Wondering

Writers have a most extraordinary need to know. We're like small children when it comes to knowledge, always asking "Why?" and if that is so, "Why?" and "Why?" again, until an adult in the room says "Because!"

We are the adult in the room by the time we begin our careers and finding the answers to our "Whys?" is our job,

So, at times in my career, I have asked and found the answers to the wonderings below.

Wondering about ... colors/colours:

Why is the sky blue?

What is a rainbow?

Why is the nighttime sky black?

Why are the clouds white?

Why do we say "Red sky at night, sailors delight?" and "Red sky at morning, sailors take warning?"

Why is a coward called 'yellow'?

Why is a novice called 'green'?

Why is some prose called 'purple'?

For that matter, why is purple associated with royalty?

And the one question I haven't found an answer to but suspect I can guess "Why do some people hate 'orange'?

Answers in the Comments, please!

What’s In a Fairytale?

All stories have a fundamental base on the archetypal character: the hero (male or female) in contest with forces over which she/he must triumph to achieve a specific goal. This story line holds for literary writing as well as for all genre fiction. In a story, from cultures all over the world, the human hero is set tasks to fulfill in order to win the contest and the prize.

In the traditional fairytale, according to Vladimir Propp, Russian folklorist, there are 31 functions (tasks/stages) the hero of a folktale passes through in order to fulfill his/her mission. After the introduction of the main character (the protagonist), some of the elements include: the absence of a member of her/his family (Snow White, Beauty, Cinderella have lost their mothers, the Prince is alone in his castle, etc.); the hero is warned to avoid some action/event/place; regardless, the hero violates the warning and confronts the villain; the hero is tested and receives help from some agent (magical or wise); the hero is wounded; the villain is defeated; the hero returns and claims his/her prize.

Compare any work of fiction to these basic elements and we are hard-pressed to find deviations that negate the premise that all stories follow, to some degree, this structure. Folktales, fairy tales, campfire tales, ghost stories, romance novels, mysteries and so many more efforts with which we communicate with our fellow travelers are ways we express our experience and give encouragement or warning.

The Grimm Brothers spent much of their lives collecting stories from across the eastern areas of Europe, particularly from the Czech Republic and the Balkans. Our fascination for the fairytale is evident in the popularity of fantasies such as The Hobbit, horror stories such as The Shining and Carrie, the proliferation of the many remakes and re-tellings of Peter Pan and all of the Disney re-tellings of the Russian folktale, Cinderella and similar “poor girl to princess” tales.

We are most invested in stories that engage our deepest hopes and fears. We, as readers, want the “happy ever after” ending, the positive result, and the assurance that virtue will, eventually, defeat evil. But we also like the battle, the more grueling (and gruesome) the better. Our heroes must suffer, and greatly, before we are satisfied that they deserve their victory and are content for them to receive their reward.

My favorite fairytale is the perfect example of Propp’s 31 functions. Is yours?

