Saturday, December 3, 2022

Box of Chocolates . . . or How to Get Away With Stealing Stories

“If you always do what you always did, you’ll always get what you always got.” —Henry Ford

Writers steal their stories all the time, and often this blatant thievery goes unnoticed . . . until the trained eye digs a bit deeper.
*note: just switch out the preceding word/s with the succeeding word/s (in parentheses).

Here, take a comparative look at Disney’s Pocahontas vs. James Cameron’s (Avatar):

In 1607 (2054), a ship carrying John Smith (Jake Sully) arrives in the lush “new world” of North America (Pandora). The settlers are mining for gold (unobtainium) under the supervision of Governor Ratcliffe (Colonel Quaritch). John Smith (Jake Sully) begins exploring the new territory, and encounters Pocahontas (Neytiri). Initially she is distrustful of him, but a message from Grandmother Willow (the tree of souls) helps her overcome her trepidation. As the two begin spending time together, Pocahontas (Neytiri) helps John (Jake) understand that all life is valuable, and how all nature is connected via the circle of life. Furthermore she teaches him how to hunt, grow crops (tame dragons), and of her culture. We learn her father is Chief Powhatan (Eytukan), and that she is set to be married to Kocoum (Tsu’tey), a great warrior but a serious man whom Pocahontas (Neytiri) does not desire. Over time, John (Jake) and Pocahontas (Neytiri) discover a mutual love for each other. Back at the settlement, the men, who believe the natives are savages, plan to attack the natives for their gold (unobtainium). Kocoum (Tsu’tey) tries to kill John (Jake) out of jealousy, but he is later killed by the settlers. As the settlers prepare to attack, John (Jake) is blamed by the Indians (Na’vi) and sentenced to death. Just before they kill him, the settlers arrive. Chief Powhatan (Eytukan) is nearly killed, and John (Jake) sustains injuries from Governor Ratcliffe (Colonel Quaritch), who is then brought to justice (shot with arrows). Pocahontas (Neytiri) risks her life to save John (Jake). John (Jake) and Pocahontas (Neytiri) finally have each other, and the two cultures resolve their differences.


Or George Lucas’ Star Wars: A New Hope vs. J. K. Rowling’s (Harry Potter and the Philosopher’s Stone):

Luke Skywalker (Harry Potter) is an orphan living with his aunt and uncle on the remote wilderness of Tatooine (in suburbia). He is rescued from aliens (muggles) by wise, bearded Ben Kenobi (Hagrid), who turns out to be a Jedi Knight (wizard). Ben (Hagrid) reveals to Luke (Harry) that Luke’s (Harry’s) father was also a Jedi Knight (wizard), and was the best pilot (Quidditch player) he had ever seen. Luke (Harry) is also instructed in how to use the Jedi light saber (a magic wand) as he too trains to become a Jedi (wizard). Luke (Harry) has many adventures in the galaxy (at Hogwarts) and makes new friends such as Han Solo (Ron Weasley) and Princess Leia (Hermione Granger). In the course of these adventures, Luke (Harry) distinguishes himself as a top X-wing pilot (Quidditch Seeker) in the battle of the Death Star (Quidditch match), making the direct hit (catch) that secures the Rebels (Gryffindor) victory against the evil Empire (Slytherin). Luke (Harry) also sees off the threat of Darth Vader (Lord Voldemort), who we know murdered his aunt and uncle (parents). In the finale, Luke (Harry) and his new friends receive medals of valor (win the House Cup). All of this will be set to an orchestral score composed by John Williams.

See now how even the pros steal their stories without apology or the least bit of regret?
If you’re stumped for your next great story then I suggest trying this method—most often employed by eager screenwriters attempting to make a living punching up weekly scripts for potential sale. Write out a synopsis of your favorite novel or movie then go about replacing characters and other words of narrative influence through cunning creative manipulation.
Because like Forrest Gump’s famous box of chocolates, you never know what you’re gonna get.

Saturday, November 5, 2022

Apples to Oranges . . . or Pricing your Ebook and Paperback

So you’ve spent the past six months writing a book from scratch to finish and now you’re ready to click Publish but for one minor decision: its price.
Should you charge $9.99 for each copy? When you do the math, $9.99 works out to getting paid somewhere around $0.05 a day to write.
Not very lucrative, am I right?
This is why successful authors tell aspiring authors, “You don’t write for the money, you write for the passion.” This is also why most writers have second jobs. Because the average author makes less than minimum wage from their writing.
I have to admit this now and get it out of the way: I was wrong . . . kinda . . . sorta . . . whatever shut up!
I’ve stated before that I would set all of my ebooks’ prices at $2.99 or lower regardless their length and never any higher because heck, it’s not like they’re buying a real tangible book or anything, just a disposable digital copy that can vanish forever with one simple click of Delete. I then based the paperback equivalent’s price on what percentage of profits the average traditionally published author earns for royalties. I always did so without sparing a second thought, and I achieved fair success over the years with this simple strategy while not putting too much thought into it because I don’t depend on my book sales to sustain me financially so I never really cared about it to begin with.
Then I talked with a handful of prosperous authors who advised me about their own particular value systems from which they assign the prices of their books. I won’t name any names but several are very successful authors who sell extremely well, and I’d be a fool not to at least listen to their advice. None of those I talked with knew each other personally, though all of their suggestions pretty much matched up equally as to how to price books.
So I spent time researching their advice via fondling Google’s naughty little search engine to confirm as much from multiple reputable websites offering much the same information of paperback and ebook pricing. Then I decided on a little experiment, changed the prices of my paperbacks and ebooks as per the combined suggestions . . . and wouldn’t you know it, before the first day ended I monitored both bumps and dips in sales that I continued to track for months before settling on the sure conclusion.
So I’m going to present you the information I’ve gathered through research as to how best to price your paperbacks and ebooks via several alternatives and my opinions on them, as well finish with what I’ve learned through my own experience.

