The Hunger Games

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 May The Odds...

The Hunger Games. A popular book, trilogy, and now movie. I have a lot of thoughts on the books, and I'm still somewhat processing the movie. It's a big story. And it's also not. What makes it great? What makes it not? And what do we do with that?

I have no idea what to tell you to do with the books, movie, or overall story. I don't know what to do with it myself. All I can do is share some of my mixed thoughts.

For starters, it's brilliant. No, really. The books, in first-person point of view, show us an intimate, in-depth look at a world that feels like the Great Depression + nuclear war aftereffects + ruling politics gone terribly, terribly wrong. And since it's in first person, we get just about every single thought and feeling that Katniss experiences. (I even used it in a paper I recently re-found as a useful book for examining the reality of facing one's own death.) And the use of present tense amplifies the immediacy and intensity of every. single. thing.

And the movie is a pretty great adaption of the story from the print media to audio/visual media. The actors portrayed their characters spot on. The additional points of view of the gamemakers, President Snow, and Rue's district fleshes out the world with things that wouldn't have translated from the book otherwise. The core conflict of the games is lived out. The subtext conflict of fighting corruption is shown a little more than in the book.

Some things in the movie were a little weird, like the crossover of worlds when Katniss has delusions from the Tracker Jacker venom. And, honestly I was really looking forward to the visual portrayal of Katniss' costumes, Cinna's masterpieces...and was disappointed. They were nice, but for me a little of a let down. And we didn't get to see Haymitch's character arc as clearly, even though we saw him working behind the scenes (a nice touch). But all in all, those things 1) aren't enough to detract from the movie as a whole and 2) are a part of the media.

It's Good, Or Is It?

It's a compelling story. Katniss obviously has a lot of determination and bravery. Peeta carries his compassion with him into the arena. Rue and Prim motivate Katniss to action. Haymitch...well, Haymitch is one of my favorite characters, sweetheart. He actually has a defined arc of character growth. The worlds are clearly distinct, and the complications are simple enough to follow while still making things interesting and hard for the characters. So what's the problem? What bothers me about the book and movie?

1.       As much as the characters distaste the concept of the Hunger Games to begin with, they follow through with it, not even really trying to stem the symptoms, much less trying to stop the problem.
2.       It's a rather draining read or viewing experience.
3.       Katniss' defiance is mostly accidental.
4.       And there is a distinct lack of hope. Throughout. Even the happy ending (in the book) has immediate hopelessness and loss to it. (The movie's happy ending felt like, "Yes, we 'won.' But it wasn't enough.")

And that last one, even more than the others individually, gives me pause. Put these all together, and by the end of the story, whether book or movie, I feel hollow, even dirty. I feel like I have been torn down just about as much as Katniss has been. But it's not because I've literally gone through everything she has, and it's not because I relate with her 100%. I like her okay, and I understand a degree of where she's coming from, her motivations, and her actions. But I'm very different from her and get frustrated along the way.

What Kind of Message?

It's not a happy book. Not every book has to be happy; I get that. But the "no hope" laced throughout and coloring the ending is, I think, damaging to people. People need hope. It's damaging to me. I need hope in order to get up in the morning. This work of fiction tends to sap it from me, translating into real life where I interact with real people, oozing a loss and hopelessness through my actions by taking root in my thoughts and feelings.

What is the message of The Hunger Games? What do you take away from it? Can you see how things could be better (and if you can, why couldn't/didn't the author?)? Is it a warning story? Watch out, or this will happen to our world (it is, after all, futuristic United States of America). Is that Suzanne Collins' goal? Is that enough?

Now we have to ask what we do with the story. It does get us to think, I'll give it that. Where do our thoughts take us?

And Happy Hunger Games

There are many more things I could say about The Hunger Games. Things I like, and things that concern me. And I could continue on into Catching Fire and Mockingjay. But for now, I think this is plenty.

Do you have a reply for my concerns? What are your thoughts on The Hunger Games, both book and movie?