1. ABSENTATION: A member of a family leaves the security of the home environment. This may be the hero or some other member of the family that the hero will later need to rescue. This division of the cohesive family injects initial tension into the storyline. The hero may also be introduced here, often being shown as an ordinary person.
2. INTERDICTION: An interdiction is addressed to the hero ('don't go there', 'don't do this'). The hero is warned against some action (given an 'interdiction').
3. VIOLATION of INTERDICTION. The interdiction is violated (villain enters the tale). This generally proves to be a bad move and the villain enters the story, although not necessarily confronting the hero. Perhaps they are just a lurking presence or perhaps they attack the family whilst the hero is away.
4. RECONNAISSANCE: The villain makes an attempt at reconnaissance (either villain tries to find the children/jewels etc.; or intended victim questions the villain). The villain (often in disguise) makes an active attempt at seeking information, for example searching for something valuable or trying to actively capture someone. They may speak with a member of the family who innocently divulges information. They may also seek to meet the hero, perhaps knowing already the hero is special in some way.
5. DELIVERY: The villain gains information about the victim. The villain's seeking now pays off and he or she now acquires some form of information, often about the hero or victim. Other information can be gained, for example about a map or treasure location.
6. TRICKERY: The villain attempts to deceive the victim to take possession of victim or victim's belongings (trickery; villain disguised, tries to win confidence of victim). The villain now presses further, often using the information gained in seeking to deceive the hero or victim in some way, perhaps appearing in disguise. This may include capture of the victim, getting the hero to give the villain something or persuading them that the villain is actually a friend and thereby gaining collaboration.
7. COMPLICITY: Victim taken in by deception, unwittingly helping the enemy. The trickery of the villain now works and the hero or victim naively acts in a way that helps the villain. This may range from providing the villain with something (perhaps a map or magical weapon) to actively working against good people (perhaps the villain has persuaded the hero that these other people are actually bad).
8. VILLAINY or LACK: Villain causes harm/injury to family member (by abduction, theft of magical agent, spoiling crops, plunders in other forms, causes a disappearance, expels someone, casts spell on someone, substitutes child etc., commits murder, imprisons/detains someone, threatens forced marriage, provides nightly torments); Alternatively, a member of family lacks something or desires something (magical potion etc.). There are two options for this function, either or both of which may appear in the story. In the first option, the villain causes some kind of harm, for example carrying away a victim or the desired magical object (which must be then be retrieved). In the second option, a sense of lack is identified, for example in the hero's family or within a community, whereby something is identified as lost or something becomes desirable for some reason, for example a magical object that will save people in some way.
9. MEDIATION: Misfortune or lack is made known, (hero is dispatched, hears call for help etc./ alternative is that victimized hero is sent away, freed from imprisonment). The hero now discovers the act of villainy or lack, perhaps finding their family or community devastated or caught up in a state of anguish and woe.
10. BEGINNING COUNTER-ACTION: Seeker agrees to, or decides upon counter-action. The hero now decides to act in a way that will resolve the lack, for example finding a needed magical item, rescuing those who are captured or otherwise defeating the villain. This is a defining moment for the hero as this is the decision that sets the course of future actions and by which a previously ordinary person takes on the mantle of heroism.
11. DEPARTURE: Hero leaves home;
12. FIRST FUNCTION OF THE DONOR: Hero is tested, interrogated, attacked etc., preparing the way for his/her receiving magical agent or helper (donor);
13. HERO'S REACTION: Hero reacts to actions of future donor (withstands/fails the test, frees captive, reconciles disputants, performs service, uses adversary's powers against him);
14. RECEIPT OF A MAGICAL AGENT: Hero acquires use of a magical agent (directly transferred, located, purchased, prepared, spontaneously appears, eaten/drunk, help offered by other characters);
15. GUIDANCE: Hero is transferred, delivered or led to whereabouts of an object of the search;
16. STRUGGLE: Hero and villain join in direct combat;
17. BRANDING: Hero is branded (wounded/marked, receives ring or scarf);
18. VICTORY: Villain is defeated (killed in combat, defeated in contest, killed while asleep, banished);
19. LIQUIDATION: Initial misfortune or lack is resolved (object of search distributed, spell broken, slain person revived, captive freed);
20. RETURN: Hero returns;
21. PURSUIT: Hero is pursued (pursuer tries to kill, eat, undermine the hero);
22. RESCUE: Hero is rescued from pursuit (obstacles delay pursuer, hero hides or is hidden, hero transforms unrecognizably, hero saved from attempt on his/her life);
23. UNRECOGNIZED ARRIVAL: Hero unrecognized, arrives home or in another country;
24. UNFOUNDED CLAIMS: False hero presents unfounded claims;
25. DIFFICULT TASK: Difficult task proposed to the hero (trial by ordeal, riddles, test of strength/endurance, other tasks);
26. SOLUTION: Task is resolved;
27. RECOGNITION: Hero is recognized (by mark, brand, or thing given to him/her);
28. EXPOSURE: False hero or villain is exposed;
29. TRANSFIGURATION: Hero is given a new appearance (is made whole, handsome, new garments etc.);
30. PUNISHMENT: Villain is punished;
31. WEDDING: Hero marries and ascends the throne (is rewarded/promoted).
CF: en.wikipedia.org/wiki/Valdimir_Propp

The Story and the Teller

The ClassicAndCozy blogging group is made up of writers who were all published by Avalon Books, well-known as a publisher of clean and sweet mystery, romance, westerns, primarily for libraries. Now, that option has expanded but the premise, for most of us, has stuck.

My particular genres are romance and women’s fiction. I like a happy ending. I like building a world where things work out for the best, no matter what traumatic events my characters have to face. Whether it’s infertility, child custody battles, professional jealousy, office bullying, ethnic prejudice (Salsa Dancing with Pterodactyls), or divorce and lost love (Wait a Lonely Lifetime), abandonment, the death of a parent, losing a job (Nights Before) or seeking a home, war, oppression (as in my historical novels), my characters triumph.

And that is not always a simple task, even for the writer of the story. There is no guarantee that characters behave as you expect, nor that their difficulties have a believable solution. The objective is verisimilitude or, at least, plausibility. The exceptions are Fantasy and SciFi but, even then, there are rules and conventions.

As a reader, I want to be included, drawn in and given an opportunity to learn something new, experience a new world. As a writer, making that possible for readers is hard work, especially if we want it to look easy.

I once heard a writer describe himself as “a difficult poet,” taking pride that his work is obscure, intentionally beyond the comprehension of the reader. To me, that reeks of arrogance and a wish to appear superior. A former colleague told me she did not trust the audiences of her dance performances to understand so she explained everything—talking down to them. What is the point of either position?

We all have a story to tell, our story, important to us. The impulse to tell our stories is part of our primordial DNA, from the first recognition of a common language, from the first fireside chat, our species has told stories and every one of them has been told and retold in a thousand different guises over the millennia of human history. And yet, we still tell our stories, whether they are about our own experience or based on the seven plots of humankind, or twenty or thirty-six depending on who has written the analysis!

Here are the seven basic stories: 1) human versus nature; 2) human versus human; 3) human versus environment/society; 4) human versus machine/technology; 5) human versus supernatural; 6) human versus self; 7) human versus god/religion.

We love these stories because they are about us. We all face these conflicts: ask my husband about #4!

Vladimir Propp defined thirty-one functions of a hero’s journey beginning with ABSENTATION: A member of a family leaves the security of the home environment and ending with WEDDING: Hero marries and ascends the throne (is rewarded/promoted).

Where is your story in the scheme of human storytelling? What do you expect from a writer when you enter the world of their story?

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This is the 100th blog post for Classic & Cozy. Happy Centennial Blog!