Here are thefussylibrarian.com’s poll results from a handful of years ago about ebook prices taken from over 1,000 of their loyal subscribers of voracious readers:

“What do you think is a fair price for a full novel in ebook format that pays an author well though also remains affordable?”

All ebooks should be free: 6%
99 cents: 8.7%
$1.99: 11.8%
$2.99: 16.5%
$3.99: 20.6%
$4.99: 18%
$5.99: 11.6%
More than $5.99: 6.4%

“What is the most you’ve ever paid for an ebook from an author new to you?”

I only download free books: 9.4%
99 cents: 8.7%
$1.99: 9.8%
$2.99: 14%
$3.99: 12.7%
$4.99: 10.5%
$5.99: 7.2%
More than $5.99: 27.2%

*Note: The three most popular prices in both polls are $2.99, $3.99 and $4.99 though their order of preference varies depending if the author is recognizable or not.

Understand there’s a difference between a nobody publishing their first book and a Stephen King publishing his next bestseller. King could fart on a scrap of paper and still sell well regardless the higher prices attributed his books because he’s an established author with a wide fan base and excellent reputation, whereas the nobody first-timer would do well to take the price suggestions into account then adhere to the lower end of the cost spectrum so as to build a readership. Because without readers you’re just a nobody writing sh*t that never gets read.

Here’s the suggested ebook pricing guidelines taken from multiple writing forums (such as kboards and reddit, as well many author advisory websites too many to list) by multiple self-published authors who agree:

Very Shorts (less than 10k words): $0.99 to $1.99
Shorts (up to 15k): $2.99
Novellas (up to 40k): $3.99
Novels (up to 80k): $4.99
Tomes (up to 150k): $5.99 to $6.99
Bricks (150k+): $7.99 to $9.99+

*Note: I don’t agree with this broad application for the average self-published author mainly because these prices don’t take into account how much or little you are established as a writer as well the specific genre involved. Problem being, many self-published authors envision themselves on par with already established authors right out of the publishing gate and so severely overprice their books because they demand to be viewed as equal for thy ego’s sake, whereas plenty others are so desperate to gain readers and insecure in their inexperience that they severely underprice their books.

Paperback pricing conversion is simple, according to these suggested guidelines just add $7 to $10 to the price of the ebook, and hardback pricing is suggested at $12 to $15 more than the ebook.

Keep in mind the average trade paperback novel price is $15.99 (typically ranging anywhere between $9.99 and $19.99). Also keep in mind that exceptions exist to every rule which must be taken into account when pricing: whether it’s fiction or nonfiction, the length of the book, its genre, if it’s part of a series, how long it’s been out for sale, if you are a new or established author . . . et cetera.

Here is authormedia.com’s ebook pricing suggestions:

Flash Fiction (less than 1k words): Free to $0.99
Very Short Story (1k to 5k): Free to $0.99
Short Story (5k to 10k): $0.99 to $1.99
Novelette (10k to 20k): $1.99 to $3.99
Novella (20k to 40k): $2.99 to $5.99
Novel (40k to 120k): $2.99 to $7.99
Epic Novel (120k+): $5.99 to $12.99

*Note: I also don’t agree with this one for same reasons, let alone it still leaves a lot of guesswork up to you considering the price ranges it offers for a particular word count (it suggests $2.99 as the minimum for a Novella and yet also suggests $2.99 as the minimum for a Novel, then caps 40k words at $5.99 yet caps 120k words at $7.99, and that’s a big discrepancy in word count for a mere $2 difference considering 120k reads three times longer than 40k).
I would never pay $5.99 for a mere 20k word novella from one of my favorite authors let alone an unknown author, especially in digital form . . . though I’m an old-timer who is a stickler for paperbacks and am willing to pay more to have the literal book in my hands then on my bookshelf.

Here is scribemedia.com’s Ultimate Guide to Book Pricing suggestions:

(ebook)
Dirt Cheap: $0.99 to $1.99
Cheap: $2.99 to $3.99
Normal: $4.99 to $6.99
High Price: $7.99 to $9.99

(paperback)
Dirt Cheap: $7.99 to $10.99
Cheap: $11.99 to $13.99
Normal: $14.99 to $16.99
High Price: $17.99 to $19.99

(hardback)
Dirt Cheap: $12.99 to $15.99
Cheap: $16.99 to $19.99
Normal: $20.99 to $24.99
High Price: $25.99 to $27.99

*Note: What I don’t like about this is no word counts are listed and neither is genre, though I do like that it implies newbie self-pubbers stick to the Cheap prices until they make a name for themselves and have at least a couple books under their writing belts, those with an already established fan base though still not a big-timer by any means adhere to the Normal prices, and those who have plenty of experience with a wide fan base and a recognizable name can get away with charging the High prices, all while leaving the Dirt Cheap price suggestions for promotional deals and loss leaders.
They also included in their article a graph chart for ebooks showing that $3.99 is the most popular and bestselling price, $2.99 is second, $0.99 is third, there’s a significant drop in sales at $1.99 and $4.99, from $4.99 to $7.99 the sales decline steadily the higher the price rises, but there is no difference in sales between $7.99, $8.99 and $9.99 ebooks.

