned the invisible man?

“Please, tell me you’re still there.”

“I’d forgotten how vomiting feels.”

I covered my mouth. I wanted to kneel and weep.

“I didn’t mean to. I swear. If I’d known it’d affect you like this, I’d have eaten it myself, even if it tasted like phlegm.”

“Relax. Years ago, I tried your food and it ended in another puddle. I thought this time might be different.”


Author’s note: I wrote this novella in English about ten years ago. It’s contained in the collection titled Los dominios del emperador búho.

The Emperor Owl, Pt. 6 (Fiction)

The bathroom door opened with a click that rippled through the bathwater, mingling with the pressure in my eardrums and the submerged gurgle of bubbles rolling across my skin. A draft seeped through the door crack and slithered over my knees and shins, that jutted from the water like ice cubes. Light footsteps entered the room.

I shrank deeper while trying to avoid disturbing the water. Who’d entered, knowing I was bathing?

I lifted my head into the cool air. I expected the shower curtain to silhouette the hulking mass of thick arms and legs, but the lamp lightened the nylon. I peeled the curtain back a hand’s width. Mother, leaning against the sink, stared at me.

I loosened my shoulders. Better her resentful glare than Father’s.

“Hurry up,” Mother said.

She rummaged through my pajamas, bra, and underwear, heaped on the toilet lid. She bundled them. Snatched the folded towel from the sink, and added it to the pile.

As I hunched over the tub’s edge, my wet hair and face splattered the tiles.

“What will I wear when I get out?”

Mother tilted her head to address me but hid her ashen face behind her silver hair.

“If you want clothes, ask your father.”

She left the door ajar.

The chill prickled my skin as my heart galloped. She’d return, I thought, and toss fresh underwear and pajamas onto the toilet lid. But her footsteps faded into silence. The cold air invading the bathroom through the cracked door whispered that if I emerged from the warm water, I’d risk pneumonia.

I shut the curtain and submerged myself up to my nose. Had Father ordered her to steal my clothes? Why had she obeyed? Mother knew she’d condemned me to shuffle naked toward that man, clutching my breasts and groin. To beg.

A searing heat in my chest overwhelmed me. As I shut my eyes tight, my body jerked in silent, tearless spasms.

I shoved the curtain aside and clambered out, hunched, as droplets drummed the tiles. At the sink, I froze, legs trembling as if I’d bathed in an icy river. In the mirror, wrinkled strands clung to my forehead, and rivulets snaked down my pallid skin. I recognized the gaze of a lamb hearing the bleats of its kin as it’s dragged through bloodied puddles.

I swept the hair from my face. Wringing my mane, it dripped down my back and spattered my buttocks.

I nudged the door further, and its knob grazed the wall. To my left, the shadowed hallway led, past a corner, to the bedroom. To my right, Father’s silhouette clogged the far end like cholesterol in an artery. The ancient bellows of his chest wheezed, swelling and deflating. Though darkness veiled his face, his stare pierced mine as if pinning a moth to cork.

A shudder seized my legs. Dizziness blurred my vision. I fixed my eyes on the wallpaper ahead, its lumpy patterns like spider eggs. I stiffened. Swallowed. I shielded my breasts with one arm, cupped my groin, then strode into the hallway.

What did it matter? He’d already seen. That man assumed forcing me to parade naked would render me helpless, yet I’d barricade my room even as I became stiff from the cold.

I let my arms drop. As if sleepwalking, I turned toward my bedroom and marched stiffly. Father’s gaze scorched me from hair to Achilles’ heels. When I rounded the corner, his stare detached. I sprinted to my room, stomach acid searing my throat. I opened the door, closed it behind me, and pressed my back against it.

A threadbare sheet covered the mattress. I recognized it from the storage closet in the attic; the sheet had been buried beside a yellowed pillow and hole-riddled slippers. I rifled through the dresser drawers—empty. When I jerked the wardrobe open, the draft rattled unburdened wire hangers.

