Nickel -- 2023 NaNo Project

A cowboy in an alternate universe finds meaning through the delivery of a simple message.

Oct 1 Plot: What If...? ▶︎

Every good story starts with a 'what if'. What if a young boy discovers he's a wizard? What if a girl discovers a world hidden inside her wardrobe? What if there was a cemetery where buried pets came back to life? What if dinosaurs were alive again?

In this exercise, imagine your story and your main character(s). Who is(are) the character(s)? What happens to them, and why is it a problem? (If it's not a problem, it's just life, not a story. *Wink*)

Spend at least 15 minutes imagining all the possibilities in your story. Make a list of every possible 'what if' you can think of. Nothing is off limits here - let your brain go.

What if the horse can talk? What if the spirit is evil? What if the spirit tries to keep the cowboy from succeeding? What if the spur hunters catch him? What if he dies at some point and is brought back to life by someone or something? What if the cat stays with him? What if he ends up falling in love with the girl at the end? What if he meets someone he likes along the way? What if she ends up dying because he wasn't supposed to do something or he was? What if the horse doesn't die? What if he's drunk on the trip? What if he gives up and heads back? What if something bad happens to him because he does but the cat tried to prevent it but he ignored it? What if he's got some magical powers he didn't know about? What if he gets injured or sick and is delayed because of it? What if that's the person he falls in love with? What if he's injured or sick because he doesn't do what he's supposed to do? What if there's something wrong with the cat and it's sick or injured because he didn't something wrong? What if he finds a vet to help it and falls for her? What if she almost stops him from continuing on? What if the cat is like Lassie and insists they continue? What if the spirit disappears for a while? What if that's when they are close and he's gone because she's gone into labor too early but the doctor gives her meds to stop the labor? What if the cowboy is a jerk? What if the spirit is a jerk? What if the spirit is the main character and the cowboy is the side/supporting character? What if there's no way for him to succeed and he only succeeds by trying? What if the message he gives her has no meaning to her either? Or what if it does, but she doesn't care or is even angry that it cost her the life of her loved one? What if in book 2 we discover the meaning of the phrase? What if he gets together with her in book 2? What if he goes off helping others in book 2? What if he gets robbed? What if he wakes up and everything has changed due to some magical situation in his universe? What if there's no point to the story? What if he doesn't realize there's a point? What if the point is that there is no point? What if he's married and cheating? What if he's married and left her? What if he never married? What if he married and she died and so he swore to be single but falls for her? What if he's a philanderer? What if he's a gambler? What if he messes up his choices in the beginning and bad things happen until he realizes things do make a different?

OCT 2 Plot: Premise ▶︎

Now that you've brainstormed the general story idea, let's identify some story elements:
(1) Setting(s). Where and when does your story take place?
(2) Protagonist(s). Who is(are) your main character(s)?
(2b) Flaw(s). What is(are) the protagonist's major flaw(s)?
(2c) Goal(s). What does(d) the protagonist(s) want (or want to avoid)?
(3) Conflict(s). What's keeping them from their goal(s)? Why?
(4) Antagonist(s). Who or what is creating the conflict(s)? Why?

Just for fun: Write a provocative one-sentence description of your story.
Example: A young, mistreated orphan discovers he is a wizard and must face the evil villain Voldemort to fulfill his destiny.

(1) The story takes place in a wild west-type setting where there are saloons, bar fights, and outlaws, etc. However, there are elements of fantasy in it The cowboy is the main character. He has a spiritual being that sort of follows him around, coming and going at will, not always being too helpful, but there in important times. There are spur hunters who hunt people for their spurs. These are very dangerous outlaws because for them, killing the spur owner is part of their sport, like people hunting deer for their rack. There are also fantasy elements like the metal that some spurs are made from that the spur hunters prize most of all. It allows them to communicate with animals and anyone they are in contact with, communicating emotions and feelings and feeling those of the other person/animal. There's also slipping sand which is super hard to walk on and other elements. The time period is approximately in the late 1800's in Earth time.
(2) The main character is a cowboy. He has a sort of sidekick, the spiritual being that is probably the unborn baby of the woman he is going to find to deliver a message to. The horse, at least early on, is a major sort of character and the cat, later, is a bit important to the story for a while.
    (2a) Flaws: The main character's flaws include not believing in too much of anything, including himself or others, having a bit of a drinking problem, being short-sighted, and a bit selfish. He's also got a bit of a temper, but not too bad and complains a lot.
    (2b) Goals: On the surface, he wants to deliver a message without too much effort. Underneath, he wants to believe in something and have some idea that life has meaning and purpose, or at least his life does.
(3) He's kept from his surface goals by a variety of complications and trials such as being chased by spur hunters and wandering into slipping sand. His efforts seem to fall short and he struggles much harder than he thinks he should have to for this project that he didn't realize was going to be so hard. Deeper, he's kept from his goal because his father left his mother and he left his wife and when he finally decided to return to her, he discovered she'd died (kitchen fire? Maybe he always kept water near her for that? But he's short-sighted so maybe not? Maybe child birth of a kid he didn't know she was pregnant with or he did and that's why he left and then she died in childbirth when he decided to return and both were dead.)
(4) Antagonists: Nature, man, himself--nature includes things like the slipping sand. Man includes the spur hunters and forced labor gatherers. And for himself, he's a bit into self-sabotage such as drinking and procrastinating.

One-sentence description: A young cowboy has lost his way in life when he's given a goal and a guide, but the journey to deliver a simple message causes life or death decisions that can't be reversed.

OCT 3 Character: Protagonist Profile ▶︎

Draft a profile of your protagonist. Include detailed information such as name, age, physical attributes, occupation, education, culture, religion, family, relationship status, personality, likes, dislikes, strengths, weakness, motivations and desires. Use Google Images to find an image of your character. The point of this exercise is for you to get to know your character inside and out before you write your novel. If you don't know your character, how can you expect it of your readers? Flesh out your pre-story character in detail. Keep in mind that your protagonist will grow in some way during your story.

Name: Luke? Leo?
Age: 24? 22?
Physical Attributes: Brown hair, brown eyes, slender, average height, doesn't get a beard easily and is a bit of a baby face
Occupation: Cowboy, ranch hand, laborer
Education: Stopped in 8th grade to support his mother who had gotten sick and stopped working
Culture: The culture of the area, western 1800's fantasy
Religion: No real religion, used to believe in God, but now agnostic, leaning towards athiest
Family: Had a wife who he got pregnant and he didn't know when he left her but he heard and came back because his dad had left and he didn't want his kid growing up the same way, but she and the baby died in childbirth before he returned
Relationship Status: Single/widowed, but from shame, often claims single
Personality: Doesn't care much about others because it hurts to build bonds, but loves his horse, not particularly reliable, reasonably trustworthy, not a hero, calls himself lazy though he's not
Likes: Loves his horse, likes to drink and gamble, likes to work hard, but also to sleep in
Dislikes: Doesn't like emotionally messy situation or getting attached, doesn't like too much responsibility,
Strengths: Hard worker, reasonably trustworthy, honest, though not always with himself
Weaknesses: Drinking and gambling, self-sabotages, low self-esteem, doesn't like or share emotions
Motivations: Keep things running smoothly (when sober--not into confrontation), have people like him (part of why he works hard--he finds his worth in others praising him for that),
Desires: Wants to find peace within himself, though he doesn't exactly identify that and wants to love someone and have a family, though he actively denies that

OCT 4 Plot Beginning: Where does your story start? ▶︎

(1) Describe your protagonist's life in the beginning (Ordinary World or Stasis) of the story. Brainstorm ways you could establish normality through action and dialog to avoid boring your reader.
(2) Describe the inciting incident or trigger (Call to Adventure) that prompts your protagonist(s) to embark on this story's journey (whether literal or metaphorical) and face the conflict. This incident could be large and obvious like a death or disaster, or it could be seemingly insignificant, such as an offhand comment by another character.

(1) Character's life in the beginning is that he's living day by day, only for himself. He drinks and gambles some, though only for fun, when he's not working. But will drink too much and people will get angry with him and not like him so he gets belligerent which makes it all worse. His horse will take care of him, making sure he gets back safely and even dragging him out of the bar when things aren't going well. People tend to like him reasonably well until he gets out of hand.
(2) The inciting incident is when someone he doesn't know dies and as they are dying, they ask him to pass along a message to someone who he thinks lives in the town, but she doesn't so he agrees, not realizing how much trouble the message will be. When he discovers how hard it will be, he tries to back out, but then the spiritual being talks him into continuing.

OCT 5 Climax: Where is the story going? ▶︎

Where is your story going? Describe the climax, the point at which everything changes and the tension of the primary conflict is finally resolved. Use the 'What If' brainstorming exercise to create a list of possibilities, remembering to consider the growth of / change in your main character(s) as a result of this event. The climax can be as hidden and seemingly tiny as that moment when your character finally makes that decision they've been dreading or avoiding for fifteen chapters, or it can be as huge and obvious as an exploding planet. Sometimes, the climax is a little hard to pin down. Was it the moment Ender won his game? Or was it the moment he realized the moving images on his screen were not a simulation, not the game he thought it was, and that he had just personally wiped out an entire alien race?

The climax is when the MC finally gives up and refuses to keep going but their spiritual companion asks why they give up so easily and when they explain all they've been through the spiritual companion reframes everything so that the MC can see their growth and accomplishments and agree to go on. This is not long before they get to the tow where the woman is in. Should she be quick and easy after his climax or should there be another trial of some sort, but he quits his whining and gets through it with confidence? Probably that because it shows his growth. What can it be? What if he has an encounter with the spur hunters again? What if it starts with him in a bar and he only has 1 drink? What if he opts not to gamble or only plays 1 or 2 hands? What if he finds a spur hunter in the bar (or several) and he decides to take them on? Maybe they even stole his spurs and they carry an essence from his horse so he insists on getting them back? What if they are even stolen when he's bathing or stolen by a woman or a setup? Maybe she knows, but says it's better this way because they were going to kill him but she talked them out of it? But I don't want it so that it's good that he slept with her. Maybe he agrees to help her out and/or she wants to sleep with him, but he declines. Maybe he does like a whole showdown in the town to get his spurs back? Maybe the whole down knows about the spur hunters but doesn't do anything about them? Maybe he goes to the sheriff and the sheriff refuses to do anything because his predecessor was killed by them and they have an uneasy truce, perhaps even keeping out other bad guys or worse/different spur hunters--the enemy you know? What if he can't get them back and decides to steal them? What if he isn't a great shot and knows he'll lose a showdown? Maybe he just tries to plead to their decency? What if they laugh at him or even make him cry? What if he can't find a way to get his spurs back, but has to learn to live without them? What if the loss of them opens up the old wound again? What if he outwits them to get the spurs back? What if he makes a crazy bet because the spiritual being tells him to? What if the spiritual being knows a bug is going to get into the guy's eye and so the MC wins, even though he shouldn't have? What if our MC plays dirty or wants to, but the spiritual being talks him out of it? Or what if the spiritual being tries to talk him into it and he declines and it was a trick/test?

OCT 6 Plot: Outline Revision 1 ▶︎

(1) Select a desired outlining strategy from the list below.
(2) Review your plot elements thus far and organize them into your outline.
(3) Flesh out your outline by adding more details.

Outlining Strategies
- A traditional outline format with bullet points, numbers/letters, or chapters.
- Index cards (paper or electronic) which can be easily shuffled to change scene order later.
- The Snowflake Method.
- Use one of the following story models as a fill-in-the-blank outline template:
- The Five-Point Story Structure.
- The Eight-Point Story Structure.
- The Hero's Journey Story Structure.
- Any other appropriate model.

I.1 The Call to Adventure
Description
The hero starts off in a mundane situation of normality from which some information is received that acts as a clarion call to down tools, take up sword (literally or figuratively) and head off into the unknown.

The information may be a problem, a challenge or request. It critically acts to trigger desire, whether this is to win the hand of a lady, recover a lost object or defeat Ming the Merciless.

Example
In Sherlock Holmes, stories start in 221b Baker Street, where a startling letter is received or a frantic lady bursts through the door.

In Star Wars, Leia's holographic plea is received 'Help us, Obi-Wan, you're our only hope!'

Across a crowded room, the hero sees the beautiful maiden and falls immediately in love.

Discussion
The objective of the adventure is often generically referred to as the 'treasure', even though this treasure may be of non-physical or non-pecuniary nature, such as a freed captive or acquired knowledge.

The initial situation of normality is useful in creating a bond between the audience and the hero. If the hero is normal, then the audience can easily associate with the hero, joining their identities together in vicarious comradeship.

The appearance of the call provides the first step into tension. Will the hero accept the call? Would you? The audience wills the hero to accept and do what is right and moral. It also fears the hero, in what danger may be encountered if the challenge is accepted.

The call may be a gradual realization or it may be from a cataclysmic event, such as the destruction of ones home (typically by the villain).

The call may well be refused until internal pressures are powerful enough. Adventures are ok in books but often frightening and possibly deadly in experience. They thus may need some encouragement, such as worsening conditions or further attacks by the villain. A mentor may help this along, urging the hero to respond.
I.2 Refusal of the Call
Description
The hero, hearing the call to adventure, initially may hesitate, reluctant to leave the comfort and tasks of their everyday existence.

Perhaps they are afraid of what might happen the them. Perhaps they do not see the call as important, being more engrossed in their current activity. Perhaps they have responsibilities and do not want to leave their family. The refusal may well be prompted by an individual, such as with Propp's Interdiction.

Example
Sherlock Holmes often refuses cases initially, seeing them as beneath his intellect until some fascinating detail awakens his interest.

In Star Wars, Luke's uncle Owen reminds him of his responsibilities at home.

Discussion
In the introduction to the story we may already have been shown the need for the hero. However, the hero's initial denial, modesty or other refusal to respond positively to the call frustrates us, initiating tension in the story.

The hero's refusal may also make the hero more human and further bond us to them. It shows their initial frail state, before the transformation that will happen to them in the story.

Note that there may be a similarity here with the K'bler-Ross grief cycle, where some tragedy or disturbance occurs and the hero is initially shocked, angry and refuses the Call whilst bargaining for some alternative (such as sending someone else).
Acceptance of the Call
Description
After having perhaps first refused to accept the The Call to Adventure the hero finally accedes, realizing that there is nobody else who is better qualified to or available to accept responsibility.

This acceptance may come after reflection and persuasion following the Refusal of the Call, or the hero may be convinced by a mentor who provides Supernatural Aid.

Example
Sherlock Holmes finds something intriguing about the request for his services whereby he knows that only he can solve this mystery.

In Star Wars, Luke returns to find the family farm destroyed the the Empire and so now has no reason to stay.

In Lord of the Rings, Frodo sets out as the
Dark Riders start searching the Shire for him.

