Dr. Warren Wiersbe, an ode to a life extraordinary.

Dr. Warren Wiersbe and his lovely wife, Betty.

It's amazing how long it takes for thoughts to finally gel together when we lose an extraordinary person. I've finally been able to coalesce my meanderings, and hope this is well received. Here goes...

I first met Dr. Warren Wiersbe when I was about 12, during the time I helped my parents with janitorial work. I'd heard of him and knew he was a writer, which I passionately wanted to be, so I found his desk and left him notes from, "Janitor Mark." Amazingly, he kept all those notes and filed them for safe keeping. Well, he was enchanted by my youthful exuberance and met me in person, and thus began a lifelong friendship and mentor-ship. We spent many hours talking, learning, and joking. His humor always managed to dig under my shyness and tear it loose. He was a wonderful man, and I loved him dearly.

He heartily encouraged my writing, and critiqued everything I wrote--including my first two books. The amazing thing was, though he disliked fiction, he always found time to read whatever I created. His wisdom helped me in far more than writing. He mentored me spiritually, and I will forever be grateful for his guiding light. I owe him a great debt.

My favorite memories are when he would take me to the steak house and we would have lunch together. At the time I wasn't aware of just how special those times were, but I was a kid and was at least wise enough to make those times count. When I turned 16, and got my driver's license, he gave me a congratulation card with $25 inside for my first ticket! What a jokester. The privilege of such attention was lost on me at the time, but now I can only look back with wonder.

When my son was born, we named him Peter Warren, in honor of Dr. Wiersbe. My whole family met both him and his wife many times. We didn't take enough pictures, but I'm glad for the ones we have, and he gamely posed for them. It's impossible to express just how big of an impact he made on me and my family. What an extraordinary man.

If there is one lesson that Dr. Wiersbe taught me above any others, it was quiet humility. He always gave credit to God first, and only accepted praise second-hand as the tool of the Creator. I saw how he treated fame, the way he practically ran the other way when confronted by it. He enjoyed anonymity whenever he could, but didn't complain when I'd introduce someone to him. What a fantastic example he was!

I hope that I've passed on his lessons to my own children. I hope his influence has made me a better man. I hope his memory never fades. I wish I could talk to him more, and ask his opinion on things, but that time is sadly gone. I will never forget him, or his special ministry to me.

Thank you, Dr. Wiersbe, and thank you, Mrs. Wiersbe for always being gracious and loving even when we interrupted dinnertime. We miss you both.

- M

Snuggle up to some good books ... mine of course!

During this uncertain time of illness and tragedy, we all need something to slip our minds into a better place. We need good books. We need some escapism. We need fun back in our lives.

My Erahsil fantasy trilogy is perfect for such times, if I do say so myself. These three books are full of hope and overcoming obstacles, and naturally heroes and villains. The stories are filled with enough imagination and twist to please anyone. Yes, they are labeled as a Young Adult series, although I feel the stories are for anyone willing to let their mind drift and be care-free once more.

In short, Phaedra, a girl finishing high school, and later Craig, also her age, battle to save the world of Erahsil from destruction. It's at first an unwilling mission, but quickly takes them on a journey that will see them save two worlds.

I love fantastical creatures and magical places, so I've filled Erahsil with all those aspects. My readers tell me they really enjoy it and I hope many more will experience the wonders of Erahsil.

You can find all of my books at Amazon, here.

Erahsil, book 1,    Erahsil, book 2,    Erahsil, book 3.

May you all be blessed and stay warm and healthy.

- M

Words of Power

One of the reasons I originally became fascinated with language is the capacity to bring hope and comfort to those hurting. Stories are especially potent in this regard, because we insert ourselves into the characters and live out their adventures. Sure, I was with Bilbo when he found the One Ring in The Hobbit, and I scurried with Frodo and Sam in the Lord of the Rings. I haven't found any other medium with such power and majesty, and I doubt I ever will. There's something very special about living through a good story; the characters become part of our lives.

