Writing Story :: Allies and Enemies, II of III

Neither Ally nor Enemy but Something Else Entirely

Alice in Wonderland ~ “The different branches of Arithmetic:  Ambition, Distraction, Uglification, and Derision.”

Herald.  Idol.  Blocking Figure.  Trickster.

Those characters certainly fit Alice’s different branches of Arithmetic, don’t they?

These four are categorized with the Tests, Allies, and Enemies (Stage 6 for the Archetypal Story Pattern).  However, they don’t really fit the classification of ally or friend.  They are neither.  Perhaps they are something else entirely.

Let’s call them “Stumbling Blocks”.

Neither Yet More

In the first of the Allies and Enemies post (August 10), we discussed three types of allies.  Threshold guardians present tests.  Classic allies buttress the protagonist.  Foils foreshadow what will happen if the protagonist doesn’t learn the lessons of the tests.

We also mentioned that the Love Interest should not be an objectified reward or elixir, but should enact one of the 10 roles of the allies/enemies.

The four characters in this blog are stumbling blocks for the protagonist.

Herald = Ambition = the goal to be achieved.

An announcer of information, the herald seems a brief, walk-on character important only for that information.

A stumbling block

How can the herald be a stumbling block?

Many writers use the herald to inject humor and quirkiness or edginess and doom into their stories.  The herald can be a casualty of random evil or of the antagonist’s directed evil.

Understanding the herald’s message can form the test.  The message often comes as a riddle.  Riddles can misdirect or mislead the protagonist.

When the message is a simple truth, the protagonist can be tricked into ignoring it.  Worse, s/he may overlook its significance.

IDOL = Uglification = the blingie wonder that turns the protagonist from reality to fantasy

The Buddha seems of peace but merely teaches of apathy and nothingness, controlling all emotion to experience no emotion.
A golden idol may seem like a dream, but it hides the reality in glittering falsehoods.

The Idol may create a golden dream for the protagonist.

Realizing the Idol is merely human is a lesson for the protagonist.  The idol’s “uglification” process may even descend to walking in mucky mire.  And the protagonist will never have imagined the soil that begrimes the erstwhile Idol.

While the realization alone can be a sufficient test, it helps if the protagonist does not at first believe the idol’s begrimed state.  Three reactions occur when idols fall:

  1.  When faced with the reality of the fantasy, people will deny the reality and cling to the fantasy.
  2. Then they willfully blind themselves.
  3. When they do accept the truth, they are dejected or become apathetic.

The Idol is a noun: person, place, thing, or idea.

Disappointment alone is not a strong test.

As a writer, tally up the multiple ways that people become disgusted with what they once held aloft.  The following link gives 9 options for the uglification of the idol:

Click here for a protagonist’s responses to an idol’s “uglification”.

Blocking Figure = Distraction = the sidesteps that divert from the goal

Like the Herald, the Blocking Figure causes the protagonist to stumble on the heroic journey.

BFDs can take away what the protagonist expected to use.  They can supply wrong information.  They can literally stand in the way.

Block.  Deflect.  Divert.

Their intervention causes the protagonist to stumble, start again, go around, or plow through.

Trickster = Derision = laughter or ridicule, a balancing act

One of the most misunderstood characters is the Trickster.

The Trickster is more than a simple ally or enemy.  This character is an archetype.  I first discussed the Trickster in the “Last but not Least” blog of April 20: http://writersinkbooks.com/2017/04/

1956 film
Danny Kaye in “The Court Jester”.  The Fool seeks the audience’s ridicule to build them up while tearing himself down. The Trickster learns to manipulate the audience and thus outwit them.

This archetype has two sides:  Fool and Trickster.

The Fool makes mistakes and never learns.

The Trickster learns.

The Fool, like a court jester, plays to an audience.  He doesn’t care about the audience’s derision.  All he wants is laughter.  His actions are actually reactions, a cyclical feeding off the audience.