Discussion
Acceptance of a call to take actions that may result in danger is the first step on the road to becoming a true hero. The story hero may not feel this way or realize the importance of this step, and may step out with some dread. Nevertheless, they are fighting their own fears and

In this first heroic step the audience, now bonded with the hero, gasps at the risks and yet feels some pride at the courage it requires. A sense of anticipation is created, something like when a roller-coaster ride just starts moving from its initial position of rest.

There may be a similarity here with the K'bler-Ross grief cycle, where, after the early shock and bargaining of the Refusal of the Call, this is followed by testing and .acceptance of the new adventuring role.

I.3 Supernatural Aid
Description
Some help is given to the hero, sufficient to make them wiser and stronger, and hopefully better able to face the challenges of the adventure.

The aid given may include maps, information, weapons or some special talisman. It may be discovered by the hero, but is often furnished by a mentor of some kind.

The hero may also be joined by a companion of some kind or perhaps an entire party, who will provide help along the way but cannot do what the hero must do.

Example
In Star Wars, Luke receives the light saber, plus guidance and training from Obi-Wan Kenobi. He is later joined by Han Solo, Chewbacca and Leia.

In Lord of the Rings, Frodo receives the ring from Bilbo and advice from Gandalf. Later, he also receives the sword Sting and the mithril jacket. He starts out with the three other hobbits and later is joined by the full Fellowship of the Ring.

Harry Potter gets a magic wand from Diagon Alley. He also later gets a very swish magic broom. Particular support comes from both Hagrid and Professor Dumbledore. He is joined in adventure by other friends from Hogwarts.

Discussion
The hero starts out as an ordinary person who would perhaps not be able to defeat the terrible opponents who will block his path. The aid acts to redress the balance somewhat, giving the hero some chance of success.

Depending on the story, the aid may be magical or supernatural in nature. In 'real world' stories where magic is not allowed, then more normal aid may be given, such as where an older detective gives sage advice to the enthusiastic young rookie.

A critical attribute that the mentor often gives is confidence. This gives the hero the ability to accept the call and face the slings and arrows of the unknown adventure.

Note that this aid must not be too powerful or else there would be no excitement in the story. An 'invulnerability suit' would likely be just too boring. Thus, for example, Frodo's ring has the downside of trying to take over his mind and exposing him to Sauron's gaze.

The hero's companions serve both as support, much as a football team who makes the space for the actual score. Companions also act as contrast, throwing light onto the hero and highlighting their special and heroic qualities.

I.4 Crossing of the First Threshold
Description
The crossing of the threshold is the point of no return as the hero sets out on the journey.

Example
In the Lord of the Rings, Frodo crosses the threshold both of his house at Bag End and also out of the Shire, into lands totally foreign to him.

In Star Wars, Luke leaves his home planet of Tattoine.

Sherlock Holmes and Dr. Watson leave the comfort of 221b Baker Street and set out for the scene of the trouble.

Discussion
Crossing of the first threshold echoes the Acceptance of the Call with physical action, proving that the hero can follow intent with positive action.

Crossing of thresholds is a highly symbolic act, such as in the rites of passage of transition to adulthood or the carrying of a bride by a husband over the threshold of their first house. It indicates commitment and change, leaving behind the old and accepting the new.

This is a defining moment in the life of the hero, often the first active decision of responsibility and independence. This is stepping into a bold new world and is often a very scary act, going from the safety of home into an unpredictable and dangerous world, where the rules are different and the cost of failure is high.

Thresholds are often guarded by people, monsters or other difficulties which have to be overcome, for example when Luke enters the bar and aliens attack (fortunately, Obi-Wan and Han are there to help).

I.5 Entering the Belly of the Whale
Description
The hero enters the zone of danger. This may start immediately after the first threshold or may require some travel.

Example
In Star Wars, the Millennium Falcon is drawn into the Death Star by a tractor beam.

Sherlock Holmes enters the criminal's domain (perhaps in disguise).

Frodo and the party leave Lothlorien and into the lands frequented by the Orcs. Later, Frodo enters the tunnels to in which lies Shelob's lair.

Discussion
'Entering the Belly of the Whale' is rather florid description, but simply means going somewhere dangerous. It is a reference to Johah entering the whale in the Biblical story. Literature contains a number of symbolic references zones of danger, such as the 'dragon's lair', or 'the lion's den'.

There may be a number of transitions into zones within the story, each crossing some threshold and usually with a sense of 'no going back'.

With the increase in danger, the audience senses an increase in tension and is thus drawn deeper into the story.

II. II.1 Road of Trials
Description
Having left home, the pathway to and through the adventure now lies ahead for the hero. The die is cast and the future lies in wait.

The road may be long, but it is not dull for long as the hero faces many adventures along the way. Each trial may be more difficult than the last as the hero grows in confidence and capability.

Two common battles are the Brother Battle, against a familiar foe with whom the hero has some affinity, and the Dragon Battle, against some terrible an alien monster.

The road is not all battle and the hero may well find moments of respite along the way as well as gathering information, weapons and useful allies and party members, particularly as reward for overcoming each trial.

Example
In Star Wars, Luke fights his way forward to save Princess Leia and then to destroy the Death Star. When Obi-Wan fights Darth Vader, it is a form of Brother Battle.

In the overall story arch of the whole set of Sherlock Holmes stories, each story acts as an episode on the road as Holmes seeks justice and a match for his great intellect.

In Lord of the Rings, Frodo and the Fellowship of the Ring face many trials on the way to the final goal of destroying the ring.

Discussion
Without the road to the final destination, many stories would be disappointingly short. The trials along the way are used both to steadily build tension and also develop the character of the hero and other key characters.

Brother Battle symbolizes a fight with other aspects of the self, perhaps an dark side of the hero's persona and may be found in any inner struggles.

Dragon Battle is a symbol of fighting against the unknown and a superior and terrible power.

The road of trials is widely used in computer games, where the player complete a 'level', beyond which is a harder level. Eventually, they get to the 'boss' for the final trial.

The road of trials can be a metaphor for the whole of life as the hero is reborn into a new role when passing the First Threshold and faces either death or another transition as they face the villain in the final showdown.

II.2 The Meeting with the Goddess
Description
On the road, the hero may meet a powerful female figure with whom he find unity and bonding of some kind.

The goddess may be a mystical or supernatural being or she may be an ordinary woman with whom the hero gains support and synergy.

Example
In Star Wars, Luke finds Leia who is an enigmatic yet dynamic princess figure. When Luke discovers that Leia is his sister, although the love element is lost, it is replaced with an unbreakable kin connection.

In Lord of the Rings, Frodo meets the high elf Galadriel, who gives him a token and shows him a possible future.

Discussion
The goddess represents the female side of the hero (his anima) which, if he can join, will make him whole. Joining with the goddess may indicate unconditional and perfect love.

In combination, the hero and their other half form the syzygy of the 'divine couple' or the sacred marriage of a joining of souls and hence the hero gains greater power.

In mythological history, one of the earliest representations is in the Greek story of the earth mother Rhea, who saves the baby Zeus from his Titan father, Kronos. The earth mother also appears across many cultures and represents the living embodiment of the planet.

The mother figure symbolizes creation, birth and nurture and in Christian religion, Mary has special a position.

When the hero is female, then this may be a reversal, with her meeting a God who represents her animus.

II.3 Woman as Temptress
Description
Along the way, the hero may meet temptation, often in female form.

This offers the hero short-term relief or gratification but giving in to this urge would cause the mission to fail and prove the hero unworthy.

Example
In Star Wars, Leia acts as an innocent temptress as both Luke and Han are beguiled by her. Luke is also tempted by the 'dark side' of the Force.

In Lord of the Rings, Frodo meets much temptation to rid himself of the burden of the ring, from giving it to Galadriel to letting Sam carry it. Yet the ring will not allow these things (and so doing seals its own doom).

Discussion
The purpose of the temptress is to test (and hence demonstrate) the integrity of the hero by placing easy gratification or other gain in their path. By refusing this, the hero demonstrates himself to be true to heroic values and dedicated above all else to achievement of the primary goal.

In contrast with the perfect love of the goddess, meeting the temptress represents material and carnal love that, whilst providing short-term pleasure has no longer-term value.

Where the journey has a spiritual nature, the temptress may represent material things or the physical flesh of the hero and associated passions.

The temptation may be deliberate and perhaps sent by the villain. It may also happen by chance. The Goddess may also play a role of temptation.

Temptation can have uncertain outcome, perhaps even helping the hero, such as when the goddess has some tempting element. This may be used to further test the hero's ability to make difficult judgements.

Mythology is full of temptresses, from goddesses who seduce humans to nymphs and sirens. Gods also are sometimes beguiled by human women.

In the broader sense, the temptress represents temptation of any kind or distraction away from the hero's main task.

In the Christian religion, Eve represents temptation. Mary Magdalene is also portrayed this way, although she repented and can represent the recognition of woman by woman of their power to tempt.

Men are easily tempted by women, but it is less archetypal the other way around. Female heroes may or may not meet with male tempters -- the real concern is with temptation rather than gender.

II.4 Atonement with the Father
Description
The hero may well come up against a 'father figure' who must be beaten, persuaded or whose approval must be achieved in some way. Ultimately, by whatever means, the difficult relationship between the two must be reconciled.

This person may well be a person in high authority or who has significant power in some way. It may also be a god or immortal of some kind.

The father figure may even be something symbolic, such as an ideal or concept which acts as a directive to the hero.

Example
In Star Wars, Luke confronts Darth Vader and then finds that Vader is his father.

Sherlock Holmes' 'father figure' is the ideal of the perfect logic that explains a crime.

Discussion
The father figure, in some ways, represents all fathers, with whom many sons have an ambiguous relationship, both seeking approval and yet also competing for status with them.

The father represents power, and particularly ultimate power over the hero. If this power can be taken, then the hero becomes seemingly omnipotent.

In beating the father figure, the hero takes the head of the table and thus becomes the father. In gaining the approval of the father, the hero is permitted to a higher plane.

Girls also have an awkward relationship with their father, both competing for attention against their mother and yet knowing the taboo of incest.

II.5 Apotheosis
Description
After trials such as resisting Woman as Temptress and the reconciliation of Atonement with the Father, the hero transcends, achieving a higher place.

This is a point of realization in which a greater understanding is achieved. Armed with this new knowledge and perception, the hero is resolved and ready for the more difficult part of the adventure.

This transition may be symbolized with the change in appearance of the hero.

Example
In Star Wars, Luke is prepared to sacrifice himself rather than be taken by the Dark Side. Obi-Wan also transforms, disappearing just as he is about to be killed by Darth Vader in battle.

Sherlock Holmes has an 'aha' moment in which he realizes how the crime has been committed and who the criminal really is.

In Lord of the Rings, after battling the Balrog and Saruman, Gandalf changes from Gandalf the Grey to Gandalf the White.

Discussion
The dictionary describes 'apotheosis' as 'The elevation of a person to the status of a god'. The notion is thus one of achieving perfection, reaching enlightenment and nirvana, transcending to another level.

In transcending, the cycle of death and rebirth is repeated as the hero dies as their former self and is reborn into new self, perhaps that of the true hero.

This birth also signals another death as the hero is now truly ready for the self-sacrifice of the final act. The final battle is thus entered into with glory and joy.
II.6 The Ultimate Boon
Description
Eventually through the many trials, the goal of the journey is achieved. This is the ultimate boon.

The boon may be finally gained after a battle with the ultimate villain or a particularly difficult last trial.

Example
In Star Wars, Luke finally trusts in the force, manages to drop the bomb in the right place and so destroys the Death Star.

In Lord of the Rings, after many trials, the One Ring is cast into the cracks of doom where it is finally destroyed. Aragorn also takes his rightful place as heir of Isildur to the throne of Gondor.

Indiana Jones, in separate stories, gains the Ark of the Covenant, the Holy Grail and other treasures.

Discussion
The ultimate boon is often the climax of the story, where the major tension of the story is resolved.

Whereas the previous steps have tested and purified, the hero is now ready to receive the great gift of the Ark, the Grail, the Elixir or other such ultimate boon.

In movies, expensive special effects and large orchestras may be used to enhance the action, creating awe and wonder in the audience.

III. III.1 Refusal of the Return
Description
Having gained the Ultimate Boon, the hero wants to stay in the place where they have found bliss and enlightenment.

In comparison, the dull monotony of 'normal life' seems unacceptable, making the hero want to re-live the excitement in some way.

Example
In the Cracks of Doom, Frodo is so tired he just wants to give up. When the battle is finally won, the party tarries in Gondor.

Holmes tarries at the place where he has announced the solution.

In Star Wars, Luke stays with the rebels rather than going back to Tattooine.

Discussion
We associate different emotions with locations as well as experiences. Thus places feel good or bad depending on whether we felt good or bad there in the past.

Heroes feel very alive in their adventuring, paradoxically living as they do, on the edge of death. And there little more exciting than the climax of the story. It is not surprising that the thought of going home to humdrum is unappealing.

This happens in real life too, for example where students in university, associating the place with the fun and learning never want to leave. So they do further degrees and eventually end up working in the college or somewhere nearby.

III.2 Magic Flight
Description
The hero hurries home with the treasure that has been gained in the Ultimate Boon.

This may be a mad dash, perhaps away from the remaining enemy forces, perhaps in fear of bandits or loss of the treasure along the way, and maybe to meet some time constraint by which the treasure must be returned to some place.

Example
In Lord of the Rings, Frodo and Sam are rescued from the slopes of Mount Doom by the giant eagles.

The journey home is seldom covered in Sherlock Holmes story. He and Watson 'magically' reappear in 221b Baker Street.

Discussion
The headlong flight adds excitement after the climax of the ultimate boon, particularly if there is pursuit involved. The desperation of the chase thus keeps the audience on the edges of their seats.

Chase games are a common pattern of inter-human behavior, combining a mixed emotion of fear of being caught with the exhilarating hope for escape and salvation.

III.3 Rescue From Without
Description
The hero is rescued from a final plight from an unexpected source.

The rescuer may be someone who had previously abandoned the hero or even someone the hero does not know. In mythic stories, this intervention may come from a god.

Example
In Star Wars, Han Solo returns to help Luke fight the Tie Fighters. In Return of the Jedi, Luke needs the redeemed Vader to destroy the Emperor.

In Lord of the Rings, Frodo is unable to destroy the ring by himself, needing Gollum's unwitting help to complete the deed. Soon after, Frodo and Sam are rescued by the eagles.

Discussion
Even heroes are fallible and this need for rescue re-affirms that they are still like us in some way, hence strengthening the bond with them, pulling the willing audience into a now-proven heroic figure.

Rescue is a repeating pattern in many lives, where we are reminded of childhood comfort of the all-powerful parent who is always there to save us.

III.4 Crossing of the Return Threshold
Description
At last, the hero returns to home turf, where they are safe from further pursuit or woes.