So what to do after assimilating all of the pricing information I’ve just afforded you?

The simplest method for deciding your ebook vs. paperback prices is to choose your ebook price then adjust its paperback price so that it earns roughly the same amount of profit per sale as the ebook. So if you earn $2.50 per ebook sale then simply set its paperback price so that you also earn $2.50 per paperback sale.
I say ‘roughly’ because it doesn’t and probably won’t be an exact match. Know that 60% of all successful marketing prices end in 9, and 30% end in 5, so you want to round your paperback price up or down to end in .99. This may have you profiting a bit more or a bit less than its ebook equivalent but no biggie and don’t get greedy. Now just set that as your paperback price and get on with the rest of your day.
Easy peasy lemon squeezy!
There’s a big difference when it comes to comparing self-published and traditionally published profits per sale, and here’s the skinny on that rub.
When self-publishing through Amazon KDP you earn 70% royalties on your ebook so long as you stay within their $2.99 to $9.99 price parameter (anything more or less and that sweet 70% drops to 35%), and you earn 60% royalties on paperbacks (this doesn’t include the 40% royalties you earn if you also enlist your book in Amazon’s Expanded Distribution option . . . which I don’t recommend for multiple reasons, one of them being that it jacks up the minimum price you must charge for your book by a large amount, let alone other reasons I’ve talked about in other blogs like not guaranteeing your book in libraries or book stores despite implying so, all of which more than likely won’t carry your book because Expanded Distribution only provides them the OPTION of carrying your book if they so wish to and that’s if they even know that it exists to begin with).
In contrast, the average traditionally published author publishing through a large house profits roughly $1 to $2 per book sold: 5 to 7% for mass market paperbacks, 7 to 15% for trade paperbacks, and 15 to 25% for ebooks. These royalty rates vary, mind, starting at the low end and scaling up depending on the number of print runs, how successful the book is selling, how well known and established the author is, and other such factors, but that’s the general rule of thumb.
As you can see, they profit much less on paperbacks than they do ebooks.
By the way, the difference between a trade paperback and a mass market paperback is that a trade paperback is a version of the hardback book in a less expensive form while still retaining good quality, and a mass market paperback is a mass-produced book that is typically small with thin paper covers and relatively low-quality pages to keep printing costs down. Bestsellers are often printed as mass market paperback books for wide distribution.
Amazon KDP does not produce mass market paperbacks, only trade paperbacks and hardbacks. I mention this because another common strategy of pricing advice is to research your genre, compare the prices of competing books to yours, then price match.
But a problem arises when you price match your self-published trade paperbacks to your competition’s traditionally published mass market paperbacks since mass market paperbacks are sold at the lowest of prices because of their cheaper manufacturing cost which doesn’t apply to trade paperbacks and certainly not hardcovers.
As well if you are an unknown author then there’s no point in price matching your book to known authors who have already established themselves over years of successful sales to a wide and loyal readership—that’s comparing apples to oranges and you’re the banana.
So what’s my advice after years of publishing, achieving thousands upon thousands of sales both ebook and paperback, spending countless hours of research, and experimenting with my own books’ prices while monitoring the changes in sales both positive and negative?
Keep it as simple as possible while sparing yourself the unnecessary headache.
Despite the average Kindle ebook price being $11 (this takes into account small fish authors, big whale writers, and everyone in between), the most popular and top selling ebook prices are $2.99, $3.99 and $4.99 (again, their order depends on how known or unknown the author is). What I suggest is to find the average length of novel in your specific genre then adjust your prices accordingly.
For example, the average total word count of adult fiction novels many decades ago was 60k. Later that bumped up to 80k words. Today that number is closing in on 90k words. This also depends on your specific genre, mind, but we’ll use those figures for sake of simple example.
If you are a beginning author with little to no readership and your book is under 90k then price its ebook at $2.99. If it’s over 90k then price it at $3.99. Once you make a name for yourself and establish a wider readership then you can bump those prices up a $1 tier, meaning less than 90k now equals $3.99 and more than 90k equals $4.99. And once you make an even bigger name for yourself you bump those prices up yet another $1 tier, and so on.
Again, find the average word count of your specific genre then apply the above formula, because every genre has a different average word count for its novels. Then find the profit per sale of your ebook and adjust the profit per sale of its paperback accordingly as earlier described.
Save the $0.99 ebooks for promotional deals, loss leaders, or extremely short stories such as anything under 10k (a loss leader, btw, is underpricing the first book in a series so as to draw more readers in to reading the rest of the more expensive books in the series).
Though again there exists exceptions to every rule, such as erotica shorts which average 5k arousing words yet the typical erotica ebook price is $2.99 because erotica fans are more than willing to pay as much for such a small word count to get their mental, and sometimes physical, rocks off.
Because sex sells, baby!
Remember, with Amazon KDP your ebook profits 70% royalties so long as the price is $2.99 to $9.99, and 60% royalties on trade paperbacks.
Traditionally published authors don’t profit anywhere near those royalties, which is why so many of them have been and continue to move into the self-publishing market, and this in turn is the main reason why traditional publishers charge so much for their ebooks which are often priced equal to or even more than their paperback counterparts . . . because the dinosaur that is traditional publishing is a slowly dying industry which pays their authors far less than does self-publishing. They try to rebuttal otherwise with stats and graphs showing paperbacks selling more than ebooks (which they do by a wide margin), but don’t forget that they monopolize the current market and manipulate these figures by purposely overpricing ebooks so that many readers buy the cheaper paperback version instead, and one reason why is they pay their authors much less per paperback sold than ebook sold. When it comes down to it, publishing is a business and it’s all about the money.
But here’s some good news, Amazon KDP allows its authors to buy copies of their books at a much cheaper price than its list price, so if you take some to book signings or author events to sell then you will make even more of a profit per book sold.
For example (and these numbers are by no means exact), let us say I published a huge novel that is almost 600k words long. It’s an 800 page, 7 x 10 door-stopper of a trade paperback with a minimum manufacturing cost of around $17.00 (this means I must price it at least $17.00 to sell it on Amazon while making zero profit) and it is available to me alone at $11.00 per book with my Amazon KDP author’s discount (less shipping and handling, of course). If this book currently sells on Amazon at $20.99 per copy, I profit somewhere around $2.50 per paperback (btw, don’t think raising your book’s price $1 earns you $1 profit because it doesn’t, Amazon takes a percentage of each and every $1 you raise it). But if I buy it at author discount then sell the same book for the same price in person at a book signing, I profit $10 per book instead of the mere $2.50 through Amazon . . . and I profit even more if I raise the price a bit because it’s an autographed copy with a personal message written to the buyer.
Do you understand now why authors love book signings so much?
Ching ching, bling bling!
Either way, don’t sweat the small stuff too much. And don’t underprice yourself but don’t overcharge your readers.