A well crafted story is capable of developing truly astonishing levels of emotion in the audience. Whatever the genre, stories burrow into the heart and draw forth the power of our feelings. But, it's not just the language doing it, there is the journey to take into account. Truthfully, if there is no journey, there's no emotion. If you were told the ending, without everything before it, the story would fall on its face and bear no power at all. We all require a process of growing to reach maturity, so should it be any different with a story?

The power of words is undeniable. The right words, at the right time and place, can change the universe. I my estimation, language is the greatest power of humankind. With it, we build cities, form societies, and develop future generations. Words are the future, the past, and the present. The old phrase of, "sticks and stones can break my bones, but words will never harm me," is true only in the sense that words don't physically injure. However, words have massive impact on our spirit. Use them with care.

- M

Forgiveness and renewal, two very important themes.

One reason why stories are created, is to form the framework of forgiveness. A surprising number of tragic stories are made primarily to spread forgiveness and to renew faith in humanity. Of course, it doesn't take tragedy to grant forgiveness, as many other kinds of stories prove, yet the device is well suited to bring catharsis to the audience (that is, to set free the pent up emotions and provide relief). Scary stories do this in a way, but it's the deep and haunting tales that grip your heart that provide the best return.

Many people find forgiveness very hard to secure. Whether it be forgiving themselves, or others, people like to hold grudges. Stories can teach how to forgive, why to forgive, and when to forgive. It's safe to say that even grudging forgiveness is better than allowing pain and hurt to fester inside. Look at the tale of "Hamlet" by Shakespeare, and we find a family incapable of forgiving anyone, and it leads to the doom of them all. What a powerful example! More recently, look at the musical fiction "The Greatest Showman," and the amount of forgiveness and renewal on constant display is breathtaking. I especially love how his wife and family renew the main character's passion for life by their forgiveness. It's inspiring.

Why do stories tackle such heavy and powerful themes? Well, why not? Stories are part of our human nature, so authors pour themselves into creating them. It's natural to talk about anything important to us. Also, stories provide a safe way to learn and express ideas. We get to experience situations unknown to us, and see how people might behave. When we watch other people forgive and experience renewal, it's easier for us to do the same. I love reading books where the main character is shattered personally, and then later is renewed to life. Stories aren't merely entertainment, but powerful platforms for teaching.

- M

What if ... ? Grabbing story ideas from thin air.

Speculation about what could be isn't only tied to science fiction. Anyone can ask, "What if?" and apply reasoning and imagination to whatever they want. Many tremendous works of fiction have been birthed by such simplistic questions: Twenty Thousand Leagues Under the Sea, Forest Gump, Anne of Green Gables, Star Trek, mysteries of all kinds ... the list is endless. If you find yourself stumped for what to create, just start asking questions and let your mind wander.

I'm not sure when it became a bad thing to daydream, but it's sure battered down the heights of imagination most people aspire to. Actually, imagination is a strangely disparaged thing--people seem to think a bright imagination is bad. I can't understand it. For instance, I was helping my father put a television on the wall, with one of those extending and turning television brackets, and we were stumped by three screws that simply spun in place yet didn't come out. I sat and thought in frustration, then imagined the inside and some possibilities. In the end, we took the back off the television and discovered another bit that unscrewed rather than the screw. It was a simple thing to fix and reassemble. But, without such imagination, I don't know what we'd have done.

You see, if you begin with the question, "What if ..." then you are lead by your own imagination and experience into a completely new world. That's where huge leaps in technology come from, springing from seemingly nowhere, to dazzle the world with profound brilliance. I think back on my favorite books, and the majority are hugely imaginative. If you keep prodding yourself with imagination, you will naturally respond by fostering more imagination inside yourself. That's the best part! Clear away the cobwebs and let your mind soar into a universe of possibilities!

- M

Writing and invention go hand-in-hand, and can make anything work.

Have you ever wanted to create a device, or a business, or attempt a ridiculous adventure? Well, all you need is a pencil and paper and a bit of imagination! Write it down. Writing is a magical activity, making all things possible. Maybe you think you don't have the ability, or the mind, to craft the words. But, I believe anyone is capable of storytelling. Release the bonds holding you back and go where the story takes you.