Crossing of the threshold may not be an easy task as one last challenge may face the hero. This may range from one last fight with a foe thought vanquished.

Example
In Star Wars, Luke confronts Darth Vader again.

In Lord of the Rings, as the hobbits re-enter the shire, they have to defeat Saruman and his henchmen.

Sherlock Holmes wandered the world after defeating Moriarty. Only after finding himself again did he return.

Discussion
Crossing the return threshold is as important as crossing the First Threshold. The first threshold was a symbolic death from the home life. This final transition is a symbolic rebirth back into the 'real world'.

For the audience it is a final relief after the trials and tribulations of the adventure. The final threshold creates closure of the story started in crossing of the first threshold.

III.5 Master of the Two Worlds
Description
Having completed the journey out and back in, the hero is now a master of both the domestic and alien worlds and can pass over the threshold between the two without further trial

Example
In Star Wars, Luke finally becomes a Jedi Knight.

In Lord of the Rings, Aragorn, Isildur's heir, takes the his rightful position on the throne of Gondor and is crowned King. He receives the responsibility of protection in the world as Gandalf passes from Middle Earth.

Discussion
Having conquered his or her own fears in the quest, the hero is also master of the world inside them as well as the external world.

This patterning of spiritual growth can also be achieved vicariously by an audience who have linked their selves to the hero, although perhaps not quite as idealistically as the hero in the story.

This recognition of mastery is another transition in the story and further cements the position of ultimate power of the hero.

III.6 Freedom to Live
Description
At last, having conquered the demons without and within, the hero has earned the right to live life as they choose.

The life of the hero may hence take many paths, often one of wisdom. They may become rulers, teachers or advisers. They may get married and settle down or perhaps go adventuring again.

Example
In Star Wars, Luke becomes one with the Force and is later able to teach others.

Having beaten Moriarty, Holmes wanders the world, going where life takes him.

In Lord of the Rings, the hobbits become leaders in their own land of the Shire. Aragorn reins as king over a long and peaceful period. Frodo chooses to go over the seas with Gandalf.

Discussion
Freedom also means freedom from fear, hope, anxiety and other emotions that distract the hero from living in the here and now. It is a characteristic of great people that they can just be, in the current moment, without worrying about the future or the past.

In Greek and other legends, the hero's existence after returning home is far from happy. The problem lies in the way that the journey has changed them such that they no longer fit in with the local culture. As a result they may leave on other adventures, perhaps seeking the highs of the original journey, or are shunned and even slain by a grouchy population who fear the hero's power or just do not get their worldly views.

This happens in the real world too, as people who have travelled the world come home and find their old friends and family to now seem petty and narrow minded.

Act 1
In which the the scene is set and the hero sets out.

1. Ordinary World
The story starts in the ordinary world where the hero is going about everyday existence, oblivious of the adventures to come. This anchors the hero as a human, just like you and me, and hence we can associate our selves with the hero.

2. Call to Adventure
The hero is next presented with a wrong done, a problem or challenge which they feel they must resolve. Thus the king calls for someone to save the realm from a marauding enemy, a private detective has a client bring a difficult case to them or an attractive other person is spotted in a bar. Thus the challenge is set, to defeat the enemy, solve the murder or win the heart of the other person.

3. Refusal of the Call
The hero may well balk at the thought of the task ahead, perhaps refusing the challenge or having second thoughts. The problem seems to much to handle and the comfort of home seems more attractive than the rough wilderness or dangerous streets.

This would be our own response and we thus bond further with the reluctant hero.

4. Meeting the Mentor
The mentor appears to help the hero prepare for the road ahead. Thus Gandalf, Obi-wan Kenobi and a host of other wise and experienced people teach the hero the skills they need and give them critical knowledge to help them survive.

5. Crossing the Threshold
Eventually the hero is ready to act and crosses the threshold, often literally as they leave the family homestead on their journey into the unknown.

Act 2
In which the main action happens as the hero survives the road and achieves their goal.

6. Tests, Allies, Enemies
Once out in the big wide world, the hero is confronted with an ever more difficult series of challenges that they may face, ranging from minor skirmishes and struggles against weather and terrain to riddles and various setbacks that would defeat a lesser person.

In this way the hero's character is both highlighted and developed. Now bonded to the hero, we feel a vicarious sense of pleasure as these challenges are met.

7. Approaching the Inmost Cave
At last the final destination lays ahead and the hero, battered but wiser from their trials along the way must prepare for the ultimate test. In ancient legend, a typical 'innermost cave' is the land of the dead or a labyrinth. It is the lair of the dread enemy where no help may be found and only deep courage will win through. Another threshold must be crossed here to enter the dragons' den of the innermost cave.

We swallow hard, as does the hero, at the thought of wha

t might go wrong. To approach the innermost cave is to face death and still go on. This pause helps show the hero as still human and helps build the story tension before the high point of the story.

8. The Crisis / Supreme Ordeal
At last the hero must face their deepest fears, typically in battle with the dark villain. This is the ultimate test that the hero takes, where the real story perhaps is the inner battle whereby the hero overcomes their own demons in facing up to the enemy outside.

As observers, we feel scared for the hero and may be terrified that they might fail or die. In so doing we also face and, with the hero, overcomes our own inner fears.

9. Seizing the Reward
In defeating the enemy, the hero is transformed into a new state where fears are vanquished and the new fearless person is born. The reward in the story may be gaining new knowledge, a treasure or rescuing a princess, but the inner reward is in the personal growth that is achieved.

Act 3
10. The Road Back
After the story has reached it main peak, the transformed hero sets out home again. Having gained the treasure they are have no need for more adventure and nothing left to prove and so set out back home again.

Setting out home is reverse echo of crossing the threshold in setting out on the adventure. In contrast to the earlier anticipation of danger, the anticipation now is of acclaim and rest.

11. The Climax / Resurrection
The story has one last trick up its sleeve now, having lulled its audience into a false sense of security, as one last challenge faces the hero. Perhaps the villain was not completely vanquished or perhaps there are other people in need on the way back -- whichever way, we are again plunged into another climactic event, just when we thought it was safe to breath easy again.

In ancient stories, the hero has to be purified before return. After the toil of the journey and the ordeal, they are formally reborn into a new and beautiful form.

12. Return with the Elixir
Finally, the hero returns to the hero's welcome, gives the treasure to the proper recipient and receives their just reward, whether it is the hand of the princess, the acclaim of the people or simply a well-deserved rest.

In this final part, all tensions are resolved and all unanswered questions answered, leaving the reader of the story satisfied and replete.

CHARACTERS:
The Hero. The protagonist of the story

The Magician. Someone who masters the mystical forces of their world, for good or ill.

The Mentor. A wise person who guides the hero.

The Jester. A comic character who sometimes reveals deep truths.

The Outlaw. A person who lives by their own rules.

The Caretaker. A character who supports the hero, sometimes making great sacrifices.

The Ruler. A leader who directs the actions of others.

The Lover. A romantic who is guided by the heart.

The Explorer. Someone who wants to push the boundaries and explore the unknown.

The Innocent. A morally pure character often traveling through a wicked world.

1. The Hero is the person who embarks on the quest seeking to correct an imbalance in community, family, or psyche. For journeys of internal growth or reformation, the hero searches for the true self in its wholeness. The Hero can be willing or unwilling and can be acting on a matter which concerns society as a whole, relates to a specific group of people, or is personal to the Hero. The Hero can act alone or as the leader of a group.



2. A Mentor is an important individual, who transmits encouragement, understanding and wisdom to the Hero. The Mentor can simply give helpful advice or the mentor may also intervene and help the Hero surmount the challenges of the particular quest.



3. Threshold Guardians are characters who serve to challenge or obstruct the Hero’s progress from one stage of the Journey to another. They stand at the gateways to new experiences; their role is to keep the unworthy from continuing on the Journey. The Hero must prove his or her worthiness in some way, often by defeating and killing the Threshold Guardian or by passing some test.



4. A Herald issues challenges and announces the coming of significant change. The Herald is the voice demanding change and providing motivation for the protagonist to get on with the journey.



5. Shapeshifters, as seen from the Hero’s point of view, appear to change their form. The change may be in appearance, in mood, or in function with respect to the quest. For example, the Hero may have a romantic interest in a person who is fickle or two-faced. That person is a Shapeshifter.



6. The Shadow is a character who reflects or represents the dark, unexpressed, or rejected aspects of something, often a part of the Hero’s personality. A shadow character has the function of presenting the allure of qualities that a person must renounce and root out in order to successfully complete the quest.



7. The Trickster who sometimes supplies comic relief in a story, is nonetheless important as a catalyst for change and can sometimes be a Hero in his or her own right. Tricksters are also often Shapeshifters.

Some Other Important Literary Archetypes
Some of the archetypes identified by Carl Jung that are frequently found in the literature are summarized below.

1. The Father: Jung saw the authority figure as a powerful, serious-minded father, stern and judging. Usually, a character manifesting this archetype is male, but not always.

2. The mother: The individual who represents nurturing and caregiving is the Mother archetype. Often a character manifesting this archetype is female, but not always. Mentors often nurture and they are often male.

3. The Child: This archetype represents the innocence and potential for growth of children, who, with their honesty, pure-mindedness, and drive for growth and development offer salvation to errant adults. The Child Savior is a subset of this archetype. See TWM’s The Child Savior: An Example of a Literary Archetype.

4. The Maiden: Like the child, the maiden represents innocence and pure intention but has the added element of female sexual possibility and transition to another female archetype such as the Mother.

I.1. Ordinary World: The MC rides into down and wants to stop at a saloon, but his horse doesn't want to. There's even a water trough but the horse knows he'll just get drunk and lose money, so it doesn't want to. The have a sort of psychic fight about it and finally the rider hops off while the horse is still walking or maybe even trotting. The guy goes in and the horse goes to the hitching post and stands there unhitched. It waits until it hears fighting or arguing inside. Maybe the MC got angry regarding a poker game and tries to order a drink, but the horse comes in and drags him out as he argues about how it's not his fault. Maybe part of his issue is he doesn't take responsibility for things. Should someone suggest he sharpen his knife and that comes back to haunt him when he has to kill his horse. Is he not good at taking care of his equipment? Is he only good at working hard for others or when others are looking or he works hard, but doesn't put the stuff away or take care of the equipment? How would it come up that his knife isn't sharp? Does he have a throwing knife and the argument is that he was betting on throwing it and maybe even the bartender doesn't want them throwing knives inside? Maybe he thinks he should have won because he hit the target, but it didn't stick so the other guy says he didn't and his buddies back him up?

I.2. Call to Adventure: Maybe he gets put in the hospital for something or some other way meets a guy dying of consumption and no one wants to be near him because it's contagious, but he takes pity on him and agrees to deliver the message. Is he too drunk to realize or is he truly that kind and brave? Does he bathe afterwards to be sure? What is that message, anyway? Maybe it's just a single word? Is there some confusion with Nicole and Nickel? Maybe he even finds the guy in the hotel he's staying in because he accidentally goes into the wrong room because he's drunk and maybe that's also why he's unsure what the guy said. Maybe he goes to the nightstand to refill the guy's glass because he thinks it will help him hear him better, but it's empty and maybe he even goes down to get more but when he returns, the guy is dead. Maybe he feels guilty about the guy dying along? Maybe the name is the mother of one of them--father or mother--who they didn't know or had never met or didn't remember or maybe she was an orphan and he goes to find out the name of the kind worker who helped her and maybe she wanted to name the baby after that worker, but she couldn't remember the name so as a final act of love, he tries to go find out the name and he does, but he can't tell her? But why can't he telegraph her? No such thing? Not invented yet? Why didn't he write her? He didn't expect to be dying and wanted to tell her in person? Why didn't he tell her when he realized he wasn't going to make it back? He went downhill too quickly and can't write but no one is helping him?

I.3. Refusal of the Call: MC agrees to give her the message, but then realizes she's not in the same town. He finds out from the hotel registry? He discovers she's really far and maybe even gets the wrong location because she maybe moved in with her sister after he left? So, he thinks he's found her, but she's not there? Or maybe she moves in with her brother and when he answers the door, he thinks it's her husband, but it's her brother? Her name is Cecilia? He doesn't know what the situation is and who he's going to meet. Maybe she was staying with her sister but then needed to go back to attend to the farm? Her brother goes with her? Or he's just there to help out with something like finishing the room for the baby? She's already heard that he was dead through some other way? Telegraph? Or she knew in her heart? Was it her husband or someone else? Did her husband leave her and die? Did he just die? Did he just leave?

I.4. Meet the Mentor / Supernatural Aid: When he decides not to go, a kid encourages him to go. Was she there when he died? Did the MC see her holding his hand or petting his hair or something? Maybe she tells him where to find the woman? Or maybe she tells him wrong? On purpose? Why?

I.5. Crossing the Threshhold: Maybe she suggests he sharpen his knife like the other guy suggested? He sets out on his quest. Maybe her name is Cecilia Quest because she's the quest and the husband or whoever he was is named John Quest like Johnny Quest. Does he have some ritual for setting out on a journey? Is there a tradition here? Does he actually live in that town or area and so it's a bigger deal for him to go out because there's a lot of dangers out there and he doesn't usually go? Or is it fine in one direction but dangerous on the other? Is he also asked to take a bunch of other stuff in the dangerous direction? Does he agree? Does he later need something he agreed to take or declined to take? Do others ask him to escort them and does he agree or not?

I.6. Entering the Belly of the Whale: Maybe he leaves and immediately discovers problems, but he can't go back because he was told by the sheriff that he'd said he was only staying a few weeks, but it had been months and with all the drinking, gambling, and arguing, he'd warn out his welcome.

II.1. Road of Trails: He goes through a number of trials while he's traveling, perhaps even a literal trial where some crazy people catch him and try him for something stupid and he has to prove that he's a good person, including confessing what he did with his wife and how he's made up for it since. This could be near the end and a way for him to realize everything he's done good and all he's been through. There can be a Brother Battle where he fights against his own self perhaps for drinking or sleeping with a beauty or gambling. There an be a Dragon Battle where he fights some huge force such as the spur riders.

II.2. The Meeting and the Goddess: Maybe MC meets the spiritual guide initially at the bedside of the dying man, then meets her out on the road and is surprised. Maybe he meets her when he needs her for moral support?

II.3. Woman as Temptress: He never actually sleeps with her, but he's tempted and gets ever closer and closer. Maybe she owns or runs a saloon and so he's also temped by drink and gambling. Maybe the place is called Hotel California. Maybe she runs a cat house and wants him for muscle to protect them...or so she says. "Who do you think protected them before?" "uh, I don't know." "Did they look damaged or bruised or scared?" "No." "What makes you think they need your protection?" "She said they did." "Do you always say what you mean?" "What do you mean?" "I'm simply asking if you always say what you mean or if sometimes you say one thing, but mean another or say one thing to get another." "I suppose everyone does." "Hm. Well, it's nice that you're here now to protect them from whatever it is they don't need protecting from, I guess. You never know when something bad could happen because of your choices."