TLDR?
The average traditionally published author profits roughly $1 to $2 per book.
The average self-published author has the potential to profit much more per book.

*Note: These price guidelines, figures and suggestions (as of 11/5/22 or previous) are applicable for publishing through Amazon KDP; other publishers may vary.
Also, let’s not forget the current economic woes we’re all suffering since the pandemic cruelly paired with rampant Biden-flation causing two things to happen: slowly turning $3.99 into the new $2.99 standard for ebooks because of the American dollar’s dwindling value on a global scale, and yet also having readers wanting to spend less money on books because they’re more worried about paying their monthly bills and supporting their struggling families than spending that money on leisure activities such as reading.
Kind of a double-edged sword, that.

**Also Note: The easiest headache-free way to price your ebooks and their paperback equivalents is by their word count while factoring in if you are a new and unestablished author, one with a growing fanbase and several books under your belt, or a veteran with a large catalogue of books and a well-established readership.
I often change the prices of my books while taking into consideration how long they've been out, if they are a part of a series or stand-alones, if they are fiction or nonfiction, novels or novellas . . . et cetera. Point being, the price of your books is really up to you, because you are the one who put in all of the hard work. Don't sell yourself short, but don't rip off your readers either.
Good luck!

Saturday, October 1, 2022

The Batman Factor . . . or Why Your Protagonist Needs A Key Component

Every protagonist should have at least one Key Component that defines them as the person they are. Often several exist, but you need at least one dominant Key Component that sets your protagonist apart from the rest of the herd.
Superman’s Key Component is that he values life and never kills (as well his classic motto of ‘truth, justice and the American way’ attributed him in the 1940s that DC has since changed to ‘truth, justice and a better tomorrow’ while pandering to unpatriotic Social Justice Whiners who hate the freest country that gives them every opportunity in their enabled lives). Any comic book nerd can tell you that, which is why we had such a problem with Superman snapping Zod’s neck at the end of the 2013 Man of Steel movie. Other options existed to thwart Zod from murdering those innocent people with his blazing eyebeams, and Superman killing Zod goes against his character. Remove this Key Component and he stops being Superman.
For example, the 2019 movie Brightburn. The filmmakers just took Superman, made him a child then removed his Key Component. What we have left is a boy with Superman powers and no compunction about using them to hurt or kill people.
Batman also shares this Key Component because Batman never kills. Heck, he will even risk his life saving a bad guy from certain death even though he was beating the crap out of them ten seconds beforehand. Another Key Component of his is that he never uses guns because as a child he witnessed his parents shot to death during a robbery in an alley. But if you write a story where sometime in it Batman picks up a machine gun and mows down the bad guys then he stops being Batman because Batman would never do such a thing. This would also remove all value from that tragic boyhood event of him witnessing his parents’ murder, rendering it meaningless because that traumatic event exists as the reason why he possesses the Key Components of never using guns, never killing, and is obsessed with fighting crime.
Richard Dean Anderson’s MacGuyver shares this same no-guns Key Component because as a kid he witnessed his friend accidentally shot while playing with a pistol and almost dying but for MacGuyver saving him through his more famous Key Component ingenuity of inventing things on the fly. This instilled the Key Component in MacGuyver that he never in any situation would ever use a gun because he absolutely deplores them.
In contrast to the previous examples is the Punisher a.k.a. Frank Castle who uses lots of guns and his Key Component is that he always kills. Once the Punisher sets his sights on a bad guy, consider them dead. The Punisher stops being the Punisher if you have him surrendering to compassion and leaving a pleading bad guy alive because you remove his Key Component which defines him as the Punisher. The mafia who murdered Frank Castle’s innocent wife and children and left Frank for dead showed no mercy or remorse . . . and for that neither does the Punisher his targets.