Behind the Goal

A story begins with two things.  It needs four or six things (depending on how you like to count).
1) A protagonist,
2) an antagonist (who can be a villian),
3) directly conflicting goals between the two characters,
4) and motivation for them both.
Here's why.

I recently wrote a short story that went through a lot of revamping and rethinking before I got very far. My main character, Valerie, started out as a bounty hunter almost in a corner, choosing to fight instead of run. But she didn't care if she lived beyond the battle.

Um... No.

That is a weak, inactive protagonist. Not interesting to read (and a pain to write if you want to make the story go anywhere). My flaw was pointed out to me (I'm looking forward to the day I catch on quicker—or just stop making this error), and I rethought.

Okay, so Valerie wasn't who I thought she was. So who was she?

She needed a goal, yes, but she had that. Survival. It just wasn't strong enough. But wait, survival can be a very strong goal. What was missing? Motivation. She needed a reason to want to live. She needed a reason to want to take out the man hunting her.

This was my "Aha" moment. Or, if you prefer.

She needed a motivation behind her goal. That's not something I've heard explained much in my writing classes—at least, not in that wording. But it's one of the most necessary aspects of a protagonist, or any developed character. The why behind the what. And the answer? It had to do with a relationship. Relationships are always on the line in a story, the only question is which one. Then why that one. And, of course, how. Once you answer those questions, you're rolling.

I answered them. I answered the why she needed to survive with two relationships. A boyfriend. And his daughter. (It just became more interesting in your imagination, didn't it?) The answer to why those two relationships and how they're on the line has to do with the antagonist's goal and motivation. See how it all ties together? Before my eyes (...okay, twas all in my planning head) the story was building in strength. I had a goal with motivation for my protagonist and had further developed the direct conflict of goals with my antagonist/villian.

Now the story had heart. There was purpose to Valerie's actions. She had a reason to care enough to pursue her goal, and pursue it she did. Ta da.

So, a story needs...
1) a protagonist
2) with a [strong] goal
3) that's backed up by [deep] motivation,
4) and an antagonist/villian
5) with a [strong] opposing goal
6) that is also backed up by [deep] motivation.
Now you know why.
 

Quotes and Tags

I quote movies.

While I don't know as many movies as Rebekah Roberts does, I love to use the one-liners, or even entire conversations from films in daily life (My household is particularly fond of quoting the family scenes from While You Were Sleeping—These mashed potatoes are so creamy...).  Sometimes the folks I'm chatting with don't get it.  Other times it can open up further and fun conversation because we have seen the same movie and enjoyed it (particularly with my friends who also quote movies in normal conversations).  And mostly it's just fun.

But imagine my surprise when I was watching a rerun of one of my favorite shows, Human Target, and the leading man, Christopher Chance, seemed to quote Han Solo.  Not just in one episode, but in two!  I need to watch more to see if he does it more.  Granted the lines used are actually older than the heartthrob scrounge, but in the context of the scene I couldn't help but wonder if the writers threw that into the show as a character trait for Chance.  Since he is a bit of a Han Solo character (rough around the edges, a romantic at heart, gallivanting all over the world), it would make perfect sense for Chance to quote him on purpose.

That's a pretty fun tag for a character, isn't it?  (A tag is an identifier for a character, like the tag on the back of your shirt.  It can come in dozens of forms such as clothing and jewelry, side items, speech patterns, gestures, and more.)  I've seen the quoting tag in another place.  Tony DiNozzo of NCIS is always quoting or referencing the plots of movies.  This is one of his endearing, as well as annoying, traits.  But what a great character tag.  If someone in the show is referencing a movie, it's either Tony or because of Tony's influence.  But it always points back to Tony.  If a case is looking like a movie plot, Tony will point it out (and he has been right).  His tag can be handled in numerous ways, but it's always there.  Tony loves movies, and he's seen a lot, so his tag has quite the variety to keep it interesting and almost always amusing.

I'm thinking about tags to give my character for my next short story to flesh him out and make him jump off the page.  Tony and Chance could provide some inspiration.

What are your favorite sort of character tags?  What's the hardest one you've ever tried to write?