My jaw quivered. Cool droplets slid down the gooseflesh on my arms.

I shoved the dresser screeching across the floor to barricade the door. Dragged the desk and wedged it against the dresser drawers.

I switched off the lamp, but starlight and the pockmarked moon bled through the window. As I neared the glass, an owl burst from the cork oak’s branch, wings thrashing. I yanked the curtain shut.

Clambered onto the bed as if escaping lava. Slid under the frayed sheet, pulled it over my head. Faint light seeped through the fabric’s cracks. It reeked of mold and old clutter fermented in the closet’s depths. The damp sheet clung to my skin.

I shut my eyes, hugged my knees. Counted to four again and again to drown out my hammering heart and chattering teeth.


Author’s note: I wrote this novella in Spanish about ten years ago. It’s contained in the collection titled Los dominios del emperador búho.

Today’s song is “Pink Moon” by my boy Nick.

This story is written in a manner that makes my skin crawl, and I don’t mean just the subject matter. I’ve long forgotten what headspace I was in at the time, but it reminds me of my teenage years, which were spent mainly slipping in and out of psychosis. Maybe that’s a huge part of why I didn’t want to revisit this story.

The Emperor Owl, Pt. 5 (Fiction)

Bleats wafted through the fog. On the facade of the house at the meadow’s edge, the white paint had peeled like rotten skin on a corpse’s forehead, exposing walls built of mismatched rocks in precarious balance. Above six crooked windows, walnut-brown tiles crowned the structure like a sun-scorched straw hat.

I hastened through the overgrown grass, searching for a sheep’s four-legged silhouette. Beside me, a garment snapped in the wind with a crack of cloth. I kept moving until Mother clicked her tongue at me.

“Follow me.”

In her mane, ash-gray strands twisted like storm warnings. I trailed her, arms crossed over the portfolio I clung to. Shivers ran through me. I should’ve brought a scarf.

From the shed at the meadow’s corner came bleats like a tortured soul’s wails. Mother stopped by a fence where a lamb hung skewered by barbed wire, its neck and chest hooked. From its gaping mouth dangled threads of saliva. Eyes bulged grotesquely. With each twitch, its wounds spilled tongues of brass-scented blood that stained the wire and steamed. A dark pool grew at its hooves.

“Don’t bother claiming you’d penned all the sheep and this lamb slipped out,” Mother said. “You rushed your chores to vanish into whatever hole you like to hide in.”

She spoke as if forcing air through her larynx exhausted her energy, and at each word she questioned if the effort was worth it.

I uncovered my mouth and crouched near the lamb. Stroked the coarse fur along its back while its warm body shuddered under my palm.

As if the sun had eclipsed, darkening the world, I envisioned Father surging from the horizon and rushing across the meadow toward me, footsteps quaking the earth.

When I stood, a dizzy spell blurred my sight. I scanned the meadow, skin prickling. Mother’s bony fingers grazed the portfolio’s edge I clutched. I braced for her to snatch it, but she bent instead to grab a handle hidden in the grass.

“I’ll keep to myself what you’ve done.”

She pried open my right hand and placed an axe’s smooth wooden grip into my palm. The heavy metal head dragged my arm down.

“For what?”

“Kill it.”

Fire seared my gut. I gulped.

The lamb probed the air with its crimson, glistening tongue as if parched. Each spasm rattled the wire in metallic shrieks while blood oozed from the beast’s wounds thick as honey; surely its body held less than it had spilled. A bleat rippled from the shed in a cold current as if a ghost were weeping.

“I can’t.”

“You prolong its agony. And it’s suffering because of you. Do your duty.”

I knelt, pressing my brow to the lamb’s feverish chest, inches from wire barbs gouging flesh. My fingers tangled in its matted fur. Underneath, muscle fibers quivered.

I swallowed to steady my voice.

“Maybe it’ll heal. Give it time.”