II.4. Atonement with the Father: He comes across his father in trouble. He helps him at first, before he realizes who he is. The father probably recognizes him sooner. When he realizes who his father is, he no longer wants to help him and his resentment of growing up without a father comes out. At some point he realizes that he almost did this to his own kid, had he not died at birth. He eventually forgives his father, maybe this is where he wishes he had more time, but he spent too much time with the woman.

II.5. Apotheosis: He has changed and straightens his back. Maybe his dad gives him a horse?

II.6. Approaching the Innermost Cave: He has to fight his fears. Maybe this goes along with his father and helping him? Maybe most of his issues relate to his father leaving him? Once that's resolved in the cave, he can succeed in his mission. Maybe it's a real cave called a shifting cave where the interiors change from time to time and so you can be trapped in there forever. Or maybe it's called a cave of ghosts because of the howling sounds and the shifting interiors. But why does he go in? What is he after? A goat or cow from his father? A horse? His father? He should know better. Maybe the father goes in first to get his own goat and then the son goes in after him after he doesn't return.

II.7. The Crisis / Supreme Ordeal: Going into the cave to save his dad who he's not even sure he loves.

II.8. Seizing the Reward: He finally reaches the woman and discovers the key to the message he was keeping.

III.1. The Road Back: He decides to head out, though without knowing exactly where he's going.

III.2. Climax/Resurrection: He runs into spur hunters again.

III.3. Rescue from Without: She(?) helps save him or maybe a sheriff does and he needs a deputy? Maybe his last one quit or chickened out or was killed? Maybe this helps the hero prove his heroic stature because maybe in the beginning, he was scared and the sheriff there let them run the town and he understood, but now he won't stand for it? Maybe he takes a stand? Maybe it's not as big as them trying to kill him or her, but maybe simply them getting handsy with a lady or something? Or making inappropriate jokes? Maybe he tells them to pick on someone their own _____ (IQ, weight, ugliness?)? Maybe he gets himself into trouble and she or the sheriff steps in? Maybe for some reason he's dressed like a woman and they try something and he slaps them and tells them that when he's dressed like a lady, he expects to be treated like one? Maybe they try to steal his horse? Or someone else's? Or do they stick to just piggish behavior in town and only really threaten folks who are on their own? Does he get caught alone at some point? Who rescues him or does he need rescuing? Maybe the sheriff offers him a job, not because he's good at taking care of himself, but because he's willing to stand up for himself or others or he's not smart enough to know when to run?

III.4. Return with the Elixir: Maybe he decides to return to her farm with something she needed--seeds, wood, comfort? Maybe he tells her the place needs a man's touch. Maybe he jokes about how the pigsty isn't a pigsty and the cow or goat(s) almost seems to have been bathed recently?

III.5. Crossing the Return Threshold: Maybe she has a rickety farmhand house he's allowed to live in? Maybe it has something he hates, rats or something and he mans up and says it's perfect? Maybe she teases him that she hopes it's manly enough as she recently discovered a leaking roof and rats seem to have moved in to escape the snakes nearby and he hates both? Maybe he doesn't mind spiders, but it's not got any and she thinks that's a good thing but he likes them because they keep the bugs down?

III.6. Master of Two Worlds: MC is working on fixing his rope that's become frayed. He's in a new town, but a guy asks, "Aren't you that drunk I met back in ___ who always loses at cards and causes trouble in every town he comes to? He holds up his rope. "Frayed not," then goes back to the rope. "Huh. Yeah, he had a different horse. Welcome to town." Maybe he gives her some respectability because she now has a man around or a farmhand which shows she has some resources?

III.7. Freedom to Live: He decides to live with her or maybe he opts to live in town? Maybe he gets a job with the sheriff as a deputy? Maybe the sheriff doesn't even need him that much, but it's just good to have backup? Or maybe he does? Maybe there's some fight about water rights? Or is that in the next book? I think he ends supporting her emotionally and we hope they get together, but I don't show that.

OCT 7 Character: Protagonist's Background Story ▶︎

Write a story about your protagonist that takes place outside of your novel. Make your readers relate to him or her in such a way that we would be devastated if he or she were to experience conflict (which, ultimately, sometime in November, he/she will.) The object of the contest is to make your judges root for your protagonist! Simply put: the character we like best wins. If your protagonist is a drug dealer or someone similarly ""unlikeable"" (a.k.a, an ""anti-hero""), never fear! I love Vlad Taltos, the professional assassin. You can make us love your character, too.

I'm supposed to make him likeable, but instead, I'll explain some of his motivations in the journey as they relate to his history from part of this story.

The metal bowl cried out as it was dropped against the rough-hewn wooden table beginning to smooth with use. The cold porridge had an accusatory film over the top, as did the cook who'd made it. A hot dinner hadn't been made for him tonight and even the porridge wasn't fresh because he'd been late again, very, very late.

"'Tarn' ya go makn' 'scuses, ya. I ain' hearn' it no mo' no."

Leo recalled that night as he knocked on the door of his own house. The night it all came together and all fell apart. He'd been unfaithful to his new wife since before they'd been married. It wasn't that she was a bad woman. He just wasn't cut out to be a one-woman man. When he'd explained this, he ducked as she threw a wooden spoon. He thought telling her that she'd done nothing wrong and that the women didn't mean anything to him would lighten the blow. Either he was wrong or he'd misjudged how hurt she'd be when she found out. He'd told himself that he could keep it a secret. But you can't forever hide your dirty laundry from the person who does your wash.

That night the fight had been ugly, at least her side had been. She'd used words that made him blush hearing them from his bride. Of course, he knew he'd deserved them, at least in a way. But in another way, he also knew it was his spirit. It was in his blood. His father had left them when he was a child because he, too, wasn't meant to be pinned down to domestic 'bliss.' Though his father had managed nearly a decade and Leo couldn't manage a year.

The door opened and a stranger stood blinking into the sun.

Leo paused, swallowed to open his throat.

"Is Annabelle around?" It had been less than a year since he'd left and another man stood in his home. But 'twas the way of the west. A woman often needed a man around, so he couldn't blame her. Life was hard and living alone only added to that burden, especially with a piece of land and crops and animals to attend to. He knew his own father's leaving them had hastened his mothers death. It was part of what drove him back...that, and discovering there was no happiness or peace or sense of purpose anywhere, so he might as well go back to his obligation. After all, she had been kind to him and wasn't at fault for the mess of their lives.

"She's gone."

"Do you know when she'll be back?"

"I mean gone. She ain't coming back."

"Where'd she go?"

"Forest Hills."

Leo's eyes widened and his nose began to burn a bit as the blood shifted course. He sniffed and straightened himself.

"She ain't gone to her father's; she's gone to her maker's."

"When?"

"'Bout four, five months ago, maybe? We bought this place from the bank just this past month as no one was making payments 'cause her next 'o kin couldn't be located."

"Her family was back in the old country. Her husband was a worthless, broken-handled spoon."

"We heard. What kinda man goes cheatin' on a pregnant wife?"

Leo's stomach fell to his knees as he struggled to keep his feet.

"What?"

"Ya didn't know? Yeah, lost it in childbirth, her, too. That's what took 'er. They say if 'er man had been 'round, he coulda gone for the doc and e'rything woulda been fine. Worthless as a rifle without a stock, that one."

"Yeah." Leo took a step back. "Thanks." He stumbled backward, nearly coming off the porch. A flash of laughter crossed his mind, memory of him and her enjoying the antics of their chickens as they pecked and explored the yard. A warmth filled him. It chilled just as suddenly. That was gone. She was gone. And it was all his fault.

OCT 9 Character: Dramatis Personae ▶︎

(1) Identify allies and enemies encountered along the journey and describe how they help or hinder your protagonist(s).
(2) Create a list of characters in a format easy to edit and expand.
(3) Write a brief profile on each character new character.
*Bullet* Name
*Bullet* Age
*Bullet* Occupation
*Bullet* Relation to the main character(s)

Mentor/Jester/Caretaker/Innocent/Child:
Name: Nikki
Age: 6?
Occupation: None
Relation: Spiritual Guide and the MC and daughter of the woman he's seeking

Lover/Shapeshifter:
Name: ?
Age: 19? 35?
Occupation: Farmer's daughter (19) or Cathouse owner (35)
Relation: Tries to seduce him and gets close, but isn't successful.

Innocent/Explorer:
Name: ?
Age: 28:
Occupation: ?
Relation: Saved by MC from spur hunters and helps him learn to survive rapids

Shapeshifter/Father:
Name: ?
Age: 39 (17 at MC's birth)
Occupation: Farmer?
Relation: Father who abandoned MC

Mother/Caretaker:
Name: Cecilia?
Age: Deceased at 32 when MC was 15.
Occupation: Farmer
Relation: MC's mother

Mother:
Name: ?
Age: ?
Occupation: Shopkeeper?
Relation: Tries to keep MC around to help out and to look after him.

Mentor/Father:
Name: ?
Age: ?
Occupation: Sheriff
Relation: Offers MC a job as deputy and he accepts

OCT 10 Plot: Rising Action--How does the story get to the climax? ▶︎

Review your notes from the "Premise" and "Beginning" plot exercises, and tweak the conflict(s) and inciting incident as needed before proceeding with the "Rising Action" plot exercise, as follows:

(1) Describe any initial refusals on the part of your protagonist(s) to face the conflict.
(2) Describe the moment when your protagonist(s) makes the choice to face the conflict.
(3) Describe the moment when your protagonist(s) crosses the point of no return and cannot change their mind.
(4) Fill in some of the blanks: How will your characters get from the point of no return to the climax?

(1) While he agreed at first, as soon as he discovered the task was hard, he decided not to do it. He has to be talked into it again by the spiritual guide, who might need to be a little boy instead of a little girl.
(2) In the beginning, he faces the conflict because he has no choice. He's basically run out of town by the sheriff. Later, he makes the choice to face the conflict when the spiritual guide points out all the successes he's had and all he's learned. But does this make him weak? He's not the one exactly making the decision. Maybe earlier, he wants to quit and she asks if his leg is broken and points out all his successes and all he's learned. But later, his leg really is broken and he insists on going on when he's told he can't make it, but he explains all the things he's overcome. But what about ...?
(3) He crosses the point of no return when he leaves because he's run out of town, but in a way, he had already crossed that from his previous behavior.
(4) He will go through a number of trials such as killing his horse, thinking he's being chased by spur hunters (that happens before) and crossing the slipping sand and sinking sand and they must somehow play a part in each other but the cat is also involved. Because he can't stop to sleep because of the crows, he seems crazy which works out when he's captured by slavers.

{/dopnote}


{dropnote:"OCT 11 General: Freestyle Brainstorm, Worldbuilding, or Research"}
Spend at least fifteen minutes clarifying things through "What If" brainstorming, mind mapping (see resources at the bottom of the calendar), freestyle writing, lists, drawings or research as follows:
World Building: For fantasy, science fiction, or other speculative fiction, develop the history, economy, geology, ecology, and/or maps for your world.
Research: For reality-based fiction, research aspects of your novel that will lend credibility to your writing.

What if the character was named Luke? What if his name is Leo? What if her name is Luna? What if it's Cecilia? What if the cat can talk? What if the cat can sense things? What if the metal is related to the cat? What if the cat's abilities are related to the metal? What if it's because the cat can eat the metal bits that make it able to sense him? What if the metal is refined from tons of dirt that holds tiny pieces of the metal--10 tons for 1 ounce? What if you can also get your spurs coated for a lessor effect, this is pretty common? How is the effect of coating less? Is it shorter rang? Less range of emotions? Can only show surface emotions of the person or animal? You can sense it but it can't sense you or vice verse? You can only sense emotions, but can't really communicate? Maybe he can sense the cat because he's still wearing the spurs. What if the cat can sense him but only 2 way communication works with horses or if you are in contact with them with the metal? What if the cat isn't really a cat or is really some higher intelligence being on the planet that's a known (or unknown) thing? What if the cat is evil and tries to get him into trouble? What if the cat is working with the spur hunters or someone else? What if the cat is covered in black magic? What if the cat is magic? What if he finds water when he's in desperate need, but it's impenetrable water AKA glass water so he can see fish swimming, but can't get to them or the water because he can't break the surface? What if they run into someone raiding an Indian burial ground or a farm or cabin? Will he just let it go? Will the spiritual being say something to make him stop them and that person or chief later saves him or thanks him? What if the person who's stuff he saves is a dying widow and they leave it all to him because no one else would help? What if he finds a widow or widower and he stays on longer than expected to help fix up their place or at least do something important like repair the roof or fencing? What if there's a beautiful daughter and that's part of why he stays longer? What if he stays longer at a beautiful woman's house and because of that, he can't help a person in need as long as he'd like to? What if the dying person gives him a deadline, such as he has to deliver the message by December and he thinks it's related to some gift, but really, it's because of the impending birth? What if they have to hurry in the end because the baby comes early? What if that's part of why he can't help as long and the spiritual being had been pressing him to leave sooner, but he didn't? What if he helps a shopkeeper who is being held up by a starving family? What if he came into some money and agrees to buy what they need? What if that's his traveling money and that's how he ends up living hand-to-mouth? What if someone he helps gives him a horse? Maybe it's the person he stays to help mend their fences and round up lost horses or maybe it's someone who was being raided or the shopkeeper or even the family who were robbing the store for food? What if there are sand penguins? What if the spiritual guide's name is Baby or Nichole, related to nickel, which he actually misheard. What if she goes by Nikki? Is that too close and the readers will catch on? What if she says her name is Nikki or Nichole, but that people call her Baby?

OCT 12 Outline Revision #2 ▶︎

(1) Review your plot elements thus far and organize them into your outline.
(2) Add a chronological timeline to your revised outline, using whatever measure of time is appropriate in your story. Determine when plot events happen in time (which is not necessarily when you will reveal them in your novel.) See this example composed by JK Rowling while outlining one of her famous Harry Potter novels.
(3) Optional: Brainstorm the best chronology(ies) for your story and work it(them) into your outline.

Chronology Strategies
*Bullet* Linear Narrative - the story is told in the order the events occurred.
*Bullet* Non-Linear Narrative - the story is told out of order.
*Bullet* Reverse Chronology - the story is told backwards.
*Bullet* In medias res - the story starts in the middle, goes back to explain how it got there, catches up, and then resolves.
*Bullet* Flashback/forward - individual scene(s) that take place prior to or after the current action.

Note that the difference between these chronological devices can be minute. Read the examples below to see how most stories use more than one style of chronology. Your job is to plan the order in which you will tell your story to the reader. Don't get hung up in the nomenclature.