The Key Component of the protagonist of my fantasy Soothsayer Series, Banzu, is protecting innocent lives even at the cost of his own. Because of this I burdened him with the bloodlust curse which all Soothsayers are born with, but it remains dormant inside of them until the first time they kill awakens it. Then the bloodlust curse drives them to keep killing while causing madness so that they eventually become an indiscriminant slaughterer, which would obviously include lots of innocent people. This is in direct opposition to Banzu’s Key Component of protecting innocent lives even at the cost of his own, providing an interesting conflict of character.
Captain America a.k.a. Steve Rogers is a great example of someone with tons of Key Components (truth, freedom, justice, liberty, protecting innocents . . . et cetera) and we’re shown them throughout the entire run of MCU movies. He wants to join the military to protect the innocent people the Nazis are brutalizing despite being small and weak. He throws himself on the dummy grenade to protect his fellow soldiers during basic training even though they bully and make fun of him. He stands against S.H.I.E.L.D. when he discovers they want to police the world through pre-crime arrests and detention. He defends his best friend Bucky against Iron Man after Tony Stark learns Bucky a.k.a. the Winter Soldier murdered his parents because Bucky was brainwashed at the time and did not commit the murders of his own free will. When Vision offers to sacrifice himself because Thanos wants the Mind Stone in his forehead and will stop at nothing to get it, Captain America refuses him because, “We don’t trade lives.” When he and Tony argue about stopping Ultron as well the greater threat behind Loki’s attempt at enslaving the world through Chitauri invasion, Tony asks how they’re supposed to deal with that greater threat after excusing why he and Bruce Banner created the Ultron murderbot. Captain America simply says, “Together.” Tony rebuttals with, “We’ll lose.” And Captain America responds, “Then we’ll do that together, too.”
Growing up, us comic book nerds loved to argue about who would win in a fight between our various favorite superheroes. Over the years this resulted in what became known as The Batman Factor. Because, you see, Batman’s dominant Key Component that sets him apart from every other superhero in existence is that no matter how bad you beat him down if you leave him alive he will slink away into his batcave, discover some unique way of exploiting your greatest weakness, then come back with a vengeance, beat you to within an inch of your life and let you know that he can do it again any time he wants, then he’ll walk away while leaving you alive but forever broken. Because what defines Batman as Batman is that no matter who he’s up against, he always wins in the end. Above all, that is what makes him Batman. Remove this Key Component and you render him just a forgettable guy in a costume fighting crime. Provide this Key Component and you get one of the most beloved superheroes in all of comic fandom, recognized today by literally billions of people, who has endured for over eighty years of great storytelling.
The Key Component defines your protagonist by making them who they are, whether they possess one or several. It also helps you write your story because knowing their Key Component allows you to put them into situations that challenge it, where they can utilize it best, as well where it can be exploited against them. Discover your protagonist’s Key Component and you’re well on your way to making a great, memorable character.

Saturday, September 3, 2022

Sweaty Buttnuggets . . . or The Easy Peasy Lemon Squeezy NaNoWriMo Novel Generator!

The easiest way to understand the Wound (scar), Shield (flaw), and Sword (virtue) protagonist process of story and how it applies to their flaw vs. virtue argument is to write a horror story for NaNoWriMo (National Novel Writing Month: from November 1st to November 30th).

I don’t partake in NaNoWriMo because as an author I already write every day so to me every month is NaNoWriMo, but for the rest of you writers aspiring authorship I suggest the following sure-fire method for writing productivity and guaranteed success:

 

Pick a phobia, any phobia, then apply it as your protagonist’s Wound. Regardless the chosen phobia, you now automatically have a dominant character flaw of Fear. And from this you automatically have its opposite virtue of Courage.

 

Horror: Phobia = Fear vs. Courage

 

Plus your protagonist has an automatic backstory because something traumatic had to happen in order for them to get their particular phobia.

Because every story about Fear vs. Courage is the protagonist eventually confronting their fear, you next move to the Rubicon and decide whether your protagonist overcomes their fear or surrenders to it.

Remember: Overcoming the Internal Antagonist during the Rubicon by choosing virtue over flaw is what provides the triumphant protagonist the ability to win against the External Antagonist during the Climax of Act 3. And surrendering to the Internal Antagonist during the Rubicon by choosing flaw magnified over virtue is what condemns the tragic protagonist to lose against the External Antagonist during the Climax of Act 3.