Studying its neck wounds, I wondered how I could lift the lamb without slicing deeper, but Mother yanked my sweater’s collar, making me stumble back. As she snatched the axe, the momentum flung me onto slick grass, sprawling sideways. She glanced away through her ashen hair, as if seeing me pained her.

“You learn nothing. Your head always in the clouds. Nothing good’s going to happen to you.”


Author’s note: I wrote this novella in Spanish about ten years ago. It’s contained in the collection titled Los dominios del emperador búho.

This may be the worst conceived scene of all I’ve translated so far from my work ten years ago. I had trouble even envisioning what I meant in some of the original text.

On Writing: Plot point generation #5

You can check out all my posts on writing through this link.

A story is made out of meaningful stuff that happens. Each unit of meaningful stuff that happens is often referred to as a plot point. Here’s how to come up with them, before you consider fitting them into a structure.

  • Brainstorm how you could put any of your characters in ironic situations. What would be ironic for any of your characters to face? For example: a suicidal protagonist needs to talk off a ledge a guy who wants to commit suicide.
  • Think of the major plot points you know about your story, and brainstorm what events could produce them.
  • Think of the escalation of conflict in terms of two oppositions skirmishing before the decisive battle.
  • Brainstorm a “lights out” moment, where the protagonist can’t possibly win in his struggle with death.
  • Brainstorm a list of several possible endings for your story. Even if you don’t actually use any of those plot points as your actual ending, one of them could be your protagonist’s “lights out” beat.
  • Think of the expectations your story and your characters have set up, then brainstorm plot points that would twist those expectations.
  • What are the stereotypical story tropes that spring to mind given your chosen story elements and characters? Can you come up with something different, something opposite?
  • Brainstorm plot points that could only happen given your unique combination of story elements and characters.
  • Brainstorm plot ploints that would act as a bait-and-switch. What plot points would convince the audience they know where the story is going, only for you to pull the rug out from under them?
  • What is the last thing the reader will suspect given your combination of story elements and characters?
  • Brainstorm plot points that turn on its head the audience’s understanding of everything in your story, throwing them out of their comfort zone.
  • Can you come up with a plot point or more in which an important character is being chased? Having your characters on the move with someone constantly on their tail is an exciting situation.
  • Every dramatic scene will likely pose your character the dramatic question: who am I going to be? The drama is a continual test for the protagonist. Are they going to be the old, flawed version of themselves? Or are they going to be someone new?

On Writing: General structure – Characters

You can check out all my posts on writing through this link.

Once you’ve come up with a list of meaningful plot points that should happen in your story, the Acts structure (generally three, but could be strengthened by turning it into five) is a proven method to organize those plot points in a way that makes the story more cohesive, and usually building up in tension.

The following questions should allow you to develop your characters.

  • See which are the major flaws of each major character. How do they explore the unifying theme? If any of them don’t, either change it or try to delete that character.
  • How is the antagonist the person who is most heavily invested in achieving the same external goal?
  • How is something a character believes challenged, so he might change his views, opinions, attitudes, behavior, or core beliefs? Particularly figure out a way for this to happen to the protagonist.
  • Is there an “arc” to each primary character’s story? In other words, do your antagonist, sidekick, and love interest all possess clear goals, and are those desires built up and resolved by the end?
  • Who is on your protagonist’s side? Create a moment in which that care, understanding and support are shown. How close to the opening of your novel can you place this moment?
  • Do any of your characters “peter out” or fade away, never to be heard from again? This is a critical error to flag and fix.
  • How are your protagonist’s flaws a barrier to them achieving their goals? Conversely, make them have to overcome their flaws to achieve certain things.
  • Brainstorm how your characters could surprise you, and therefore surprise the audience too.
  • How does your protagonist summon his inner hero to achieve the goal?
  • How do the events in the plot force the protagonist to make a specific really hard internal change?
  • How does the story’s structure shove the protagonist as far out of his comfort zone as possible, the better for him to ultimately realize that it wasn’t nearly as comfortable, or as safe, as he’d thought?
  • Does your protagonist have a moment of humanity early on?
  • How is your protagonist defined by ongoing actions and attitudes, not by backstory?
  • Is the hero’s primary motivation for tackling this challenge strong, simple, and revealed early on?
  • Detail the ways the opponent attacks the hero. Try to devise a detailed plan for the opponent with as many hidden attacks as possible.
  • How could the antagonist’s flaw contribute to his defeat?
  • How have you made the reader truly believe and feel that your antagonist is a nasty force to be reckoned with?
  • For each interpersonal encounter in the story, how is each major character altered somehow?
  • Have a real feeling for their theory of control. This is their brain’s overarching strategy for getting what they want out of the human world.
  • What do they want most of all in the world? What do they imagine will make them happy forever?