Seeker's Intro

I missed a week of blogland and accidentally did not post last Friday.  So, let me tell you what I saw this week.

I saw an episode of Legend of the Seeker for the first time this week.  I think it was the first episode since all of the characters and the story problem were introduced.  I've seen lots of sci-fi on TV before, but I can't say I've ever seen a fantasy series.  It's cool.  Horses, pretty dresses, halfway decent special effect (some better than others).  I'd like to watch more and see where the story goes (I know, I'm behind the times. Please, no spoilers.).

I liked the intro to the characters and the story.  Richard's intro showed him in action in his element.  He's strong, capable, and clever enough to build a bridge by himself.  This we learn before a word is spoken.  It slows up the pace, but after Kahlan's flight a change in pace give viewers a chance to catch their breath.  Then we learn Richard's name with the little boy's "Hi, Richard," adding humor as well.  We're given a chance to see the caring side of Richard—he crosses the bridge to assure the boy it's safe—before we see his other, not quite as favorable characteristics.  This is a good thing.

I have been told to introduce my protagonists at their best.  Yes, they should grow throughout the story, but readers need a reason to want to follow that growth.  This is accomplished by showing the protagonist at his best at the time.

With Richard, once the trouble starts we see he is reluctant, a tad whiny, and not perhaps the most respectful of young men.  But, since I have seen him hard at work and looking out for a little boy, I have hope for him, so I want to keep watching.

Is Richard's introduction dishonest?  I don't think so.  It's just a layer of him, one that we need.  When everything's hunky dory, he is fine, hardworking, and nice.  When things fall apart, he's not so much, but we know that he can be.  He just needs the motivation to reach for the story goal.  Once he's motivated, we have a good dynamic in this one character to keep things real and interesting.  What will kind, stubborn, capable, resistant, hardworking, lazy Richard do when x disaster is thrown in his face?

Good question.  Don't you want to know?
 

Favorite ...Disney Movie

On a recent road trip, out of the blue I asked everyone in the car, "What's your favorite Disney movie?"

When it was my turn to answer, I couldn't limit to just one.  I like several, and for different reasons.  Here's the list I came up with.

• Sleeping Beauty  ~  Princess Aurora is beautiful, but it's Prince Phillip and Merryweather, the fighters and defenders of the movie, who make this one sweet.  I loved Merryweather's spunk so much, I dressed like her for Halloween once.  And who could turn down a man who would face and defeat a dragon of Hell to save his love?
• Beauty and the Beast  ~  The friendship that grows from this one is the highlight of the story.  Belle learns to see past the outward appearance, and she notices when the Beast is selfless.  The Beast is given a chance to act like a human, and the transformation of his heart melts mine.
• Mulan  ~  A coming-of-age story with honor, danger, a hopeful wish of romance, building friendships, and a large goal.  All with a happy ending.  This is my favorite type of story to write, and this one is arranged beautifully.
• The Princess and the Frog  ~  I love to watch opposites Naveen and Tiana, a lazy party guy and a workaholic woman, find the balance of play and work.  And I like that Naveen catches on a little quicker than Tiana does and is ready to sacrifice.  These two are crafted well for each other.
• Tangled  ~  The adventure is fun, Mother Gothel is frighteningly convincing - making an excellent villain, and I couldn't love Eugene and Rapunzel more.  But the end makes this movie.  Eugene's sacrifice ties my stomach in knots, and every time I fear that all is lost.  Yet in that loss, it is beautiful because Eugene's choice reminds me of Jesus of the Bible on His way to and hanging from the cross.  It leaves me speechless.

What's your favorite Disney movie?  What about it touches your heart?