Invention is essential to human activity. Without new ideas, we would still be running from place to place with only dreams of riding in cars and soaring in planes. Jules Verne is often regarded as a wonderful inspiration for many technical advances, such as: atomic power, submarine warfare, zero gravity weightlessness, and so much more. Did his writings make these come about? Likely not, but I'm sure it gave vision to the people who actually made the ideas reality.

Inspiration is frequently mentioned when speaking of artists of any kind, yet it isn't reserved only for pie-in-the-sky types. Anyone looking for ideas can discover a sudden wild burst of brilliance that springs into invention and progress. But, you can't steer a ship that still anchored in the harbor. In other words, get up off the couch and make your ideas into something big. Yee haw!

- M

I despise endings and goodbyes

Have you ever gotten to the end of a book and immediately looked for the next part? If you love a story, then you don't want it to end. You want to see more of the world, hear the next adventure of the heroes, or simply want to hang out with them some more. It's awful to reach the end and know there's nothing more. I well remember when "Return of the Jedi" ended, I was satisfied and torn and wanted to keep experiencing the Star Wars universe. Because of that, I read many of the novels and comics that came out, simply to extend my time in their world. Love is like that.

The final part of a story is typically called the anti-climax--because it's the bit immediately following the exciting climax--and is where plot threads get wrapped up and characters are set free to go on their way. Mostly these segments are short and to the point, to lessen the pain of saying goodbye. There are types of stories that never fully say goodbye (any series with a recurring character is a good example). I think this may be the reason for the incredible surge of long-running movie franchises. I can't imagine any other reason why we've seen the continuing success of the Marvel movies (aside from having some really fun stories).

Audiences enjoy falling in love with characters who last more than a single story, who can influence their worlds, and who matter for the long term. My first love is certainly the hobbits from the Lord of the Rings books, particularly Sam and Frodo. It's refreshing to see a greater acceptance for extended stories, even ones that last for over 10 years (such as the Marvel movies). Maybe this means that people's attention spans are finally growing? I hope so.

- M

The blindness of spectacle

A trend in many modern stories is for spectacle. What I mean is it's not the story as a whole that's the big draw, but certain portions and even little set pieces. Movies are of particular note, since everything is visual enticement. Movie previews love to show "money shots" where something impressive is happening, but these spectacles don't make a story--frequently they totally detract from the plot, in the vain search for heightened emotions. The problem is that spectacle can blind the audience to the otherwise lack of depth in the story. Sure, an audience is dazzled by what's happening, but when they reflect on their experience they'll discover a profound lack of substance. That's the danger.

Stories are a series of events strung together in meaningful ways. Memorable scenes are touchstones for a good story, but shouldn't be based upon them. Stich them together and let the audience decide what should be the spectacles. Of course, it's hard not to make a spectacle out of something like the Battle of Helms Deep (Lord of the Rings), or the sinking of the Titanic, or the sunset of twin suns in Star Wars. It's magical when these things happen naturally and I'm dazzled by authors who manage the trick.

My favorite stories roll along like unstoppable juggernauts, where the heroes are barely keeping up and the villain is pulling all the strings. Well, the other way around is fun too, I fully admit. All that really matters is having a good time and being entertained. We search out stories to step away from life for a little while. It's escapism. So, like beauty, a story is in the eye of the beholder. If it works, then who cares if it follows the rules.

- M

Weather isn't always perfect, but it comes close.

Weather is something we all know, so it's unsurprising to find it mentioned in stories all the time. What I find interesting is how the focus tends to be on the moody aspects. For instance, "It was a hot and sultry day," or "Cold rain cut through my clothes, soaking me to the skin." It's a happy occasion to find good things about the weather, like my favorite scene from "The Hobbit" book, where Bilbo climbs past the forest treetop and pokes his head into the sun-drenched paradise above the horrible forest of Mirkwood. I adore that scene, because it stands in such stark contrast to the dreadfulness below. Also, it's the first story scene I ever read where I could absolutely see it completely--just like it was playing out in front of my eyes (a magical experience for a third grader).