(1)(2) Timeline = ~4 months--the dying father left and journeyed and died over months and it takes him about 4 months because he stops and stays with people and maybe gets lost.
I.1. Ordinary World: Day 1--The MC rides into town (he probably has lived in the area for a few months) and wants to stop at a saloon, but his horse doesn't want to. There's even a water trough but the horse knows he'll just get drunk and lose money, so it doesn't want to. They have a sort of psychic fight about it and finally the rider hops off while the horse is still walking or maybe even trotting. The guy feels life is meaningless and he sees no purpose in it. The guy goes in and the horse goes to get a drink, then to the hitching post and stands there unhitched. It waits until it hears fighting or arguing inside. Maybe the MC got angry regarding a poker game and tries to order a drink, but the horse comes in and drags him out as he argues about how it's not his fault. Maybe part of his issue is he doesn't take responsibility for things. Should someone suggest he sharpen his knife and that comes back to haunt him when he has to kill his horse. Is he not good at taking care of his equipment? Is he only good at working hard for others or when others are looking or he works hard, but doesn't put the stuff away or take care of the equipment? How would it come up that his knife isn't sharp? Does he have a throwing knife and the argument is that he was betting on throwing it and maybe even the bartender doesn't want them throwing knives inside? Maybe he thinks he should have won because he hit the target, but it didn't stick so the other guy says he didn't and his buddies back him up and MC is told to sharpen his knife? Is his antagonist his history and issues with abandonment? Maybe the apathy and idea that life is meaningless is from the fact that he has no ties to anyone except his horse.

I.2. Call to Adventure: Day 1--Maybe he gets put in the hospital for something--bar fight? or some other way meets a guy dying of consumption (infection?) and no one wants to be near him because it's contagious, but he takes pity on him and agrees to deliver the message. Is he too drunk to realize or is he truly that kind and brave? Does he bathe afterwards to be sure? What is that message, anyway? Maybe it's just a single word? Is there some confusion with Nicole and Nickel? Maybe the girl tells him to call her Baby Bean or Baby or Bean because that's what his mom calls him and maybe it's a boy. The guy doesn't want him to just telegraph the message. Maybe he even finds the guy in the hotel he's staying in because he accidentally goes into the wrong room because he's drunk and maybe that's also why he's unsure what the guy said. Maybe he goes to the nightstand to refill the guy's glass because he thinks it will help him hear him better, but it's empty and maybe he even goes down to get more but when he returns, the guy is dead. Maybe he feels guilty about the guy dying along? Maybe the name is the mother of one of them--father or mother--who they didn't know or had never met or didn't remember or maybe she was an orphan and he goes to find out the name of the kind worker who helped her and maybe she wanted to name the baby after that worker, but she couldn't remember the name so as a final act of love, he tries to go find out the name and he does, but he can't tell her? But why can't he telegraph her? No such thing? Not invented yet? He got sick too suddenly? Once he was diagnosed, he wasn't allowed to and no one would help him? He didn't know where she was? Why didn't he write her? He didn't expect to be dying and wanted to tell her in person? Why didn't he tell her when he realized he wasn't going to make it back? He went downhill too quickly and can't write but no one is helping him? Maybe there's a safe train that the cowboy can't afford to take? Otherwise, how did this guy get there? Or does the cowboy get lost and that's why he runs into all these things? Maybe he gets lost when he gets high and is running from the imaginary spur hunters?

I.3. Refusal of the Call: Day 1--MC agrees to give her the message, but then realizes she's not in the same town. He finds out from the hotel registry? He discovers she's really far and maybe even gets the wrong location because she maybe moved in with her sister after he left? So, he thinks he's found her, but she's not there? Or maybe she moves in with her brother and when he answers the door, he thinks it's her husband, but it's her brother? Her name is Cecilia? He doesn't know what the situation is and who he's going to meet. Maybe she was staying with her sister but then needed to go back to attend to the farm? Her brother goes with her? Or he's just there to help out with something like finishing the room for the baby? She's already heard that he was dead through some other way? Telegraph? Or she knew in her heart? Was it her husband or someone else? Did her husband leave her and die? Did he just die? Did he just leave?

I.4. Meet the Mentor / Supernatural Aid: Day 1--When he decides not to go, a kid encourages him to go. Was she there when he died? Did the MC see her holding his hand or petting his hair or something? Maybe she tells him where to find the woman? Or maybe she tells him wrong? On purpose? Why?

I.5. Crossing the Threshhold: Day 1--Maybe she suggests he sharpen his knife like the other guy suggested? He sets out on his quest. Maybe her name is Cecilia Quest because she's the quest and the husband or whoever he was is named John Quest like Johnny Quest. Does he have some ritual for setting out on a journey? Is there a tradition here? Does he actually live in that town or area and so it's a bigger deal for him to go out because there's a lot of dangers out there and he doesn't usually go? Or is it fine in one direction but dangerous on the other? Is he also asked to take a bunch of other stuff in the dangerous direction? Does he agree? Does he later need something he agreed to take or declined to take? Do others ask him to escort them and does he agree or not?

I.6. Entering the Belly of the Whale: Day 1--Maybe he leaves and immediately discovers problems, but he can't go back because he was told by the sheriff that he'd said he was only staying a few weeks, but it had been months and with all the drinking, gambling, and arguing, he'd warn out his welcome.

II.1. Road of Trails: He goes through a number of trials while he's traveling, perhaps even a literal trial where some crazy people catch him and try him for something stupid and he has to prove that he's a good person, including Month 4--confessing what he did with his wife and how he's made up for it since. This could be near the end and a way for him to realize everything he's done good and all he's been through. Month 4--There can be a Brother Battle where he fights against his own self perhaps for drinking or sleeping with a beauty or gambling. Month 4--There an be a Dragon Battle where he fights some huge force such as the spur hunters.

Maybe the hero (named Distan or Tryon?) feel like life has no meaning and is just a series of coincidences and events made to make you miserable. The whole book is him finding connections and meaning in life. Week 1--He's starving so eats hallucinogens, then hallucinates spur hunters and runs for it, killing his horse and taking the meat which gets night jackals on his tail. Day 8--He escapes them and while perhaps hiding in a tree, spur hunters throw a rope over the tree and he cuts it, freeing the person, now that he has a sharp knife. They don't realize it and think it just broke as they slowly walked his horse out from under him because they want to keep it. Then the night jackals come and the spur hunters are afraid and leave. The new person he saves and him tie themselves in the tree with the rope so they can safely sleep there that night, then the next day, they are walking and that person talks about getting washed down a river and tells him how to survive it. Day 9--Perhaps there's a bear or something that the two of them scare away and if it had just been him, he wouldn't have been able to because he wasn't big or scary enough or just because there are 2 of them. Perhaps it's called a two bear because it will eat 1 person, but run from 2? The person with him teaches him how to survive rapids. Week 12--Saves a cat with the end of the rope he cut loose for the guy being hanged. The cat is maybe over a cliff and climbs onto the knotted end and he pulls him up or he climbs up the knots of the rope. Week 13--He's in the desert and everything is fine, but the cat keeps trying to get him to keep going when he wants to rest/sleep. He's in sinking sand, like quicksand, but much slower and if he had stopped to sleep, by the time he discovered this, he could have been nearly covered and unable to get free. Then a sand storm comes along and blows in slipping sand so he's not able to stand up easily or climb dunes and he's fully exhausted, but can't rest or he'll die. When he is giving up, the kid/spirit starts talking about killing his horse, "I told you never to speak of that" she she asks if his horse died in vain (for nothing?) so that makes him stop giving up.

He was hungry at some point and she talked him into eating some leaves that they knew would cause hallucinations, but he was starving. They cause him to hallucinate spur hunters coming after him, so that's why he and his horse go on the run. He and his horse are maybe trying to escape something or maybe just walking down a really steep grade and the horse falls and they both (because he was riding or he had his hands on the reins and they got tangled and the fairy godmother asks why he didn't let go and seems to not understand that it wasn't on purpose that they both went down the mountain into a raging river) go into a raging river, though is there a reason he was going down the cliff and there might be a river below, but he wasn't going into the river because the river is far below and they plummet? Is he trying to hide in a cave or look for something? Or maybe they just go from the mountain into the river and there's no drop from the end of the mountain to the river. His horse gets swept away and he goes searching for her, only to find her blinded by thorns as she's caught in a fallen devil tree that has thorns all in the branches and pointed spikes sticking out or maybe the horse just gets impaled on a broken branch of it. The hero tries to save her, but sees she's too far gone and so he has to kill her so she doesn't suffer. Maybe he tries to slit her jugular with his knife that's not sharp enough and he manages to do it, but it's not pretty. He tries to comfort her as she bleeds out, screaming and resisting, hurting herself even more and feeling betrayed by her owner. While he's killing the horse, since the horse can sense his emotions, he has to try to act calm as if everything is okay, but he also sense's the horses emotions of betrayal, anger, fear, etc. Is this too cruel? "Why did you slit her throat?" "Couldn't you see she was suffering?" "Yes, she was greatly suffering. Why did you slit her throat?" "To end her suffering. She wasn't going to live." "No, she wasn't going to live. Why did you slit her throat?" "Why do you keep asking me that? I've already told you." "No, you told me why you needed to kill her, but not why you slit her throat." "It's a fairly rapid way to die. It was the best I could do. I didn't have a gun or anything." "No, you didn't have a gun. But it didn't look like a good way to die. Your knife is perfectly sharp for squirrel hide, but not suited for horse hide. Why did you slit her throat?" He gets very angry, "Why was I supposed to do?" "You could have fed her leaves of the devil tree. They're poisonous, you know. Then she could have fallen asleep quietly and you could have lowered her head into the water and allowed her to quietly drown." "Why didn't you tell me this?" "I did not know what you were going to do. I cannot read minds." "You saw me take out my knife." "Yes, I was very intrigued by this idea." ""Why didn't you stop me?" "Your idea was perfectly acceptable. It was relatively rapid and while there was pain, she was already in so much pain, I do not think it made a difference. Her screaming was likely simply due to the idea that you betrayed her rather than saving her." "There was no saving her." "No, there was not, but she did not know that. You have always protected her before, so when you arrived, she thought you were going to help her, not kill her." But it's good that his horse died when she did because when he was captured, if he had his horse, she would have been beaten and starved and worked to death, with her wishing daily that she'd die until she finally does after years of torture.

She tells him to take some of the meat from his horse. He does, but only reluctantly and after a long debate about it, but he needs the food and she's just going to rot and feed the vultures anyway. But then something tracks him, perhaps the night jackals, from the scent of the fresh meat, which he has tried to start drying after going a ways, but then he builds a smoking area to smoke the meat. The night jackals come and start stealing the meat and fight him because he feels so guilty about killing his horse that at least he could survive off the meat, but then he can't because they get most or all of it. He's tried to find a stone to sharpen his knife and does so some, but not much but enough to kill the night jackals.

Then it's important that he sharpened his knife so that he can kill the night jackals, but also, he needs it to cut through a rope (?) to save his or someone else's life? If his knife was it's normal dullness, he wouldn't have done it in time. He couldn't outrun the spur hunters because he's on foot, so he hides in a tree and perhaps cuts the person's rope when they were going to hang someone and maybe the night jackals are still trailing him because he still smells like blood so he ends up in a raging river (because he didn't before--don't want to repeat things...or maybe he learns how to navigate it from the last time and someone tells him to put his feet first) and that washes off the blood so they stop following him but the spur hunters either go after the night jackals or they are afraid of them so they leave, leaving the person they tried to kill to be eaten by them to keep them busy while the spur hunters get away.

This is in 3rd person, so I have to show the horse's feelings of betrayal and hurt by allowing the cowboy to apologize and talk about what he's sensing and having the spiritual guide discuss it later as well.

Maybe he's running some cattle to help earn money and they are standing by watching and he has to figure out a way to keep them from running off while he's now on foot.

II.2. The Meeting and the Goddess: Day 1--Maybe MC meets the spiritual guide initially at the bedside of the dying man, then meets her out on the road and is surprised. Maybe he meets her when he needs her for moral support?

II.3. Woman as Temptress: Week 10--He never actually sleeps with her, but he's tempted and gets ever closer and closer. Maybe she owns or runs a saloon and so he's also temped by drink and gambling. Maybe the place is called Hotel California. Maybe she runs a cat house and wants him for muscle to protect them...or so she says. "Who do you think protected them before?" "uh, I don't know." "Did they look damaged or bruised or scared?" "No." "What makes you think they need your protection?" "She said they did." "Do you always say what you mean?" "What do you mean?" "I'm simply asking if you always say what you mean or if sometimes you say one thing, but mean another or say one thing to get another." "I suppose everyone does." "Hm. Well, it's nice that you're here now to protect them from whatever it is they don't need protecting from, I guess. You never know when something bad could happen because of your choices."

"Why do you surrender so easily?" "Easily? Are you kidding me? I had to kill my injured horse with my own two hands, was nearly killed by night jackals and spur hunters (people who hunt others for their spurs like a trophy), not to mention nearly died of thirst, fell down a mountain and was almost drown, and was nearly driven insane by crow songs (crows that sing beautiful music, but that never stop and will even follow you until you get out of their territory, which can take days, so you can't sleep and go mad and then they eat you)." "Exactly. You proved your loyalty to your horse, though it nearly broke your heart. You proved your strength against the jackals and your cunning against the spur hunters. You proved your determination against the thirst and rapids. And you proved your mental soundness, which to be honest, I had questioned, against the crow songs. You are a champion to be heralded, to have songs sung about you for all time." "I'm done." "Is your leg broken?" "No." "Your arm?" "No." Then why are you done? Even your horse struggled to survive until the last drops of blood drained from her. Why do you give up when you have no reason to?" "No reason to give up? Did you not hear what I've been through?" "Yes, I heard everything you've conquered. You should be very pleased with yourself. Now, it's time to get up." "I'm tired. I need to rest." "Oh, why did you not say so? I thought you were simply a losing quitter who had no internal spine." "All spines are internal." "Right so. How long will you be resting? I am bored and look forward to the next opportunity for something to try to kill you. It's always very exciting." He picks up a handful of dirt and flings it at her/him and it goes right through them. He also needs to prove bravery. Perhaps he has to prove LDRSHIP--loyalty, duty, respect, self-less service, honor, integrity, and personal courage. Maybe there's an answer ant that will answer your yes/no questions. But does it really answer them or does it just respond randomly and people think it's answering them?

Week 11--At one point, he's arrested, either with others or put with others, and the fairy godmother character keeps talking to him. He keeps telling her to be quiet because people are staring at him when he talks to her, but she insists that it's rude to ignore her when she's talking to him. She tries to keep him talking to her so that everyone else thinks he's crazy. He realizes that he's looking crazy, but he doesn't want to so he tries to resist talking to her, though she won't be quiet all night long so he keeps "talking to himself" and the guards think he's crazy (as do the other prisoners) so he ends up not being taken away with the other prisoners who are going to end up as slaves (?) or at least forced labor for the realm and instead, he's released because they don't want to deal with him. Though maybe he's beaten first, to ensure he's not acting, then that night he continues to talk to her, angry that she made him get beaten, but it's all for the best in the end, though he didn't see it before. But it's good that his horse died when she did because when he was captured, if he had his horse, she would have been beaten and starved and worked to death, with her wishing daily that she'd die until she finally does after years of torture.