The Trickster acts.  He thinks of a thing to do.  Next, he half-anticipates the result (usally, only the best result).  Then he does the thing.  The consequences are not his concern.  He does care about derision.  That derision is the very reason he begins to change.

A protagonist can start as a trickster, as Odysseus did.  The trickster who never cares about the consequences to others cannot be a true protagonist.

Wrapping Up

Sept. 10 will focus on the Enemies of Stage 6: Tests, Allies, and Enemies.

Enemies oppose the protagonist.  Does that make them evil?

 

Last but not Least

the 4 Archetypes who Complete Jung’s 12

The Everyman.  The Lover.  The Innocent.  The Trickster.  Last but not least, these four characters provide rich ground for story beyond the same-old same-old.

Of these four, only the last seems to have any potential as a story’s protagonist.  They would seem to be the last choices.  Yet when we examine them more closely, we discover that they may be last but not the least in that selection.

In these unexpected protagonists lie the truth of life.  Never forget Jane Austen :: 

Jane Austen can get more drama out of morality than most other writers can get from shipwreck, battle, murder, or mayhem.  ~ Robert Blythe

The Everyman

Jung calls this archetype the Orphan.  Everyman is the modern take on the term.

The Everyman fits in with everyone.  S/He (Always remember that the archetypes can be viewed from either gender.) is a good friend to all.  With “street smarts” gained over time, s/he is very aware of how people and society work, even if s/he never lived “on the streets”.

Like George Bailey in It’s a Wonderful Life, the Everyman comes wired to understand the hidden networking.  S/He thrives through understanding the interconnections within any social system.

The Everyman’s Downfall

The Everyman can stumble into irresponsibility.  Understanding the interconnections,

It's a Wonderful Life
George Bailey on the Bridge

s/he can find ways to slip away from obligations.  Everybody’s friend can actually be no one’s friend as s/he plays upon friendship to “pass the buck”.

Look at George Bailey’s uncle:  the perfect example of the irresponsible Everyman.

And George himself provides us with the Everyman as victim, especially when he stands on the bridge and contemplates abandoning his obligations through suicide. 

The Everyman can also turn into the victim: “oh poor me.  What a poor life I’ve had.”  In controlling the networks, s/he can manipulate others into co-dependency.

Yet when the Everyman takes control of his story, when he rejects the victim and becomes the leader, everyone benefits, everyone is enriched, from story characters to the readers.

The Lover

The Lover archetype is driven to bond.  Familial, relational, social, physical, spiritual:  no matter the type of bond, the Lover will seek intimacy.  In doing so, s/he may leap over the walls that some people have, enforcing friendship too soon.

The Lover wants that zing of love.  Like Gary Oldman’s Dracula who is driven to bond with Mina, the blood connections drive him.  He is the top predator building his pack, ruling them with a velvet-gloved hand.

S/he needs the constant sustenance of the relationship.  Without it, the Lover will feel abandoned.

However, the Lover is capable of great sacrifice to keep the loved ones safe.

One Side of the Lover’s Downfall

Heathcliff has an instant and soul-deep connection with Cathy of the first generation.  Denied the closer bond of sex, he turns on those he believes interfered, and the Cathy of the second generation suffers from his revenge.

Heathcliff provides the example of the self-impetus that destroys this character.  In this

Heathcliff, obsessed and manipulative, trying to control Cathy

respect, he is last but not least, for he drives his belief that he was “last selected” to punish everyone he believes de-valued him.

  • First, he jumped to the conclusion that he would be denied the bond he sought.
  • Second, his love turned to obsession. In this respect, he takes on the Stalker Mentality:
    • Controlling and manipulative
    • Focused on self needs rather than love for the other.
  • Once the obsession is in place, he cannot release it. To abandon the obsession is to destroy the connective bond.
The Other Side of the Lover’s Downfall

The Lover can mistake that connective bond as copulation.  Rushing too quickly into relationships, the Lover risks getting burned.  Or the sustaining family bond could have failed, leaving the Lover crippled in how to build and maintain a relationship.