Typically, people complain about the weather, or totally ignore it. Like so many things, we love to complain but are slow to enjoy. I'm not sure why we human beings do this. Why can't we roll in the grass when the sun is shining? Why not skip through the puddles after a rain? Why don't we grin into the wind and laugh at the moon? Yes, we can enjoy the weather when it's good. We don't always have to complain. Which brings me to one of the few jokes I know: What do you get when you put a bunch of farmers in the basement? --- A whine cellar. <You see, farmers pout about everything, because nothing is ever perfect ... yeah? funny huh?>

Despite all this, we still love to talk about the weather. In fact, it's such a cliché that we joke about how often we speak about it. Yet, it's frequently the very first thing we talk about with someone. So, it's no surprise to find weather in our stories. It's a background feature generally, but when it's the focus there's nothing holding it back. I suppose the best thing about weather in stories is that it absolutely obeys the author, setting the scene and ambience for whatever they have in mind. Plus, it's easy to strand characters by using weather--also, most suspense stories wouldn't exist without some kind of horrible weather.

- M

Mothers in stories

We all love our moms. We talk about them, cry out for them when we hurt, and hold up signs saying "Hi, mom," at sporting events. So, it's no great surprise to find caring mothers inside our stories. Sure, some stories cast mothers as psychos from the nether realms, but usually mothers lead charmed literary lives. I grew up with the model moms from "Leave it to Beaver" and "The Andy Griffith Show." (For those who haven't seen such ancient shows, these moms were impossibly perfect and infinitely patient. We adored them.) Mothers give us our lives, nurse us, kiss our boo-boos, read us bedtime stories and generally be really nice to us (fathers have their own day, so their contributions are for another time).

This was just too cute not to include here.

Because of all this, mothers are incredible emotional touchstones. Authors use these connections to quickly imply depth in characters, since the way people behave toward their mothers demonstrates a vast array of emotions and will get a story into high gear very quickly. Also, everyone has a mother and father, so the whole world can relate. Yup, it's a useful shortcut, so why not use it?

I think back on my experiences with my own mother, and I can't help but smile. She's an inspiration and role model to me and my children. My wife's mother, gone now to glory, was also an exceptional influence on me. So, when I read a book, watch a movie, or listen to a song about mothers, it's impossible not to think of the fine women in my own life. I owe my life to them--one for my birth and raising, and the other for my wife and best friend. Discovering a story with such a mother is a gift in itself, and a welcome connection to mothers in general.

- M

Why is it that when things are perfect, it's wrong?

The science fiction movie, "The Matrix", has a great monologue from the character Mr. Smith. In it, he says that a prior version of the computer simulation failed because it was perfect and humans rejected it out of hand. It's an interesting thought, and it's also likely true. Whenever there's perfection--such as in sport or art--we immediately look for trickery, for mirrors and smoke, anything to make it so we aren't inadequate in comparison. So, we prefer our worlds to have flaws, because that makes them more "real."

This brings us to the common advice all new writers are given: give your character a flaw, something that makes them vulnerable. What's interesting is these don't necessarily have to be real. For instance, my favorite detective, Columbo, makes a big deal of being a bumbling fool, yet is actually highly intelligent and uses this seeming vulnerability to put suspects into a state of arrogance. Batman's flaws are his childhood trauma and also his unwillingness to kill, which limits his options and thus forces creativity. You see, flaws expand a character rather than limit them--and that's why perfection is so hard to believe, because perfection requires nothing else.

Authors can use this sense of reality to incredible effect. Audiences may not even realize their being manipulated. If you're watching a suspense movie and the hairs stand up on the back of your neck without you knowing why, it's likely the author is pricking your sense of reality. Think of it like a magic trick--lovely to watch, infuriating to work out how it's done, and ultimately unfulfilling when you know all the details. However, as an author, the thrill is in watching the audience react, and enjoying the amazed looks and bewildered chatter. So, don't let perfection stop you. Get out there and mess stuff up!

- M

Examine all the possibilities before you start. Maybe you'd like to share?