II.4. Atonement with the Father: Week 14--He comes across his father in trouble. He helps him at first, before he realizes who he is. The father probably recognizes him sooner. When he realizes who his father is, he no longer wants to help him and his resentment of growing up without a father comes out. At some point he realizes that he almost did this to his own kid, had he not died at birth. He eventually forgives his father, maybe this is where he wishes he had more time, but he spent too much time with the woman.

II.5. Apotheosis: He has changed and straightens his back. Maybe his dad gives him a horse?

II.6. Approaching the Innermost Cave: He has to fight his fears. Maybe this goes along with his father and helping him? Maybe most of his issues relate to his father leaving him? Once that's resolved in the cave, he can succeed in his mission. Maybe it's a real cave called a shifting cave where the interiors change from time to time and so you can be trapped in there forever. Or maybe it's called a cave of ghosts because of the howling sounds and the shifting interiors. But why does he go in? What is he after? A goat or cow from his father? A horse? His father? He should know better. Maybe the father goes in first to get his own goat and then the son goes in after him after he doesn't return. The dad recognizes him but he doesn't recognize his dad, but he stumbles on something that makes him realize who his dad is. His dad is scared to tell him who he is. The kid had guided him to his dad's place to help him release the weight and anger to prepare his heart to help him be able to stay with the kid's mom. Maybe his dad talks about being a man of his word and doing the right thing as stuff that he's learned in his life and that's important. This later encourages him to continue when he doesn't want to and it seems that all is lost.

II.7. The Crisis / Supreme Ordeal: Week 14--Going into the cave to save his dad who he's not even sure he loves.

II.8. Seizing the Reward: Week 17--He finally reaches the woman and discovers the key to the message he was keeping. Her husband was the one who died. He'd set out before he knew she was pregnant, trying to find out the name of someone they were going to name their kid after. He kneels down on the doorstep to talk to the kid about how they've finally arrived. Or the kid starts the conversation. "Are you ready for this?" "Definitely. I'm ready for this to be over with. I've come such a great distance." "You've come such a great distance, but you've come even further in here (points to his head) and you've travelled the furthest distance here (covers his heart with his hand). You are ready for this or you wouldn't be here yet."

III.1. The Road Back: He decides to head out, though without knowing exactly where he's going.

III.2. Climax/Resurrection: Week 18--He runs into spur hunters again.

III.3. Rescue from Without: Week 18--She(?) helps save him or maybe a sheriff does and he needs a deputy? Maybe his last one quit or chickened out or was killed? Maybe this helps the hero prove his heroic stature because maybe in the beginning, he was scared and the sheriff there let them run the town and he understood, but now he won't stand for it? Maybe he takes a stand? Maybe it's not as big as them trying to kill him or her, but maybe simply them getting handsy with a lady or something? Or making inappropriate jokes? Maybe he tells them to pick on someone their own _____ (IQ, weight, ugliness?)? Maybe he gets himself into trouble and she or the sheriff steps in? Maybe for some reason he's dressed like a woman and they try something and he slaps them and tells them that when he's dressed like a lady, he expects to be treated like one? Maybe they try to steal his horse? Or someone else's? Or do they stick to just piggish behavior in town and only really threaten folks who are on their own? Does he get caught alone at some point? Who rescues him or does he need rescuing? Maybe the sheriff offers him a job, not because he's good at taking care of himself, but because he's willing to stand up for himself or others or he's not smart enough to know when to run?

III.4. Return with the Elixir: Week 18--Maybe he decides to return to her farm with something she needed--seeds, wood, comfort? Maybe he tells her the place needs a man's touch. Maybe he jokes about how the pigsty isn't a pigsty and the cow or goat(s) almost seems to have been bathed recently?

III.5. Crossing the Return Threshold: Week 18--Maybe she has a rickety farmhand house he's allowed to live in? Maybe it has something he hates, rats or something and he mans up and says it's perfect? Maybe she teases him that she hopes it's manly enough as she recently discovered a leaking roof and rats seem to have moved in to escape the snakes nearby and he hates both? Maybe he doesn't mind spiders, but it's not got any and she thinks that's a good thing but he likes them because they keep the bugs down?

III.6. Master of Two Worlds: Week 19--MC is working on fixing his rope that's become frayed. He's in a new town, but a guy asks, "Aren't you that drunk I met back in ___ who always loses at cards and causes trouble in every town he comes to? He holds up his rope. "Frayed not," then goes back to the rope. "Huh. Yeah, he had a different horse. Welcome to town." Maybe he gives her some respectability because she now has a man around or a farmhand which shows she has some resources?

III.7. Freedom to Live: Week 19--He decides to live with her or maybe he opts to live in town? Maybe he gets a job with the sheriff as a deputy? Maybe the sheriff doesn't even need him that much, but it's just good to have backup? Or maybe he does? Maybe there's some fight about water rights? Or is that in the next book? I think he ends supporting her emotionally and we hope they get together, but I don't show that.


(3) Linear Narrative

OCT 13 Antagonist Profile ▶︎

Draft a profile of the antagonist(s) you identified in the "Premise" assignment. If your antagonist is a situation rather than a person, choose another minor (but significant) character to profile.

Name: Spiritual Being--Nickel?
Age: Pre-birth but appears 6-8?
Physical Attributes: Red hair and freckles like her dad? Blue eyes? Slender, talkative, precocious.
Occupation: Child, spiritual advisor, aid, encourager
Education: Uneducated, but will be when old enough
Culture: The culture of the area, western 1800's fantasy, but more refined than the cowboy--not totally refined, but perhaps ore educated and worldly?
Religion: Believes in God? Or at least believes in the spiritual world? Does she know who she is, that she's a spiritual being or that she's a preborn baby?
Family: She's probably the daughter of the dead person and the daughter of the woman that the cowboy is going to find.
Relationship Status: Single
Personality: Talkative and personable, but opinionated, especially about right and wrong. She doesn't always reveal info, but has his best interests at heart, though perhaps because looking out for him is the same as looking out for her.
Likes: Likes to play and tell jokes (maybe has lots of unfinished jokes throughout the story). Likes animals but also wants to keep him on task. She comes and goes at will, not his convenience and it takes him a bit to realize she's invisible to others so he wonders if he's going crazy.
Dislikes: Doesn't like emotionally messy situation or getting attached, doesn't like too much responsibility,
Strengths: Focused on the task, fun and funny, insightful
Weaknesses: Doesn't finish jokes, maybe cares for him only to serve her needs, maybe gets more selfish as he gets closer and it gets closer to time to be born because she's concerned about getting there on time. Maybe the wife can see her (for a minute) and she looks like the person she wanted info on so maybe it's a mate from her time in the orphanage.
Motivations: Getting to the woman before the birth
Desires: Prefers to have things done her way and in her time, like any kid.

He speculates on what the word or name means
OCT 14 Contest Round: Antagonist Backstory ▶︎

Write a story about your antagonist that takes place outside of your novel. The object of the contest is to make your judges understand and empathize with the antagonist's motivations.

If your antagonist is a situation rather than a person, write a background story about that. The Tom Hanks movie "Cast Away" famously features only one character (unless you count Wilson), and his antagonist is loneliness. Could you personify loneliness? Why does loneliness exist? What motivates it? How would a lack of loneliness affect survival of the human race? How did it drive main character Nolan to survive for years alone on a deserted island? Loneliness has a job to do. Make us believe it's a valid one.

One of the many antagonists (and one he battles the most) is the desert. The MC battles the desert and other environments on a regular basis. He deals with hunger and thirst where he's forced to eat some hallucinogenic plants that cause him to hallucinate spur hunters. While fun, the desert houses sand penguins which steal fish-shaped objects such as his knife and rifle. He calls them desert monkeys because they're fun and silly, but can also be a pest. The sand penguins have adapted themselves to life in the desert, moving under the sand like they once did water. The will bounce and play and burrow underneath and swim through the sand. Perhaps they are most common in the slipping sand where it's easy to slide through the sand.

He deals with sinking sand, a bit like quicksand, slipping sand, where it's hard to stand or walk, and maybe some other types of sand. He also deals with the heat and animals such as night jackals. They are dangerous and will kill and eat you. They track and hunt you for hours, even days, if they need to. Even the spur hunters are afraid of them. There are also snakes and scorpions. Perhaps there's an answer bug or answer ant that will answer questions by making different movements, but the problem is it's not always good at giving you the correct answer. Is it purposely lying or is it just a myth that it answers, but it really is just responding and not responding to you? Maybe there's a snake of some sort? Is it good or bad? What's it do?

The desert has loneliness, but he battles that a lot with the cat and his spiritual guide.

OCT 16 General: Theme ▶︎

(1) Theme. What is the theme (see below) or moral of the story?
(2) Resolution. Brainstorm ways you could resolve the conflict(s) within the confines of the theme. You are not required to identify a chosen resolution from your list of possibilities yet, so really think outside the box! Anything goes.

(1) Themes: How the past impacts the present, Overcoming impossible odds, Self-Interest, Fidelity vs. infidelity, Fatherhood, Who you can rely on, Laws and regulations, Oppression, Man vs. nature, Man vs. self, and Maturing, Life has purpose and meaning though sometimes you have to look for it or make it, Grief, Betrayal vs. Trust, Failure, Forgiveness, Friendship, Not giving up

(2) How the past impacts the present--when he makes decisions that allow him to be able or not be able to get through a current situation. Overcoming impossible odds--describes most of his adventures. Self-interest--he starts out a bit more selfish and ends up much more altruistic. Maybe the sheriff in the originating town asks him for help with the spur hunters and he declines. Fidelity vs. infidelity--Because he left his wife and cheated on her, he carries a burden about that since she died before he could reconcile with her. Fatherhood--his father left him and his mother and he left his wife and unborn kid (did he know she was pregnant or did he return when he heard?), but the woman he goes to find had a faithful marriage, even though it wasn't perfect. Who you can rely on--learning to rely on others through the guide? Laws and regulations--learning to help uphold the laws through seeing them broken so much with no one else helping. Maybe he witnesses too much bystander apathy? Oppression--he helps oppressed people a few times? Man vs nature--when he battles to slipping sand, sinking sand, song crows, etc. Man vs. self--he struggles to not drink or gamble, be responsible, do what he should, not give up, etc. Maturing--learning to take care of others and do what he know he should. Life has purpose or meaning but sometimes you have to look for it or make it--he starts out thinking nothing he does matters, but then he discovers that his choices have impacts on himself and others and he ultimately finds meaning in his journey. Getting rid of his spurs for a good cause can help resolve his grief. His horse feels betrayed when he kills it. He feels betrayed that his father left him. He feels he betrayed his wife when he left her. He has to rebuild that trust with his dad. He sees himself as a failure for abandoning his family so he self-sabotages frequently, but in the end, he sees that he has accomplished many things and has helped many people. He has to learn to forgive himself and his father and I think both of those happen when he goes into the cave to save his dad. His little spiritual guide become a bit of a friend to him, the first he's had in a very long time. When he's in his darkest time, he learns not to give up and he's able to go save his father.

OCT 17 Setting: Cultural Setting ▶︎

Describe the cultural, political and/or religious setting in your novel, regardless of whether the cultural setting is fictional, historical, or modern.
(1) What do your societies believe?
(2) In what practices do they engage?
(3) What laws or rules of society are in place?
(4) Who/what enforces the laws and rules and how successful are they?
(5) What technologies are in use?
(6) How does the setting impact your protagonist(s) in their pre-story lives?
(7) How does the setting impact the plot of your story?

(1) My societies believe mostly what we believe. There are Christians (or at least believers) and non. They believe woman are strong, but also should be protected. They believe in the power of the spur metal for communicating feelings and emotions between them and animals. There is a form of slavery that's not really being addressed, perhaps because it's being done on the downlow. People are being taken from the wilderness or small towns without communication, but are taken to remote areas to work.
(2) They attend worship services. Bad people hunt down others for their spurs. They farm and have shops and basically live fairly similarly to the 1800's.
(3) The laws and rules are pretty typical for the 1800's except not so racist or sexist. It's not legal to kill people, but it happens, though not based on race or sex, but for sport.
(4) Sheriffs enforce the laws and rules, but how successful they are depends on them and the determination and number of bad guys in their area. In the beginning, that sheriff isn't that good at managing them. In the end, that sheriff is better, though perhaps it's not just about him, but there are fewer of them to begin with? No one is doing much about the slavery / forced labor.
(5) There are telegraphs? She can't be notified through them because of the desert--sinking and slipping sand prevents telegraph wires from being placed. They use horses for transportation and have guns and knives.
(6) He's a farmer in the beginning, pre-story, living on and owning a farm.
(7) The setting impacts the plot because he can't just email her. Also, when he's in the desert, he runs into lots of problems/complications. Things like slipping and sinking sand are a problem for him.

OCT 18 General: Freestyle Brainstorm or World Building or Research Round 2 ▶︎

(1) Spend at least fifteen minutes clarifying things through "What If" brainstorming, mind mapping (see resources at the bottom of the calendar), freestyle writing, lists, drawings or research. You may also choose to use this time to finish a previous assignment that needs more time.

(2) Update your characters, definitions and settings lists as needed.

What if Baby Bean is a girl? What if she helps him heal? What if Baby Bean is never mentioned as a boy or girl? What if Baby Bean is androgynes? What if if Baby Bean refuses to mention their sex? What if Baby Bean is a boy and reflects his own history with his father, allowing him to change that going forward? What if Baby Bean isn't named Nicole? What if Baby Bean isn't called Nicki?

What if the MC is named Leo? What if the MC is named Distan? What if the MC isn't named at all? What if the MC gives a different name each time? What if the MC doesn't give a name?

What if his dad was cheating on his wife? What if she knew and accepted it until it got too public? What if she didn't know and accidentally found out or heard rumor? What if he wasn't cheating, but wanted to and just left to save her pride/good name? What if she was cheating? What if she wanted him to leave? What if she told him to leave? What if he didn't leave and was just in the shadows?

OCT 19 Setting: Definitions List ▶︎

(1) Create a list of definitions (see below) in a format easy to edit and expand.
(2) Optional: Brainstorm and describe an object critical to the plot. Add to definitions list.

In your definitions list, you'll flesh out details that you'll want to remember later for consistency. You won't have to dig through pages of scribbled notes to find whatever you decided about these definitions - they will all be compiled into a neat list / binder / database / note cards / whatever your favorite form of organization happens to be.