In horror stories such as this, the Internal Antagonist is their dominant character flaw of Fear they confront at the end of Act 2, and the External Antagonist ‘monster’ is the physical manifestation of that fear they will confront during the Climax at the end of Act 3.

For example, as with Jaws: aquaphobic protagonist Sheriff Brody, who almost drowned as a kid, must overcome his fear of water in order to defeat the man-eating shark antagonist, making it the perfect ‘monster’ for that particular protagonist with that particular phobia.

Also remember: the full definition of the Inciting Incident is that it must happen to the protagonist, and it must present their first awareness of the story’s central conflict, as well it must be tailored to the protagonist’s dominant character flaw, and it must be linked to the antagonist.

For those who enjoy partaking in NaNoWriMo I advise using the exampled Horror Story template because it plots your story for you in seconds flat. Phobia = Fear vs. Courage isn’t the only Horror Story template, but it is the most common as well the easiest to plot and write.

So pick an interesting phobia, which gives you the automatic flaw vs. virtue argument of Fear vs. Courage. Now move to the Rubicon and decide if your protagonist overcomes or surrenders to their dominant character flaw (I suggest flipping a coin—heads they overcome and tails they surrender to—so you become accustomed to writing both outcomes). Now make a big list of the worst, scariest, most traumatizing and traumatic situations you could ever put someone in who possesses that specific phobia. Weed out the bad, boring and predictable ideas until you have only good, exciting and unpredictable ideas. Then rearrange your list from least intense to most intense. Now apply your list from least intense to most intense to the plot points of your outline from Act 1 through Act 2 to Act 3. Once you have your outline finished, you’re done!

Repeat this process with a different phobia every day for the first two weeks of October. After which you will have a bank of 14 horror story plot outlines. Go through them and pick the most interesting one you want to write. Now spend every day for the last two weeks of October perfecting your potential novel’s outline by expanding each plot point’s one concise sentence into more detailed and multiple paragraphs until you have a guide dog synopsis of your entire story.

Starting on November 1st, using your synopsis guide dog and wielding a minimum daily word count goal, write your novel for NaNoWriMo.

The rules of NaNoWriMo is to write then submit at least 50,000 words by 11:59 on November 30th.

Instead of shaving it so close, I suggest 29 days of writing then spending the final day with a quick edit before your submission. Which gives you a 1,725 daily minimum word count goal for a 50,025 word novel (1,725 x 29 = 50,025).

Easy peasy lemon squeezy!

Saturday, August 6, 2022

Why Narcissism Matters . . . or Making a Great Villain

Every great hero is defined by an even greater villain.
Whereas good protagonist heroes tend toward modesty and compassionate morality, evil antagonist villains tend toward narcissistic psychopathy and dispassionate apathy disguised as false empathy. And there are two classic types: grandiose narcissist, and vulnerable narcissist.
Grandiose narcissism is defined by self-entitlement, a sense of superiority, and a need for admiration. They are characterized by extraversion, high self–esteem, interpersonal dominance and a tendency to overestimate one’s capabilities.
Vulnerable narcissism is defined by a sense of entitlement but also an anxious and avoidant nature. They are characterized by introversion, are defensive, avoidant and present a hypersensitive attitude in interpersonal relations.
The grandiose narcissist genuinely believes they are better than everybody else and they are constantly proving this to everyone, whereas the vulnerable narcissist manifests their narcissism in a similar way but it’s to try to hide the fact that deep down they don’t believe they’re anything. They desperately seek approval and need people to tell them they’ve done well, whereas the grandiose narcissist continues believing their skewed perception of reality no matter what truths are presented them.
The grandiose narcissist represents order, is detached, calculating and compulsive. They believe they are unique or “special” and can only be understood by other special people. What’s more, they are too good for anything average or ordinary. They only want to associate and be associated with other high-status people, places, and things.
The vulnerable narcissist represents chaos, is temperamental, manipulative and impulsive. They feel inadequate or inferior to others deep down inside, and this is the reason why they’re constantly seeking reassurance. A vulnerable narcissist wants to be able to validate themselves so that they can feel protected, and they need that armor of feeling superior to protect them from the past or their insecurities. They are just as convinced that they’re better than others as does the egomaniacal grandiose narcissist, but they fear criticism so viscerally that they shy away from, and even seem panicked by, people and attention.
Vulnerable narcissism is associated with dissociation of the self-image into an explicit, positive self-image and an implicit, negative self-image. The positive self-image is associated with excessive pride, whereas the negative self-image is associated with shame and humiliation. When receiving only positive feedback, this narcissist is able to keep the negative shame-filled self-image hidden below the level of conscious awareness. But when they experience external feedback as criticism, they are forced to confront their negative self-image and feel deeply ashamed.
Whereas the vulnerable narcissist is struggling with internally conflicting self-images, no hidden negative self-representation is threatening to make a dent in the grandiose narcissist’s positive self-image. Negative feedback, therefore, does not have as profound an impact on the grandiose narcissist. But the deep shame this brings upon the vulnerable narcissist turns them into a combustible compound destined to explode in a frightening outburst of anger or all-consuming fit of hatred. This hostile reaction to insinuations of imperfection is also known as “narcissistic rage.”
The two forms of narcissism share several characteristics such as self-centeredness, exaggerated sense of self-importance and entitlement, disagreeableness, and a tendency to interact with others in an antagonistic manner. Most often, narcissists live unaware of their narcissism and react poorly to being told or confronted because they possess no insight and self-awareness, so their ability to recognize that they are a problem is beyond them.
A perfect example of the grandiose narcissist is Emperor Palpatine in the Star Wars franchise.
A perfect example of the vulnerable narcissist is Arthur Fleck in the movie Joker.
A plethora of villain archetypes exist: the smothering mother, the restrictive father, the evil sage, the genius philosopher, the arrogant tyrant, the scorned societal outcast, the mad scientist, the neglected psychopath, the power-hungry warlord, the fanatical hater, the envious trickster, the misunderstood hero, the crazed madman, the manipulative seducer, the entitled brat, the angry bully, the covetous traitor, the unwanted child, the leper beast, the born-evil . . . et cetera, with too many to list and all of them dependent upon their particular Wound which scarred them into who they are.
Typically villains view themselves the heroes, and this skewed point of view provides them plenty of what they believe as justifiable reasons to excuse their evil schemes. They believe it better that ten innocent people suffer than one guilty person escape. To them, the end justifies all necessary means so long as it gets them what they want which, they often believe, is for the betterment of all but for that they are the only one who possesses the honest scope of this true vision.
Villains are a conglomeration of the seven deadly sins (defined as perverse or corrupt versions of love: lust, gluttony, and greed are all excessive or disordered love of good things; wrath, envy, and pride are perverted love directed toward others’ harm; and sloth is the negligent love of self while disregarding what is good and virtuous) and most often proves the personification of one above the others as their dominant character flaw they eventually fully embrace before succumbing to as their downfall.
Usually the Villain gains access to or possession of some hidden or forbidden knowledge via their greed and lust for power to gratify their insatiable gluttony. They envy its promising capability, and their pride convinces them that they alone can harness its potential while staying immune to its corruptive influence. So in their pursuit to obtain it they unleash their wrath upon all those in their way, but in the end their sloth of virtuous character ultimately condemns them to failure and defeat.
Villains embody the proof that power corrupts, and are driven by a fascination turned obsession.
And it should always be clear that the villain will win if the hero does nothing!