Something that frustrates me as an audience, is when information is hidden for no better reason that to be a whammy surprise. For instance, in the excellent movie, "The Martian," there is a specific point where the astronaut is figuring out how to communicate with Earth. It's engaging, interesting, fascinating, and bewildering. The audience is right there with him, both in thought and action. Then, the astronaut sees something on his computer, goes "Aha!" and scurries away. Immediately, NASA is watching his activity and puzzling over what is going on. All this is a mystery for a good ten minutes, as the NASA guy figures it out and says only, "I know where he's going." Then, there's an airplane trip, some rushing through a warehouse, and finally the big reveal, when they say, "So, this is Pathfinder." Tada! Huh?

The Pathfinder lander, with the little Sojourner wheeled rover, being prepared for launch.

First of all, why couldn't the astronaut have simply said, "Easy, I'll use Pathfinder?" The audience likely doesn't recognize what that means immediately and, even if they do, the information does little to dampen the suspense. Actually, I think the suspense would be greater, since the audience has information NASA doesn't yet possess. Why prevent the audience from knowing? Especially since the reveal of Pathfinder isn't fully understood until the beginnings of actual communications. I believe it's a lost opportunity to raise the level of storytelling.

I'm not sure if this is a trend, but it does pop up frequently. The funny thing is, keeping this information hidden is actually more work for the author, because it's really hard to misdirect an intelligent audience, so authors are forced to omit information and send characters wheeling about in a frenzy of non-explanation. Agatha Christie's "Murder on the Orient Express" is a great example of doing it properly. Everything the detective knows is expressed to the audience, and we have the possibility (unlikely as it is) to figure out the solution before him.

Modern audiences are wise to story trickery, jaded by overused clichés, and eager to see anything new. Myself, I long for meaty concepts that stretch my imagination, and to enjoy stories that don't hold my hand and treat me like a grown-up. Don't arbitrarily hide something so there's a "zinger" later. I want to be in on the joke. I want to know what's going on. I want to be an active part of the story!

- M

New book released!

I'm happy to announce the release of my newest book! Woohoo! It is the final book of my Erahsil trilogy.



Buy it at Amazon

Skyfell Liberation

"The thrilling conclusion to the Erahsil trilogy!

 

"Loegaire has won, forcing Phaedra to escape while leaving Craig behind. Now, Phaedra must retake Erahsil, without an army, without a plan, and without any hope. But, since her first hesitant steps as queen, she has found inner strength she never knew before. Buoyed by conviction, she throws herself into the conflict, gaining unexpected allies and confronting the horror that is Loegaire.

 

"Whoever wins this final conflict, one thing is certain: Erahsil will be changed forever."

It's been a thrill to write this trilogy, and I hope you all enjoy it. Happy reading!

- M

Sometimes, all you need for a villain is ... yourself.

I've seen two movies recently with incredible stories, marvelous tension, yet distinctly lacking a visible villain: "The Greatest Showman" and "Everest." In the first, the tension comes from dreams and possible failure, while the second is a battle against savage natural forces. I suggest that the villains in these stories are actually the people themselves. We constantly fight ourselves, rage against our failures, and struggle to master our passions. These two movies are totally different genres, one being a musical and the other an  adventure/drama, yet share the quality of the human need to become better than who we initially are.

Tension is necessary for any good story, but there are no limits to the places these tensions arise. I feel that tension the greatest in stories where the main character is at war with themselves, because I face the same thing myself (and I suspect everyone else does too). When I experience stories where the heroes claim victory in this fight, it raises my own hopes and expectations. Isn't it incredible how watching, listening, reading, or otherwise following a story, provides such inspiration? This is the power of stories!

When the fight is against themselves, there's tons of introspection throughout the story. How often do we do this in our own lives? Likely not very often. Stories provide a safe place to carry on brutal reflection, and can shake us up enough to make us change for the better. That's a fantastic power for so simple an art form. This one aspect is what drew me to writing in the first place, even beyond the imagination of fantasy and science fiction, because it can foster real change. Everyone wants to make their mark on the world, and so do I. Stories provide the opportunity and platform. But, as Spiderman reminds us, "With great power, comes great responsibility."