Example definitions for the Harry Potter series:
*Bullet* rules of magic
*Bullet* the Ministry of Magic
*Bullet* modes of transportation (apparition, Floo network, portkeys, flying, etc.)
*Bullet* the four Houses at Hogwarts
*Bullet* the sword of Gryffindor (note: this would also make a good plot background story)

Non-speculative examples requiring definitions:
*Bullet* a fictional student organization to which your protagonist belongs
*Bullet* the fictional company or division of the FBI for whom your protagonist works
*Bullet* the disease afflicting your protagonist, which is a real condition you need to research
*Bullet* the antique artifact your protagonist intends to heist

Spur hunters: Groups of people who go out on hunting expeditions to capture and kill people who have special spurs that are worth a lot, though they will go after anyone with spurs. They hunt them and keep the spurs like trophies.
Devil tree: Spiked tree with poisonous leaves and spiked branches. The leaves put you to sleep, then kill you.
Spur metal: Allows you to communicate between you and your horse so you can identify each others' feelings and emotions to work better together. If it only works on horses, equininium?
Slipping sand: Sand that is so slippery you have trouble even crawling in it, let alone walking.
Sinking sand: Sand that you slowly sink into. If you aren't paying attention, you'll lay down and slowly sink into it before you know it and suffocate when you breath in a lung-full of sand.
Sand penguins: Fun creatures that can slide through the sand as if it was water, perhaps only in slipping sand. They leap and play and steal things that are vaguely fish-shaped. They get their nutrients from the sand they eat and the microbes it contains.
Baby Bean: The unborn child of the woman Leo is looking for.

OCT 20 Setting: Settings List ▶︎

(1) Create a list of settings in a format easy to edit and expand.
(2) Add brief descriptions, drawings, images or Google Maps coordinates (find the location on Google Maps/Earth and record the URL) for each.

(1) Town 1: Leo begins in a town, riding in. It's got a dirt main street and he's trying to go in the saloon, but his horse doesn't want him to, so he dismounts while the horse keeps going.
Saloon: Leo is drinking, playing cards, and throwing knives. It smells of alcohol, but folks don't smoke here, so no smoke, but sweat. Perhaps, if one uses their imagination, there's a faint hint of stale smoke from days gone by.
River: Fast-moving and about stomach deep where he is, his horse is impaled on a fallen devil tree. The tree is a dark grayish black trunk with small, dark leaves. There are large thorns all over and the branches often end in a sharp point, too. The leaves are poisonous, causing you to fall asleep.
Hanging spot: Where Leo sees the guy who he ends up saving from the spur hunters. They are in the woods, but there's a fair amount of space between the trees--roomy woods with space enough for the trees to stretch their branches without touching each other.
Temptress's house: Small but neat house where she tempts him. He does some work on her small farm. The land is flat and lush.
His old house: Small house that's on a large farm with rolling hills of not great grass.
Father's house: Small house on a small plot of land because he mostly prospects and gardens and raises goats.
Cave of confusion: Where his dad enters to find his only male goat that he bought to expand his bloodline because the rest are all related. Things aren't where you think they are and seem to move. People often die in there, especially as it's prone to collapses and the ground collapsing.
Mission house: Larger house with a large plot of land, relatively flat with some small hills and a nice barn and shed for the help.

OCT 21 Setting: Contest Round Setting Description ▶︎

Describe a setting in words. Use all five senses and make your reader experience the setting as if he or she were there.

Desert: The heat burned the skin, leaving his insides, at least for now, feeling cooler than his outsides. But he knew this was short-lived if he didn't find shelter. The smell of heat burned his nostrils, like when he opened the woodburning stove with his face too close. He'd learned not to do that as a child, but the memory came back vividly now as he felt the blast of fire. The wind whipped up from time to time, only intensifying the frustration because it teased the idea of relief, but only offered furnace blasts. His eyes burned as they sought some sort of shelter, the sand reflecting the sun until he couldn't take it and wrapped his scarf around his face and eyes to help keep the reflection down, preventing his own nose and cheekbones from intensifying things. But the areas where the scarf was thickest only seemed to add to his misery. His vision was of nothingness. He only saw mile upon mile upon endless mile of flatness. He wished for even the interest of a dune, but there was nothing but a solid beige stretched endlessly before him touched by a pale blue at the very end. He tasted the sand as it pelted his flesh during an particularly intense bit of windy torture, penetrating his lips and landing on them, begging for him to lick the grains off. The sand had a mild salty taste, reminiscent of the ocean that had held cool, refreshing waters there so many millennia ago. His legs ached as they worked against the sand, sinking in ever so slightly with each step, slipping every so slightly with each attempt to take off, causing tiny additions of work to him load over and over with each stride. He felt the sand shift under his feet, unreliable, only except that it will be there for the next footfall. The sound of the wind and the vague crunch of his steps were all he heard. And if it weren't for his body causing the wind to have something to wail against, he imagined the wind wouldn't make a sound at all.

OCT 23 Character: Minor Character Profiles ▶︎

(1) Expand or add profiles for one or more minor characters.
(2) Spend some time updating your character list with new information, images, etc.

Temptress: A woman who is perhaps a farmer's daughter or maybe a shopkeeper's daughter and he uses helping the farmer or shopkeeper as an excuse to stay longer because she wants him to stay. She's the cause of him missing something that he could have done or helped. Or perhaps he's captured because he's a day late. She's young and beautiful. Maybe she's the guy's wife? And this is a temptation for MC and he doesn't realize that he's really tempted by her, but he's lying to himself and saying he's there to help when that's not the full story. She may even occasionally tease him in front of her husband, who gets angry or perhaps doesn't notice, but he wouldn't approve. Maybe even when MC leaves, the man thanks him for not falling for her and talks about the heartbreak it causes him each time she cheats and how it hurts the family and maybe the children are damaged or he wants to have kids, but doesn't trust her, though she wants them, too.

Father: His father leaving him is a big driver in his behavior and he resents him for leaving. When he finally finds his father, he doesn't know it. Perhaps some tic or something like a miscolored shock of hair tips off dad, but MC doesn't realize until he maybe finds a pic or a letter. Maybe he wishes he had anything of his fathers, but he doesn't even have a pic and his father never learned to write, but then he later did or maybe he could write but didn't leave any writing behind. Maybe he had written love letters to other women and that's how his mom found out he was cheating. Or maybe it was presumed it was for someone else, but it was for her because he was going to leave, but she threw him out because she thought he was cheating and since he was going to leave anyway, he thought it was better this way and maybe she just told MC he left and didn't say he cheated or maybe not until years later. Maybe he finds the letter and reads the whole thing where his mom didn't and was interrupted in reading it when his dad comes home or maybe his mom couldn't read well and didn't fully understand the letter. Maybe he finds and reads the letter and that's how he realizes this is his dad so he goes after him, but he's not reconciled until afterwards. The letter doesn't explain everything and resolve it. Or maybe he would have helped until he found out it was his dad, but since he hates his dad, he refuses to help and then Baby Bean reminds him of who he is, a man who helps, and he agrees to help, though he hates his dad. Then they reconcile after he saves his dad. Maybe his dad or mom had quit school, which impacted their reading, so they had some miscommunication later that lead to his dad leaving his mom.

Woman He's Seeking: She lost her husband and has perhaps moved around a good bit, staying with relatives, but their farm needs attention or perhaps it wasn't their farm, but he'd inherited it and there was a bunch of legal things such as letting the other spouse or tenant live there until they could move or until they died so she wasn't where she was supposed to be. Or maybe even it was left to her without his knowledge because she had a relative die or someone buy them it as a gift for the baby. She's strong, but compassionate and she saves him from the spur hunters. Her place is at home with the baby so she doesn't want the job as deputy, but she encourages him to take it, perhaps because she wants him around more. She would be okay without him, but he helps and is a companion.

Baby Bean: Woman's unborn baby, but maybe he doesn't know this. He is only driven by instinct. He's sometimes funny, but often without meaning to be. He supports MC, but is more often than not, annoying in his frankness. He is a bit of a moral compass, but tends to not be around when MC needs him to point things out and then points them out too late...because what would he learn if he was simply instructed on what to do. But now that he realizes how his choices impact others and he's forced to reap the consequences, he's more likely to remember the lesson.

Person Rescued from Spur Hunters: He's grateful and scared. He teaches MC about how to survive raging waters. He saves MC and is saved by MC because together they scare away a two bear. But when they get to the next town, he stays.

OCT 24 Plot: Complications ▶︎

Complications. Identify additional things that could go wrong for your protagonist. You are not required to resolve any problems yet, just create them. Remember: The more hardships your main character faces, the more readers will cheer them on, and the more engaged and invested the reader will be in your story. Brainstorm a list of problems you could throw at your protagonist(s) throughout the story, using "What If," mind mapping (see the resources at the bottom of the calendar), freestyle writing, or any other form of brainstorming you prefer. Hint: Other characters are a great source of realistic strife, since characters often are driven by conflicting motivations.

What if he finds a woman and doesn't want to leave? What if he doesn't leave? What if he gets physically hurt and can't go on? What if he becomes deaf or blind? What if he is murdered? What if he's imprisoned? What if he's attacked by a wild animal? What if he just mentally can't go on? What if he decides the message isn't important? What if he thinks he's found the right person and he hasn't? What if he stumbles into an area where he can't communicate for some reason? What if he relapses and gets drunk and decides not to or simply can't move forward? What if he meets an old rival and is blown off course by this situation? What if he mourns the loss of his horse and can't go on? What if he gets lost? What if he gets lost in a cave? What if he can't move forward, physically for some reason? What if he's expected to go to a territory that he's not allowed to enter for some reason like he's wanted there? What if he owes someone money and they come after him or he has to avoid them? What if he doesn't even really owe them money, but they think he does or they know he doesn't but they want money anyway? What if he's blackmailed for something he did or didn't do? What if he's wrongly accused of something? What if he's kidnapped? What if all his stuff is stolen while he's bathing? What if his spiritual guide disappears or they have a falling out? What if he decides to take a detour to visit his mom's grave? What if he gets bitten by a rabid dog or gets some other deadly or contagious illness or at least thinks he does. What if he's bitten by a snake that forces him to tell the truth or makes him blind or allows him to see the future or something? Maybe he sees that he's going to die, but he can't see how so he starts taking prepping things more seriously. Maybe he gets into some sliver sand which is like little slivers of glass and are very painful and a problem. In books, you can walk through it, but you probably need new boots when you get out because of all the slivers everywhere or at least you need to scrape the whole boot with a stone to get them all shaved down, if not out. What if the sand penguins are like desert monkeys and steal things and play all day?

OCT 25 Plot: Literary Devices ▶︎

(1) Brainstorm possible solutions to your conflict and complications using the list of literary devices below or your own ideas.
(2) Identify a mentor or helper who aids the protagonist(s) in achieving their goals.
(3) Identify any other literary devices from the list you could use to enhance your writing.

Literary Devices List
*Bullet* Foreshadowing: Hints of something to come.
*Bullet* Chekhov's Gun: The gun on the wall in Scene 1 is eventually fired.
*Bullet* Repetitive Designation: An object or fact appears over and over.
*Bullet* Symbolism: Small facts, objects, or characterizations represent something bigger.
*Bullet* Self-fulfilling prophecy: Protagonist attempts to thwart prophecy but in attempting, fulfills it.
*Bullet* Poetic Justice: Good guys are rewarded and bad guys are punished.
*Bullet* Plot Twist: Surprises the reader with something unexpected.
*Bullet* False Protagonist: The protagonist dies or turns out to be something other than the protagonist.
*Bullet* Red Herring: A false trail diverts the reader's attention from what really happened.
*Bullet* Unreliable Narrator: The narrator has been misleading the reader all along.
*Bullet* Irony: The exact opposite of what the reader expects happens.
*Bullet* Reveal: A hidden connection between characters or facts is revealed in time.
*Bullet* Plot Device: Advances the plot forward, often pushing the main character past a hurdle.
*Bullet* Object of Power: Either the protagonist wants it, or the object drives the plot of its own accord.
*Bullet* MacGuffin: Something the protagonist wants for unknown and unimportant reasons.
*Bullet* Quibble: Following the letter of the law, contract, or agreement instead of its intent, changing the outcome.
*Bullet* Narrative Hook: Story opening that grab's the reader's attention.
*Bullet* Cliffhanger: Ending a scene, chapter or story in the middle of action, hooking the reader.
*Bullet* Ticking Clock Scenario: The threat of impending doom if the protagonist's objective is not met.
*Bullet* Breaking the Fourth Wall: A character speaks directly to the reader.

Anthropomorphize or personify the desert as wanting to kill him.
Foreshadow the need for a sharpened knife, the need to think of others or stay on task, who Baby Bean is.
Symbolism--his spurs come to represent his pain and guilt and he needs to let them go at some point, perhaps selling them to buy something needed or getting rid of them in some way to keep the spur hunters away. The spurs represent something spurring him forward.
Irony--he feels so horrible about killing his horse and basically causing its death, but if he hadn't, it would have suffered far more when he was captured.
Reveal--Baby Bean is the unborn baby of the woman he's seeking.
Hyperbole--Baby Bean tells the MC how wonderful he is and he can do anything, just to get him to try because he knows he'll fail, but the trying was the point because it got him to move from where he was that was going to be a bad place. I'm so hungry I could eat a horse, then apologizes to horse and later says the same thing only to realize his horse isn't there.
Repetition-- Baby Bean repeatedly asks Is questions--Is your arm broken? Is your leg broken? Is ...?
Motif--sand or desert as a motif to show his irritation with life and his lack of friends and anything/anyone to water his soul
Juxtaposition--exhausted and angry then the sand penguins show up frolicking

OCT 26 Plot: Outline Revision #3 ▶︎

(1) Review your plot elements thus far and organize them into your outline.
(2) Fill in any gaps in your outline template and/or flesh out more details.

Timeline = ~4 months--the dying father left and journeyed and died over months and it takes him about 4 months because he stops and stays with people and maybe gets lost.

I.1. Ordinary World: Day 1--The MC rides into town (he probably has lived in the area for a few months) and wants to stop at a saloon, but his horse doesn't want to. There's even a water trough but the horse knows MC will just get drunk and lose money, so it doesn't want to. They have a sort of psychic fight about it and finally the rider hops off while the horse is still walking or maybe even trotting. The guy feels life is meaningless and he sees no purpose in it. The guy goes in and the horse goes to get a drink, then to the hitching post and stands there unhitched. It waits until it hears fighting or arguing inside. Maybe the MC got angry regarding a poker game and tries to order a drink, but the horse comes in and drags him out as he argues about how it's not his fault. Maybe part of his issue is he doesn't take responsibility for things. Should someone suggest he sharpen his knife and that comes back to haunt him when he has to kill his horse. Is he not good at taking care of his equipment? Is he only good at working hard for others or when others are looking or he works hard, but doesn't put the stuff away or take care of the equipment? How would it come up that his knife isn't sharp? Does he have a throwing knife and the argument is that he was betting on throwing it and maybe even the bartender doesn't want them throwing knives inside? Maybe he thinks he should have won because he hit the target, but it didn't stick so the other guy says he didn't and his buddies back him up and MC is told to sharpen his knife? Is his antagonist his history and issues with abandonment? Maybe the apathy and idea that life is meaningless is from the fact that he has no ties to anyone except his horse.