Present, Experiences, Directly, Watched, Isn't, True

A thought built one sentence at a time with the goal of around five sentences in a week and the desperate attempt at a sensible overall idea tied together by the end. The post title will be one word from each sentence.

~~~~~~~~~~~~~~~~~~~~~~~~~~~

Characters' pasts shape their present.

Experiences off the page, back in gradeschool, impact their thoughts today.

Though they may not know it directly.

Have you ever watched The Kid?

Isn't it true?

Isn't it true of you, too?

Gotta work for my dreams.

I take from Disney's "The Princess and the Frog", other stories, and from life.  You gotta work for your dreams.  I've gotta work for mine.

If life were handed to you on a silver platter, would that be any fun?  Well, okay, yes it would.  Sort of.  Work isn't a bad thing.  Adam and Eve worked before they sinned when the world was without blemish, so I think it's safe to understand that work, of itself, is not a bad thing.  And dedicated work pays off.  The great people of history are renowned because they didn't quit, and they didn't sluff off the tasks at hand.  They worked for their goals and dreams, and it paid off.

I need to remember this.  I forget and tend to think, "It's my day off.  I should study or outline a story, but it's my 'day off.'  I don't want to work today."  But you know what?  Nothing gets accomplished that way.  I dream of getting paid to write, but a dream without work behind it is a daydream—thin, fleeting, and far from satisfying.

I'm not knocking rest and taking time to smell the roses.  Actually, I'm all about rest.  I love rest; it's a great pastime.  But remembering that work is a good thing and that it leads to better things, well, it's something I need to do a little more often.  Perhaps remembering that working for something, toward a goal, does actually lead to better things is the hardest part for me.

Every protagonist in a story works for their goal (all characters should).  Did you ever wonder why characters not only have to have a dream or a goal but must work to achieve it?  Why it's not going to be handed to them?  Because our goals are not going to be handed to us.

I need to remember that my goals are achievable, and that should give me heart.  I like stories that show just how hard a character had to work for the goal, because when it's achieved, I am inspired.  I am motivated.

So, do this: Realize that fiction is what it is and has the plot elements that it does for a reason.  It's a reflection of the challenges and the grandness of the life we live.  Dream bigger than fiction, because life is bigger than fiction, and work for your dreams.

I'ma gonna get up now and get to it.  I daydream big.  Now it's time to make it real.


P.S. - If you say, hear, or think the word "life" enough times, it starts to sound really funny.  Life!

Fiction ...And Real Life... Can Tie Together

Marriage is not the solution because singleness is not a problem.  They are both good.

Ah, okay.  Now that I have that lovely thesis statement, the rest of this post may or may not have anything to do with it.  You see, I was writing a novel (don't worry, I still am).  I wanted it to be a romance.  I haven't written romance stories before (though I do like the subplot option sometimes) but my best friend writes romance, I like romances, and I thought I'd give it a try.

Welp, I tried.  Moving on.

No, really, I did try.  I had my characters semi-solid in my mind, my setting basically figured out, and a fair bit of the backstory in my head.  But probably about five or seven thousand words into it, I realized that my leading man would never choose the leading lady over his fiancée if the two women were side by side.  Even though the direct comparison is impossible in the story, it wouldn't be very satisfying to anyone (the characters, myself, and most importantly readers) if my leading lady was a second best.

And so, the romance died.  My book turned on its head, and I was left trying to patch together a plot that works and satisfies.  But, never fear (not that you would, and that's okay), that is happening.  I am far far far behind where I wished to be, but that is also in the works.

So I guess the whole couples/marriage/single thing has been in my mind for a while.  Concentrated, that is, on my story.  Now, I want my leading lady, the main protagonist, to be satisfied and happy even with being single.  But, I confess, it was pretty hard to figure out how to do that for my character when I couldn't do it for myself.

Thus the thesis.  (Hey, I am tying this together!)  Singleness is not a problem to be solved because it's not a problem.  Singleness and marriage are both good things in their own time.  It's just something that I've come to realize recently, largely due to a friend sharing this.  I think my life had been leading up to hearing that for...oh, say...eh, we'll call it six or seven months.  Let's not think about it too hard; just recognize that it's been a process.

Now, I am freed of the worries, fears, and even aimless hopes that I personally have had for years.  I have never been more excited to be single.  Maybe I won't be single for my whole life...and maybe I will.  But now I understand that singleness is not a problem.  It is a good thing to be enjoyed and used to its fullest.

Now I think I can give my character the same appreciation.

Problem solved.