- M

The complex issue of perfection

image credit

The new Star Wars movies have brought a character type into sharp relief. It's a concept called the "Mary Sue" or "Gary Sue." Originally a one-time character on Star Trek, this type is essentially perfect at anything they do, even beyond experts already doing those tasks, without any flaws. In "The Force Awakens" we are introduced to Rey, who is interesting and charismatic and fun--and also incomprehensibly good at whatever she wants. This isn't necessarily a problem, because the actress makes it interesting. However, what could ever challenge a flawless character? Story is based around conflict, and a main character without troubles has no conflict.

It's a seductive concept for authors, because it's very easy to demonstrate how incredible the favorite character is, because they do absolutely anything with aplomb and confidence. However, this sabotages all the other characters. If the story only requires a single star character, that's one thing (boring, but okay), however if there are more main characters then they never shine on their own. Having perfect characters may well steal any sense of trauma and danger from a story.

While audiences usually want to see the heroes succeed, they also want an exciting experience. A common twist of plot is simply for the good guys to fail, and that's impossible with a perfect character. I think a happy compromise is to give characters a singular skill, which they absolutely excel at, and let that be it. Let a character struggle and you draw in your audience, then your audience and characters somehow work together to bring the final result. It's a magical experience to join with the story and feel the world explode around you.

- M

Why character growth is so important

I've experienced several stories recently where the main characters do not change at all throughout the story. And, they've all been disappointing. I think it's because we naturally expect, quite reasonably, that the events of the story will have an impact on the characters. When that doesn't happen, it's like nothing mattered and we're left hollow. Poor choices mean bad things happen, and great choices mean good things. Audiences want the catharsis of result; it's satisfying and wraps up the story.

We hear the phrase "character arc" a lot in these types of discussions. What's it mean? Basically, it means characters grow and change during a story. Perhaps their priorities diverge, their internal motivations alter, or their beliefs change. If you took the characters from the end and put them into the beginning again, those characters wouldn't behave the same way. Why? Because they've changed. It's part of the entertainment of any story. We hear the phrase, "the journey is more important than the reward," and it's true in virtually every aspect of life, even our entertainment.

When characters feel real, we go through their circumstances with them, and as they change ... so do we. If we truly relate to characters, we live vicariously (look it up, it's a good word to know). Entertainment like this is special, because it has the capacity to expand our lives, our experience, our viewpoints, and provides new ways of seeing the world. Yes, entertainment has that incredible power, so use it wisely and carefully. "With great power, comes great responsibility." - Uncle Ben, Spiderman.

- M

Actions have consequences, right?

In stories, and in life, actions have consequences. Within the realm of stories, consequences are managed by the author, and hopefully reflect a reasonable outcome. But, it's amazing how often obvious consequences are twisted and molded to fit plot, rather than actions. I'm of the opinion that plot and character should go hand-in-hand. If plans, events, and consequences are not organically produced by direct character action, then the story can feel forced and unbelievable. Audiences need to dance in partner with the story, willing going along, and enjoying the rhythm. You can't force a dance--it has to be mutual.

I am King, watch me Dance!
image credit

When a story is short, such as in a movie, these consequences stand out even further. One complaint I hear a lot about many modern films is the lack of punishment for misdeeds. If a hero acts in a criminal way, why should they be rewarded? Well, when the movie demands it, then the story provides it. Vigilante stories fit this method the best, and audiences love it and dance right along (just think of Batman). But, if things spiral out of control the fix is in and audiences see the manipulations.

So, is a story supposed to fit reality and it's unflagging consequences ? Well, sure, if you want it to. However, a story isn't true life and the author can fiddle with the mechanics. Again, writing is about crafting the best story you possibly can. Unless you're writing factual history, then playing with the odds are all part of the game. Just don't do it so much that the audience stops dancing and wonders why their feet are sore from all the foot stomping.

- M

Cheating like a pro, and being paid to do it!

There are many methods authors use to cheat. Bear with me on this. What I mean by cheating is basically taking extreme shortcuts to end goals by devious means. For instance, take the movie, "John Wick"--we watch the protagonist lose his wife to cancer, then receive a parting gift from her in the form of a puppy. Aw, cute and darling. Then, after a few short minutes, the dog is murdered and John is plunged into red-eyed revenge. That's a cheat, and the author's knew it. We love cute animals and our blood boils to see them mistreated. That's all the motivation the hero requires, and the audience is right along with him. Action films don't need a bunch of setup, and this cheat fills the void nicely. The audience doesn't mind, and is happy to get past the slow stuff.