This archetype may mistake physical intimacy for relationship intimacy.  The Lover then becomes the bed-hopping siren or seducer.  Obsessed with the high of attraction and sex, s/he will be unable or unwilling to analyze the reason no deep connection ever occurs.

Worse, the crippled Lover may only objectify the other person.

The Innocent

The idealistic Innocent is often a trusting optimist.

We need Innocents in our lives.  They look forward with hope.  They see the potential for sunny skies when all around them are storms.  While some of us slog through the rain, they’re singing and dancing in it.

That can be very frustrating.

However, their bright shiny helps us see the end.  They spot the rainbow first because they are always looking for it.

Sam Gamgee in the Lord of the Rings trilogy keeps Frodo on the trail, even to the point of carrying Frodo when he can go no farther.  He has bought into the mission, and he sees the possibility of success.

Rue in The Hunger Games and Forrest Gump are two more examples of the Innocent.  They may be considered last, but their influence is certainly not the least, giving hope when all hope is dissipated.

The Innocent’s Downfall

The blind cannot lead the blind.  When the Innocent loses touch with the stone-hard reality of a truly impossible situation, s/he will refuse to acknowledge the truth.  S/he will have great capacity for self-denial.

Those who trust too much are easily burned.  Those who are burned too much become ashy cynics, burning everyone else.

The Innocent who comes through the fire, properly valuing the miracle of love and community, that is a true hero, definitely last but not least.

The Trickster / Fool

Many teen-agers think they are Tricksters because they like to play tricks.  All they want is to have fun, which is the Fool’s defining trait.

Many writers mistake the Trickster as a prankster of evil intent.  This is not truly the definition of a Trickster.

Coyote of Native American myth never cared about the consequences of his actions because he never considered them.  He thought it was enough that he was “acting” and having a good time.

Getting joy out of life should be the goal of all of us, but we need to temper it with good sense, something the Trickster may claim to have done as everything crashes down.  However, the Trickster merely considered the best outcome of the prank, not all the outcomes of the prank.

Alex Foley in Beverly Hills Cop is the perfect example of a Trickster. He appears to have no better sense, but he has a wily innate cleverness, much as Odysseus eventually gains.  Alex Foley is the best example of the Trickster.

Click here to see a trailer of this classic 1980s flick.

Capt. Jack Sparrow in Pirates of the Caribbean, however, is the classic Fool.  Sparrow spots something to do, sees how it will work out if everything works out, and heads straight into the event.  He is gifted with the god’s own luck;  nothing will always work out for the best.  Disney has weakened this character by always providing a deus ex machina.  

The Trickster’s Downfall is to Become a Fool
Illustration by Henry Justice Ford
Odysseus Kills the Suitors

Too obsessed with cleverness, the Trickster will constantly upend things just to have done so.  When the consequences to others are not be considered, s/he becomes the self-absorbed Fool.

The Drunken Fool is another downfall of this archetype.  Seeking a good time, s/he can become addicted to alcohol or caffeine, sugar or drugs, video gaming or adrenal rushes, anything to give a sustained high.  The dark side devolves to gluttony, ruled by temporary satisfiers like food or liquor or cocaine, high speed or pranks or petty vandalism.

If the Fool never suffers consequences (just like teenagers), s/he will spiral down to greater problems.

Odysseus—after foolishly announcing himself to the blinded cyclops—eventually learns to control his Trickster side.  He begins to use it cleverly, such as his trickery against the suitors who had overrun his home.

However, not telling his long-suffering wife of his return—that is classic Fool behavior.

Next Up

These Last but not Least four archetypes complete our survey of Jung’s 12 characters.

In the next blog, we start a closer examination of the 12 Stages of the Archetypal Story Pattern, launching with the importance of the Ordinary World.

Join us on the 10th and 20th of every month as we examine the classic Story Arc that should guide all plotting.

~~ M. A. Lee