On Writing: General structure – Symbol web

You can check out all my posts on writing through this link.

Once you’ve come up with a list of meaningful plot points that should happen in your story, the Acts structure (generally three, but could be strengthened by turning it into five) is a proven method to organize those plot points in a way that makes the story more cohesive, and usually building up in tension.

The following questions are all about consciously incorporating symbols into your story.

  • Is there a single symbol that expresses the premise, key story twists, central theme, or overall structure of your story?
  • When connecting a symbol to a character, choose a symbol that represents a defining principle of that character or its reverse. By connecting a specific, discrete symbol with an essential quality of the character, the audience gets an immediate understanding of one aspect of the character in a single blow.
  • How do I choose the right symbol to apply to a character? He is defined in relation to other characters. In considering a symbol for one character, consider symbols for many, beginning with the hero and the main opponent. How would they stand in opposition of each other?
  • Can you create a symbol opposition within the character?
  • Come up with a single aspect of the character or a single emotion you want the character to evoke in the audience.
  • Could use a shorthand technique for connecting symbol to character: use certain categories of character, especially gods, animals and machines. Think about how that would give that character a basic trait and level that the audience immediately recognizes.
  • Can you choose a symbol you want the character to become when he undergoes his change? Attach the symbol to the character when you are creating the character’s weaknesses or need. Bring the symbol back at the moment of character change, but with some variation from when you introduce it.
  • How could you encapsulate entire moral arguments in symbol? Come up with an image or object that expresses a series of actions that hurt others in some way. Even more powerful is an image or object that expresses two series of actions (two moral sequences) that are in conflict with each other.
  • Look for a symbol that can encapsulate the main theme of your story. For a symbol to express the theme, it must stand for a series of actions with moral effects. A more advanced thematic symbol is one that stands for two series of moral actions that are in conflict.
  • How could a symbol encapsulate the entire world of the story, or set of forces, in a single, understandable image?
  • Determine what symbols you wish to attach to the various elements of the story world, including the natural settings, man-made spaces, technology and time.
  • See if you could make an action symbolic, making it especially important, and it expresses the theme or character of the story in miniature.
  • When creating a web of symbolic objects, begin by going back to the designing principle of the story, and see how it turns the collection of individual objects into a cluster. See how each object not only refers to another object but also refers to and connects with the other symbolic objects in the story.
  • Think for a moment about your theme, what your story is really about. What images come to mind that might represent your story?
  • When creating an image system, one thing that might help is to envision a movie poster for your story. What key moment in your entire story would be best be shown on your poster? What colors and objects would be shown? What would the characters be wearing, holding, doing? By imagining this movie poster, you might get some ideas for strong symbols.
  • Think about your protagonist. Image one object she owns that is special to her. Maybe it’s a gift someone gave her that has great significance. Maybe it’s a shell she found on the beach on an important day in her life. You can find a place to introduce this motif-object early on in the book, then show it again a few times at important moments in your story, and then bring it into the final scene in some symbolic way.
  • If you can have an object connected to a very important moment in a character’s past (whether something painful or joyful), you can then springboard from there to infuse this object with deep meaning.
  • Write down an emotion or thematic component from your novel, such as grief or forgiveness. Freewrite all the worst images that come to your mind without censoring what you write. Picture in your head your character grieving. Where is she? What does she see? What does she touch or hold? What comforts her–a song, a picture, a place?
  • Think of the main emotion or trait your protagonist experiences (grief, forgiveness, etc.) Can you find a symbol/object for this to use in your novel?
  • Consider the title of your novel. Can you find a way to bring a motif into the title? Tie in with your themes?
  • What objects or images are central and organic to this story?
  • Pick the three most important scenes in your story for your protagonist. Can you insert the same motif into those three scenes somehow?
  • Often a secondary character who serves as an ally to the protagonist will be the one to impart words of wisdom and advice, and this is a good opportunity to come up with a special phrase (and if possible, one associated with some object) that can then be an important motivator for the protagonist.
  • Think about a secondary ally character that can give advice or insight in a way that will introduce or reinforce a motif in your story. Maybe even come up with a clever phrase for that character to use as a word whisker that serves as a motif.
  • How would you refer to and repeat each symbol throughout the story? Start with a feeling and create a symbol that will cause that feeling in the audience. How does that symbol change slightly during repetitions?
  • Describe for each symbol how it helps define the others.