-Triumphant Protagonist Hero vs. Tragic Antagonist Villain-

The two classic character plot paths of Hero vs. Villain:

TRIUMPHANT PROTAGONIST HERO
ACT 1
1. Old World Stasis.
2. New World Flux.

ACT 2A
3. Things Come Together.
4. False Victory.

ACT 2B
5. Things Fall Apart.
6. False Defeat.

ACT 3
7. False Solution.
8. True Resolution.

-VS.-

TRAGIC ANTAGONIST VILLAIN
ACT 1
1. Old World Focus.
2. New World Shift.

ACT 2A
3. Things Fall Apart.
4. False Defeat.

ACT 2B
5. Things Come Together.
6. False Victory.

ACT 3
7. False Solution.
8. True Resolution.


The underlying theme of every classic Hero vs. Villain story is always Good vs. Evil. It may be phrased differently and cover many different battle grounds, but it is always the titanic struggle between what is right and just, represented by the good protagonist hero, and what is wrong and unjust, represented by the evil antagonist villain.
When comparing the triumphant protagonist hero and tragic antagonist villain plot charts, take note of the only real difference between them being their Acts 2A & 2B having their orders switched with each other, though there exists other subtleties as follows:

-ACT 1-

1 vs. 1: The difference here between Old World Stasis and Old World Focus is that the antagonist’s evil plans are already in motion . . . whereas the good though ignorant protagonist is living their normal slice of life and absent any true knowledge of these plans that will soon force them involved. The protagonist may be aware of the antagonist’s existence, and that they are ‘up to something bad’ via rumors or gossip, but most typically they know not what that something is if they know anything about it at all, as well the antagonist usually has no idea the protagonist even exists.

2 vs. 2: The difference here between New World Flux and New World Shift is that the antagonist’s plans achieve them some kind of success toward achieving their end goal so that those plans shift with forward focus via continued momentum . . . whereas the protagonist’s life is now disturbed by the Inciting Incident’s influence upon their ordinary world no longer ordinary which is linked to the antagonist’s ongoing plans.


-ACT 2A-

3 vs. 3: The difference here between Things Come Together and Things Fall Apart is that the antagonist’s plans become disturbed by the meddling protagonist now striving to resolve the story’s central conflict, but for now they are just a fly in the ointment needing plucked so that the preoccupied antagonist may take only slight notice from afar and order their minions to deal with the nuisance because they deem themselves above being involved directly . . . for now. As well often someone trusted by though jealous of the protagonist plots their betrayal behind the scenes.

4 vs. 4: The difference here between False Victory and False Defeat is that the antagonist’s plans are disrupted to the point that they must now take full and direct notice of the meddling protagonist mucking them up . . . whereas the protagonist achieves a big success toward resolving the story’s central conflict which interferes with the antagonist’s arrested plans. At this point they both recognize each other as the main obstacle blocking their way to achieving their competing goals, as well that one of them needs be removed in order for the other to succeed. From here on in the protagonist and antagonist are in direct, open opposition. As well the betrayer’s plans in the shadows continue to develop against the protagonist. Most important, a key revelation happens that raises the stakes for all involved while causing a reversal of circumstances, shifting the protagonist from reaction (not in control of the conflict) to proaction (taking control of the conflict).