Another cheat is putting kids in danger, triggering the natural desire to protect them. Still another is to threaten the destruction of a sacred object or landmark. But these are just to get the narrative running and stoke conflict. Other sorts of cheats can build whole cities and groups of people in a flash, by mentioning a well-known event or familiar surroundings. Historical references, even in fiction, provide huge swaths of background and impressions. Using these tricks, authors are capable of weaving incredible worlds in a very short time.

However you cheat and shortcut your way through your story, it's not malicious at all. These are tools to use, and you'd be a fool not to take advantage of the way our minds work. In my view, these cheats actually improve the depth of stories and provide easy hooks to catch onto. Audiences aren't as patient for stories to develop as they once were--which is a grand shame, but what can you do but adapt? So, revel in your mischievous quirks and draw from whatever seems appropriate. Just make sure to tell a good story in the process. Audiences will seek you out. I believe that with all my heart.

- M

Fighting the big bad in superhero stories

I think it's fair to say that most superheroes fight a big battle at the end of nearly every story. This isn't a bad thing, and definitely fits well into the Three Act structure. I do have a question about the final battle. What form does the fight take, and should it only be against the villain personally? For instance, in the classic "Sleeping Beauty" (which has my favorite villain of all time, Maleficent), it is completely possible for the hero to fight his way to the heroine and close it out without even slaying the villain. However, what this ending doesn't do is provide closure and leaves the villain to skulk about and do more evil, which is why the movie chose otherwise..

In the new DC movie, "Wonder Woman," the final villain (Ares) is only a metaphor for the entire movie, then suddenly manifests to be slain in the big fight. I think the ending would have been much better if Wonder Woman had beaten the general and his scientist, yet failed to stop war (the figurative Ares). This highlights that war/Ares is a much greater battle and a single victory won't finish it. Character growth like that can put a tidy capstone on a story, and leaves a whole lifetime of stories as possibilities. To win everything in one story pretty much completed the Wonder Woman arc and there's nothing left, at least not until there's a new super-villain to battle. This is why Batman has never completely defeated The Joker and never will.

Maybe as audiences we've become too accustomed to the idea of problems being resolved within single stories. This has been true in television for ages, though we do have season-long stories sometimes. But, as nice as it is to see the conclusion, is it what we really desire? Sure, a mystery needs a solution, and a battle needs an ending. However, I want a hero who doesn't just pop in, fix an issue, and leave. I want someone who sticks around and works hard and leads by example. Sometimes, that means losing the battle to win the war.

- M

Diversity in stories

Current American culture loves to throw diversity into critiques. When it comes to stories (mainly movies, as they are visual), it is skin color that is most commonly examined. I'd like to shift the focus of the diversity into a totally different aspect, which is diversity of character. Have you ever heard the term, "cardboard characters?" People use the phrase when a character has no dimensions, no yearnings, and is a simple archetype or stereotype. Such characters are not enjoyable. What audiences want are characters with diverse personalities, varied interests, and overlapping needs. We want someone we can possibly relate to, empathize with, and take the story's journey alongside.

We get wrapped up in appearances too much. When I was a youth, there was a phrase girls were using, "Beauty and Brains." Woman wanted to be recognized for their inner beauty as well as outward. I have no idea how well it worked, as I wasn't actively dating during that time, but I understand the desire behind it. People don't like being thought of on a purely surface level, because it's insulting. So, why should authors be surprised when stories are treated the same way?

One of my personal beliefs is that when we find a story we adore, the story becomes a part of our personality. Think about it, if you recommend a movie that you love to someone, and they hate it, why do you feel a twang of personal insult? Because you identified with the story, and for it to be attacked hurts that connection. Stories with a diverse cast of well-drawn characters provide those connections far better than stories with simply color-coded people. Let the characters speak for themselves, not only their outward appearances.

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- M