On Writing: Five-act structure – Act 1 – General #2

You can check out all my posts on writing through this link.

Once you’ve come up with a list of meaningful plot points that should happen in your story, and you have determined the general structure, you could strengthen the scaffolding further by relying on a five-act structure. The original three-act structure suffers from issues regarding the second act, which is the bulk of the story yet it’s treated as if it were the same length as the first and third acts. The five-act structure divides the second act into three, relying on a mid-story turning point as the main mast of the tale.

The following list of notions strives to strengthen the first act of a five-act structure.

  • How do the scenes in the first act chase your protagonist up a tree? How does it push him into a conflict situation?
  • How does the first act set up trouble brewing? Things may settle for a bit after the disturbance, but then a glimpse of greated trouble coming or hovering.
  • How does the first act set up the stakes for the whole story?
  • What scenes of the first act deepen the stakes? How do they deepen the conflict until it explodes so that the story moves into the second act?
  • Is there imminent danger in the first act of the story so as to bond with the lead?
  • How do you make the reader believe the threats to the protagonist in this act are real?
  • How do you make the reader fear for the safety of the characters?
  • How do you make clear what the characters stand to lose in the coming conflict?
  • How is the protagonist’s need to change explored?
  • Somewhere in the first act, can you have the protagonist make an argument against the lesson they learn by the end of the story?
  • What reasons do you give early on to the readers to care about the characters?
  • See how do you illustrate this about the important characters: who are these people? What is the essence of their personalities? What are their core beliefs (even more particularly, what are the beliefs that will be challenged or straightened throughout the book)?
  • What is your hero’s world view, goals, values, problems, etc. prior to the First Plot Point?
  • When the story opens, is the lie/flaw making the protagonist’s life miserable? If so, how?
  • This is the time to lavish some extra attention on the Lie, because within the Lie is always where we discover what is at stake for the protagonist. What horrible things will happen to him and his world if the Lie isn’t overthrown?
  • What is the antagonist doing during this act?
  • Can you place the characters where something bad is happening, or about to happen?
  • Try to focus on only giving the information that is strictly necessary to understand the current situation.
  • Audiences prefer their heroes to get out of trouble in the second act using talents they already displayed in the first act. Even heroes who seem to be starting from scratch are actually adapters. They find ways to use skills from a completely different job to surmount their current problem.

On Writing: Five-act structure – Act 1 – General #1

You can check out all my posts on writing through this link.

Once you’ve come up with a list of meaningful plot points that should happen in your story, and you have determined the general structure, you could strengthen the scaffolding further by relying on a five-act structure. The original three-act structure suffers from issues regarding the second act, which is the bulk of the story yet it’s treated as if it were the same length as the first and third acts. The five-act structure divides the second act into three, relying on a mid-story turning point as the main mast of the tale.

