On Writing: Ruling Passions

I once read the whole of Danielle Steele’s oeuvre as a research project. I wanted to see what in her books made her so popular. It was the most excruciatingly painful reading experience of my life. Her writing style is surprisingly amateurish, her characters are not well drawn, she tells and explains instead of showing, and she repeats herself as if she can’t remember from page to page what she’s already said.

But I did learn her secret. Her characters are passionate. They never like or dislike anything. They love and hate, but mostly love. “She ate a piece of cherry pie, and she loved it.” “They had sex, and they loved it.”

She also picks issues people are passionate about, and wraps her story around that, so not only do her characters have a ruling passion, so do her readers. When passions are all consuming, as they often are in her books, they create collateral damage. Maybe that is what makes her characters compelling — readers keep waiting for the train wreck.

And yet  .  .  .  all-consuming passions are not the only way to tell a story. Most of my characters aren’t particularly passionate about their ruling passions, but they do have strong motivations, such as a need to discover the truth, whether their particular truth or a more universal truth.
In A Spark of Heavenly Fire, all Kate wants is a good night’s sleep, but first she has to deal with the death of her husband, and then she has to contend with a state-wide epidemic. Although the forces that drive her are fairly tame, many of the characters in that book have stronger passions. Jeremy is consumed with getting out of quarantined Colorado. Pippi is first passionate about Jeremy, then passionate about escaping with him, and finally passionate about returning home. Dee is passionate about helping the homeless. Greg is consumed with the need for truth. The villain is passionate about his deadly little organism. Turns out the only non-passionate person is my heroine! Yet the story revolves around her.
In How to Write a Damn Good Mystery, James N. Frey tells us that our main characters, both the hero and the villain, should have a ruling passion. Alexander Pope, perhaps the first person to use the term “ruling passion,” wrote: “The ruling passion conquers reason still.”

Seems like an interesting conundrum here — a character must have a ruling passion, and a character should be smart  (or at least working to the best of his or her abilities) yet the ruling passion overrides that. Should make for a good inner conflict.

(This article was compiled from comments I made during a live chat. If you’d like to see the entire discussion, you can find it here: Ruling Passions — No Whine, Just Champagne Discussion #146)

A Life-Long Quest for Truth

When I was eleven years old, I overheard my brother ask our dad if he believed in Atlantis, and something inside of me leapt with recognition. I knew, without any doubt, that there had once been a wondrous place called Atlantis, though I hadn’t any idea what or where that place might be. The very word seemed like a beacon, illuminating an incredible and mysterious past. Until then, I’d never heard of Atlantis, never even had a concept of lost civilizations, and yet, there it was . . . that instantaneous knowing.

(This recognition happened only one other time in my life, and that was when I met the man who would share more than three decades of my life, but that came years later, and only has a bearing on this story because he also shared my need for truth.)

I seemed to have an innate belief that great truths (and even lesser ones) were being kept from us, though this belief could have stemmed from my being a child, and much is kept from children, but still, I wanted to know. And so started a life-long quest for truth — the real truth, not the sketchy half-truths and self-serving lies we are taught to accept as fact, both in school and on the news.

There have been so many mysteries to study and to ponder: UFOs; the Kennedy assassinations; mysterious places such as the pyramids and Stonehenge; ancient, lost, and forgotten civilizations; the origins of mythology; historical truth; the war on gold; alchemy; who our true leaders are.

And there were many surprises. For example, when I first started delving into mysteries, I came across the idea of continental drift, that all the continents had once been connected and had drifted apart. At the time, it was only discussed in esoteric circles, because the scientific community did not recognize the validity of the theory. Years later, when revisiting the topic, I discovered that the theory of continental drift had become standard.

Another surprise came from the study of “The New World Order.” Those words have been bandied about for centuries, sort of a slogan for conspiracy researchers who were aware that the goal of many secret groups throughout the ages has been to develop a one world government — a new world order — and then George Bush used that very phrase. Shocked the heck out of me. But it shouldn’t have. Many once secret groups, such as the Council for Foreign Relations, have become mainstream.

But the biggest surprise came when all those mysteries, those fields of study began to converge. Some of the players in the Kennedy assassination drama, such as Guy Bannister and Fred Crisman, showed up in UFO literature. Modern technologies began to mirror mythological technology, such as plasma guns, fusion torches, weather manipulation.

The past emerged into the present, science merged into history and politics, and a larger picture took shape. Whether this big picture has any truth to it or is simply the result of a mind seeking patterns where none exist, doesn’t really matter, at least not to me, not any more. I never had an emotional stake in the resolution of the mysteries. I simply wanted to know the truth.

It does make a great story, though, the pattern of truth I found. At least, I hope it does. This lifetime of research into arcane subjects is the foundation of Light Bringer, my newest novel.

As for Atlantis, I have no idea if such a place by that name existed, but there is no doubt that civilization did not begin with us, that there have been many civilizations that rose to prominence and disappeared, leaving only traces of stone behind.

On Writing: Family

If a character has well-defined family members — that never-satisfied mother, that demanding great-aunt, that silent father — then we authors don’t have to create that character. The family does it for us.

The family of Mary Stuart in Daughter Am I truly helped create her. When Mary found out that she was the heir of grandparents she never knew existed, she had to find out who they were so she could find out who she was. Once I set the family dynamic, that determined the character of Mary. Her father was close-mouthed, wouldn’t talk about why he disowned his parents or why he told his daughter they were dead. He also bonded more with his daughter’s fiancé than with her. The mother seemed to be mostly a shadow of the father. Because of this, it was inevitable that Mary got engaged to the guy they liked, and it was also inevitable that she dumped him when she became her own person. And even that “own person” was created by family — turns out she was just like her dead grandfather, with his set of values, a desire to build his own life despite social conventions, and an intense loyalty. Even her “adopted” family helped create her. As she followed her quest to learn about her grandparents, she accumulated a crew of travel companions — all friends of her grandparents — who become a new family of sorts.

Rubicon Ranch, the collaborative novel I’m doing with some other Second Wind authors, is all about family. The birth family who’s been searching for the girl and who fall prey to con artists, the couple who wanted a child so bad that they kidnapped one, the old man who suspects his son of the crime, the woman who suspects her father, the boy who is being abused by his father, the sleepwalker who is still haunted by his dead sister, the woman who is grieving for her dead philandering husband. It’s interesting how the theme of family has evolved in such an extemporaneous project. We never planned this theme, but each of us separately chose to deal somehow with family skeletons.

The family of Bob in More Deaths Than One certainly helped create him, especially since that was the basis of the story. He comes home from an 18-year sojourn in Southeast Asia to discover that the mother be buried before he left is dead again. He goes to her funeral and sees his brother, but they had never been close, so he doesn’t make contact. Bob also sees himself, but a doppelganger isn’t really family, so it doesn’t have any part of this discussion.

Lack of family also helps define characters.

In my just-published novel Light Bringer, two of my main characters found each other when they were searching for their birth parents. Those characters were truly a product of their upbringing and their birth. That is the whole crux of the story — who the characters are and why they were birthed.

How does your character’s family make her who she is? (Or make him who he is.) How do they bind her? How do they set her free? Do they add to her conflicts, either internal or external, or do they help her on her life’s journey?