-ACT 2B-

5 vs. 5: The difference here between Things Fall Apart and Things Come Together is that the antagonist now focuses their full attentions upon eliminating the protagonist so they can continue their plans unhindered . . . whereas the protagonist cannot yet equally compete against such odds and suffers the effects of the antagonist’s direct focus of attacks because of it. And it doesn’t help that they cling to their dominant character flaw by instinctual response which only adds to the troubles that they themselves also have a hand in causing. Minions of the Antagonist, more powerful and better suited to the task than those from before, close in round the struggling protagonist while internal dissension develops among the frustrated protagonist and their arguing allies because of it. As well the betrayer, working in the shadows, continues taking steps to undermine the protagonist’s efforts, adding to the internal strife.

6 vs. 6: The difference here between False Defeat and False Victory is that the antagonist achieves a big success in beating down the protagonist while possibly killing or capturing their allies and stealing or breaking their precious tools so that now they shift their focus back upon what seems their imminent victory . . . whereas the protagonist flounders in this their lowest moment so far where all seems lost because they are farthest away from achieving their goal after such a tremendous defeat, worse off than when they started, and are usually condemned alone because of it. As well the betrayer makes their ulterior motives known and stabs the vulnerable protagonist in the back at the worst moment of opportunity. But this all leads the protagonist to a defining moment of inspirational epiphany where they realize their dominant character flaw has been hindering them the entire journey and only by replacing it with its opposite virtue do they stand a chance of success however insurmountable the odds have become so that they decide on one last, and almost always suicidal, try against the antagonist.


-ACT 3-

7 vs. 7: The difference here between False Solutions is that the antagonist is verging triumph of their evil schemes through its final stages before the actual accomplishment of the victory itself . . . whereas the protagonist, now working against this ‘ticking time-clock’ after exchanging their dominant character flaw for its opposite virtue, has their attentions divided between stopping the antagonist as well rescuing their kidnapped love interest who will most likely die during the accomplishment of the antagonist’s plans if the protagonist fails on both fronts. Here is also where all subplots outside the protagonist are resolved so that the main story can take precedence once more before its resolution. Remaining minions of the antagonist and surviving allies of the protagonist are dispatched or killed.

8 vs. 8: The difference here between True Resolutions is that the antagonist, either moments from achieving their ultimate success or because their plans have been destroyed beyond repair, is willing to sacrifice everything and everyone but himself to obtain victory or revenge at all costs . . . whereas the protagonist is only willing to sacrifice himself while still protecting others. The two forces collide as promised by the Inciting Incident in an epic showdown of Good vs. Evil, but more importantly (and the key ingredient) protagonist virtue vs. antagonist flaw where virtue triumphs. After which the victorious protagonist enjoys the spoils of the antagonist’s defeat or demise while celebrating and reflecting as the changed and wiser person their journey has made of them, the protagonist having surpassed the mentor . . . and possibly to become the new mentor figure to another flawed and untested protagonist in future stories.


-Christopher Vogler’s simplified Hero’s Journey-

1. Ordinary World: The hero protagonist is introduced in their everyday slice-of-life.
2. Call to Adventure: Something happens to shake up the hero’s normal world.
3. Refusal of the Call: The hero often has doubts, and wants to stay in their safe existence.
4. Meeting the Mentor: The hero meets someone who gives them advice that will be useful for the coming challenges.
5. Crossing the Threshold: The hero changes location or burns bridges in a metaphorical sense, meaning they cannot simply return to their old life as if nothing has happened.
6. Tests, Allies, Enemies: The hero faces various challenges upon their road of trials while making new friends and enemies.
7. Approach the Innermost Cave: The hero prepares to battle terrible danger or inner conflict.
8. The Ordeal: The hero must face great demons, which could be internal or external, or both.
9. Reward: The hero receives some kind of reward for facing their demons.
10. Road Back: The hero begins their journey back to everyday life.
11. Resurrection: The hero faces their greatest battle and most dangerous encounter.
12. Return with Elixir: The hero returns home triumphant.

The villain also walks a similar path to the Hero’s Journey, though the biggest difference being that the hero may fall victim to but ultimately rejects temptation during their Road of Trials (#6) whereas the villain succumbs to it thus twisting the remainder of their journey into embracing the ‘dark side’ instead of rallying against and rejecting it. Though this version is usually a part of the antagonist villain’s backstory since their existence in the protagonist hero’s world is that their ‘dark’ power is already established or verging so.
And remember it is equally important to provide the tragic antagonist villain with a Wound (scar), Shield (flaw), and Sword (virtue) while knowing during their Rubicon (Spiritual Crossing), opposite the triumphant protagonist hero’s decision, they choose their flaw magnified over virtue . . . which provides their inevitable downfall.
Because every great hero is defined by an even greater villain.

My beautiful baby daughter Jenna Androsac is gonna be 17 this March 30th! She's so pretty and so smart, I'm so proud of her!