The following list of notions strives to strengthen the first act of a five-act structure.

  • What is the goal in this act that the main charactes believes that by achieving it he’ll get closer to achieving his external goal?
  • How does the main character’s external goal bend to his internal issue, the thing he struggles with that keeps him from easily achieving said goal without breaking a sweat?
  • For every goal in an act (or scene), see which goals could fail first. That ups the conflict.
  • One way to tell if what the protagonist wants in the beginning is her genuine goal is to ask yourself: will she have to face her biggest fear, and so resolve her inner issue, to achieve said goal?
  • Look at every single character in your story and ask, “What’s their goal at this very moment?” If they don’t have one, give them one.
  • List the actions your hero will take toward his goal.
  • Create a plan that requires the hero to take a number of actions, but also to adjust when the initial plan doesn’t work. How is the plan unique and complex enough that the hero will have to adjust when it fails?
  • As a general rule: whatever the protagonist tries, his first two attempts must be futile.
  • How is this act an unit of action bound by a character’s desire?
  • How does this act fulfill its purpose of preparing the readers for what’s in store?
  • How do you bring with your important characters, as you introduce them, the stakes, what they care about, and the antagonistic forces that threaten what they care about.
  • How do you take the time to introduce the character in his “normal world” before the inciting event comes blasting into view?
  • How does this act represent the phase of the universal story that is Comfort and Separation?
  • In the beginning quarter of the story, get the front story going first by hooking readers and audiences with present moment-to-moment conflict. The protagonist faces an immediate dilemma, experiences a loss, feels fear, and is compelled to take action.
  • The first act sets up the story: the story problem, the story question, and the motivation for the protagonist to take action.
  • Is there a hint of the consequences of failing the act’s goal, a mirror or echo of the kind of death he risks (physical, psychological, social, or a mix)?
  • How does this act mirror and echo act five (the traditional third act)?
  • How do the actions in this act prompt readers to ask “what is the worst consequence of this decision”, and the consequences will be shown in the second half of this story?
  • How do you set up the stakes and the opposition for the desire line?
  • All the scenes in this act should be contributing toward that First Plot Point moment: revealing backstory, giving it stakes, infusing it with tension and fear and anticipation.
  • The mission of these act one scenes is clear: Make us feel like we’re there (vicarious experience), so that we see dynamics that the characters cannot. The characters feel them—and you can certainly make that feeling visceral—but for them it isn’t a story yet, it’s just their lives.
  • The mission of this opening quartile is to invest the reader in the story through empathy for the hero, which depends on the establishment of stakes and a clearly defined dramatic question at the heart of the story.
  • The scenes within each act should align contextually with that mission and thus bear a different context than scenes from the other parts. That’s critical to understand—it’s the difference between a writer who knows what she’s doing and one who is faking it or imitating what she’s read and mislabeling it as knowing how to write.
  • Every single scene before your First Plot Point should contribute to the setup of the dynamic in the second act and forward, either through foreshadowing, hero backstory and present context, the establishment of stakes, or the ramp-up to the First Plot Point story turn.
  • To set up the “Normal World,” not only focus on the existence and archetypical role of the protagonist, but also in the relationships he maintains, and especially in how those relationships are going to be altered or cut off when moving into the second act.
  • Act 1 introduces your hero then throws a problem at him.  That problem will propel him into the heart of your story.
  • Does the hero hesitate to engage with the story problem until the stakes are raised?
  • Make sure the order of the events creates a gauntlet of challenge, baptism by escalating fire.
  • Since story, both internally and externally, revolves around whether the protagonist achieves his goal, each turn of the cause-and-effect wheel, large and small, must bring him closer to the answer. How? By relentlessly winnowing away everything that stands in his way, legitimate reasons and far-fetched rationalizations alike, until the clock runs down to “now or never”.