I.2. Call to Adventure: Day 1--Maybe he gets put in the hospital for something--bar fight? or some other way meets a guy dying of consumption (infection?) and no one wants to be near him because it's contagious, but he takes pity on him and agrees to deliver the message. Is he too drunk to realize or is he truly that kind and brave? Does he bathe afterwards to be sure? What is that message, anyway? Maybe it's just a single word? Is there some confusion with Nicole and Nickel? Maybe the girl tells him to call her Baby Bean or Baby or Bean because that's what his mom calls him and maybe it's a boy. The guy doesn't want him to just telegraph the message. Maybe he even finds the guy in the hotel he's staying in because he accidentally goes into the wrong room because he's drunk and maybe that's also why he's unsure what the guy said. Maybe he goes to the nightstand to refill the guy's glass because he thinks it will help him hear him better, but it's empty and maybe he even goes down to get more but when he returns, the guy is dead. Maybe he feels guilty about the guy dying alone? Maybe Leo was supposed to have water on him? Maybe someone told him to bring some upstairs so he wouldn't have a hangover and he doesn't so he has no water for the guy and he ends up dying alone. Maybe the name is the mother of one of them--father or mother--who they didn't know or had never met or didn't remember or maybe she was an orphan and he goes to find out the name of the kind worker who helped her and maybe she wanted to name the baby after that worker, but she couldn't remember the name so as a final act of love, he tries to go find out the name and he does, but he can't tell her? But why can't he telegraph her? No such thing? Not invented yet? He got sick too suddenly? Once he was diagnosed, he wasn't allowed to and no one would help him? He didn't know where she was? Why didn't he write her? He didn't expect to be dying and wanted to tell her in person? Why didn't he tell her when he realized he wasn't going to make it back? He went downhill too quickly and can't write but no one is helping him? Maybe there's a safe train that the cowboy can't afford to take? Otherwise, how did this guy get there? Or does the cowboy get lost and that's why he runs into all these things? Maybe he gets lost when he gets high and is running from the imaginary spur hunters?

I.3. Refusal of the Call: Day 1--MC agrees to give her the message, but then realizes she's not in the same town. He finds out from the hotel registry? He discovers she's really far and maybe even gets the wrong location because she maybe moved in with her sister after he left? So, he thinks he's found her, but she's not there? Or maybe she moves in with her brother and when he answers the door, he thinks it's her husband, but it's her brother? Her name is Cecilia? He doesn't know what the situation is and who he's going to meet. Maybe she was staying with her sister but then needed to go back to attend to the farm? Her brother goes with her? Or he's just there to help out with something like finishing the room for the baby? She's already heard that he was dead through some other way? Telegraph? Or she knew in her heart? Was it her husband or someone else? Did her husband leave her and die? Did he just die? Did he just leave?

I.4. Meet the Mentor / Supernatural Aid: Day 1--When he decides not to go, a kid encourages him to go. Was she there when he died? Did the MC see her holding his hand or petting his hair or something? Maybe she tells him where to find the woman? Or maybe she tells him wrong? On purpose? Why?

I.5. Crossing the Threshhold: Day 1--Maybe she suggests he sharpen his knife like the other guy suggested? He sets out on his quest. Maybe her name is Cecilia Quest because she's the quest and the husband or whoever he was is named John Quest like Johnny Quest. Does he have some ritual for setting out on a journey? Is there a tradition here? Does he actually live in that town or area and so it's a bigger deal for him to go out because there's a lot of dangers out there and he doesn't usually go? Or is it fine in one direction but dangerous on the other? Is he also asked to take a bunch of other stuff in the dangerous direction? Does he agree? Does he later need something he agreed to take or declined to take? Do others ask him to escort them and does he agree or not? Baby Bean asks him to escort her.

I.6. Entering the Belly of the Whale: Day 1--Maybe he leaves and immediately discovers problems, but he can't go back because he was told by the sheriff that he'd said he was only staying a few weeks, but it had been months and with all the drinking, gambling, and arguing, he'd warn out his welcome.

II.1. Road of Trails: He goes through a number of trials while he's traveling, perhaps even a literal trial where some crazy people catch him and try him for something stupid and he has to prove that he's a good person, including Month 4--confessing what he did with his wife and how he's made up for it since. This could be near the end and a way for him to realize everything he's done good and all he's been through. Month 4--There can be a Brother Battle where he fights against his own self perhaps for drinking or sleeping with a beauty or gambling. Month 4--There an be a Dragon Battle where he fights some huge force such as the spur hunters.

Maybe the hero (named Distan or Tryon?) feela like life has no meaning and is just a series of coincidences and events made to make you miserable. The whole book is him finding connections and meaning in life. Week 1--He's starving so eats hallucinogens, then hallucinates spur hunters and runs for it, killing his horse and taking the meat which gets night jackals on his tail. Day 8--He escapes them and while perhaps hiding in a tree, spur hunters throw a rope over the tree and he cuts it, freeing the person, now that he has a sharp knife. They don't realize it and think it just broke as they slowly walked his horse out from under him because they want to keep it. Then the night jackals come and the spur hunters are afraid and leave. The new person he saves and him tie themselves in the tree with the rope so they can safely sleep there that night, then the next day, they are walking and that person talks about getting washed down a river and tells him how to survive it. Day 9--Perhaps there's a bear or something that the two of them scare away and if it had just been him, he wouldn't have been able to because he wasn't big or scary enough or just because there are 2 of them. Perhaps it's called a two bear because it will eat 1 person, but run from 2? The person with him teaches him how to survive rapids. Week 12--Saves a cat with the end of the rope he cut loose for the guy being hanged. The cat is maybe over a cliff and climbs onto the knotted end and he pulls him up or he climbs up the knots of the rope. Week 13--He's in the desert and everything is fine, but the cat keeps trying to get him to keep going when he wants to rest/sleep. He's in sinking sand, like quicksand, but much slower and if he had stopped to sleep, by the time he discovered this, he could have been nearly covered and unable to get free or he will discover it with a lung-full of sand. Then a sand storm comes along and blows in slipping sand so he's not able to stand up easily or climb dunes and he's fully exhausted, but can't rest or he'll die. When he is giving up, the kid/spirit starts talking about killing his horse, "I told you never to speak of that" she she asks if his horse died in vain (for nothing?) so that makes him stop giving up.

He was hungry at some point and she talked him into eating some leaves that they knew would cause hallucinations, but he was starving. They cause him to hallucinate spur hunters coming after him, so that's why he and his horse go on the run. He and his horse are maybe trying to escape something or maybe just walking down a really steep grade and the horse falls and they both (because he was riding or he had his hands on the reins and they got tangled and the kid asks why he didn't let go and seems to not understand that it wasn't on purpose that they both went down the mountain into a raging river) go into a raging river, though is there a reason he was going down the cliff and there might be a river below, but he wasn't going into the river because the river is far below and they plummet? Is he trying to hide in a cave or look for something? Or maybe they just go from the mountain into the river and there's no drop from the end of the mountain to the river. His horse gets swept away and he goes searching for her, only to find her blinded by thorns as she's caught in a fallen devil tree that has thorns all in the branches and pointed spikes sticking out or maybe the horse just gets impaled on a broken branch of it. The hero tries to save her, but sees she's too far gone and so he has to kill her so she doesn't suffer. Maybe he tries to slit her jugular with his knife that's not sharp enough and he manages to do it, but it's not pretty. He tries to comfort her as she bleeds out, screaming and resisting, hurting herself even more and feeling betrayed by her owner. While he's killing the horse, since the horse can sense his emotions, he has to try to act calm as if everything is okay, but he also sense's the horses emotions of betrayal, anger, fear, etc. Is this too cruel? "Why did you slit her throat?" "Couldn't you see she was suffering?" "Yes, she was greatly suffering. Why did you slit her throat?" "To end her suffering. She wasn't going to live." "No, she wasn't going to live. Why did you slit her throat?" "Why do you keep asking me that? I've already told you." "No, you told me why you needed to kill her, but not why you slit her throat." "It's a fairly rapid way to die. It was the best I could do. I didn't have a gun or anything." "No, you didn't have a gun. But it didn't look like a good way to die. Your knife is perfectly sharp for squirrel hide, but not suited for horse hide. Why did you slit her throat?" He gets very angry, "What was I supposed to do?" "You could have fed her leaves of the devil tree. They're poisonous, you know. Then she could have fallen asleep quietly and you could have lowered her head into the water and allowed her to quietly drown." "Why didn't you tell me this?" "I did not know what you were going to do. I cannot read minds." "You saw me take out my knife." "Yes, I was very intrigued by this idea." ""Why didn't you stop me?" "Your idea was perfectly acceptable. It was relatively rapid and while there was pain, she was already in so much pain, I do not think it made a difference. Her screaming was likely simply due to the idea that you betrayed her rather than saving her." "There was no saving her." "No, there was not, but she did not know that. You have always protected her before, so when you arrived, she thought you were going to help her, not kill her." But it's good that his horse died when she did because when he was captured, if he had his horse, she would have been beaten and starved and worked to death, with her wishing daily that she'd die until she finally does after years of torture.

She tells him to take some of the meat from his horse. He does, but only reluctantly and after a long debate about it, but he needs the food and she's just going to rot and feed the vultures anyway. But then something tracks him, perhaps the night jackals, from the scent of the fresh meat, which he has tried to start drying after going a ways, but then he builds a smoking area to smoke the meat. The night jackals come and start stealing the meat and fight him because he feels so guilty about killing his horse that at least he could survive off the meat, but then he can't because they get most or all of it. He's tried to find a stone to sharpen his knife and does so some, but not much but enough to kill the night jackals.

Then it's important that he sharpened his knife so that he can kill the night jackals, but also, he needs it to cut through a rope (?) to save his or someone else's life? If his knife was it's normal dullness, he wouldn't have done it in time. He couldn't outrun the spur hunters because he's on foot, so he hides in a tree and perhaps cuts the person's rope when they were going to hang someone and maybe the night jackals are still trailing him because he still smells like blood so he ends up in a raging river (because he didn't before--don't want to repeat things...or maybe he learns how to navigate it from the last time and someone tells him to put his feet first) and that washes off the blood so they stop following him but the spur hunters either go after the night jackals or they are afraid of them so they leave, leaving the person they tried to kill to be eaten by them to keep them busy while the spur hunters get away. Maybe he is trying to cross and is told how to survive if he gets washed away? Maybe his horse is just by the river and not in it or maybe there's no river? But then how do the spurs connect them?

This is in 3rd person, so I have to show the horse's feelings of betrayal and hurt by allowing the cowboy to apologize and talk about what he's sensing and having the kid discuss it later as well.

Maybe he's running some cattle to help earn money and they are standing by watching and he has to figure out a way to keep them from running off while he's now on foot.

II.2. The Meeting and the Goddess: Day 1--Maybe MC meets the kid initially at the bedside of the dying man, then meets her out on the road and is surprised. Maybe he meets her when he needs her for moral support?

II.3. Woman as Temptress: Week 10--He never actually sleeps with her, but he's tempted and gets ever closer and closer. Maybe her husband owns or runs a saloon and so he's also temped by drink and gambling. Maybe the place is called Hotel California. Maybe she runs a cat house and wants him for muscle to protect them...or so she says. "Who do you think protected them before?" "uh, I don't know." "Did they look damaged or bruised or scared?" "No." "What makes you think they need your protection?" "She said they did." "Do you always say what you mean?" "What do you mean?" "I'm simply asking if you always say what you mean or if sometimes you say one thing, but mean another or say one thing to get another." "I suppose everyone does." "Hm. Well, it's nice that you're here now to protect them from whatever it is they don't need protecting from, I guess. You never know when something bad could happen because of your choices."

"Why do you surrender so easily?" "Easily? Are you kidding me? I had to kill my injured horse with my own two hands, was nearly killed by night jackals and spur hunters (people who hunt others for their spurs like a trophy), not to mention nearly died of thirst, fell down a mountain and was almost drown, and was nearly driven insane by crow songs (crows that sing beautiful music, but that never stop and will even follow you until you get out of their territory, which can take days, so you can't sleep and go mad and then they eat you)." "Exactly. You proved your loyalty to your horse, though it nearly broke your heart. You proved your strength against the jackals and your cunning against the spur hunters. You proved your determination against the thirst and rapids. And you proved your mental soundness, which to be honest, I had questioned, against the song crows. You are a champion to be heralded, to have songs sung about you for all time." "Just so long as the songs aren't sung by crows." "I'm done." "Is your leg broken?" "No." "Your arm?" "No." Then why are you done? Even your horse struggled to survive until the last drops of blood drained from her. Why do you give up when you have no reason to?" "No reason to give up? Did you not hear what I've been through?" "Yes, I heard everything you've conquered. You should be very pleased with yourself. Now, it's time to get up." "I'm tired. I need to rest." "Oh, why did you not say so? I thought you were simply a losing quitter who had no internal spine." "All spines are internal." "Right so. How long will you be resting? I am bored and look forward to the next opportunity for something to try to kill you. It's always very exciting." He picks up a handful of dirt and flings it at her/him and it goes right through them. He also needs to prove bravery. Perhaps he has to prove LDRSHIP--loyalty, duty, respect, self-less service, honor, integrity, and personal courage. Maybe there's an answer ant that will answer your yes/no questions. But does it really answer them or does it just respond randomly and people think it's answering them?

Week 11--At one point, he's arrested, either with others or put with others, and the kid keeps talking to him. He keeps telling her to be quiet because people are staring at him when he talks to her, but she insists that it's rude to ignore her when she's talking to him. She tries to keep him talking to her so that everyone else thinks he's crazy. He realizes that he's looking crazy, but he doesn't want to so he tries to resist talking to her, though she won't be quiet all night long so he keeps "talking to himself" and the guards think he's crazy (as do the other prisoners) so he ends up not being taken away with the other prisoners who are going to end up as slaves (?) or at least forced labor for the realm territory and instead, he's released because they don't want to deal with him. Maybe they usually use criminals for the labor, but there aren't enough so they're saying people are committing crimes to get laborers. Though maybe he's beaten first, to ensure he's not acting, then that night he continues to talk to her, angry that she made him get beaten, but it's all for the best in the end, though he didn't see it before. But it's good that his horse died when she did because when he was captured, if he had his horse, she would have been beaten and starved and worked to death, with her wishing daily that she'd die until she finally does after years of torture.

He thinks he's found the woman, but she's gone back home or to the new farm.

II.4. Atonement with the Father: Week 14--He comes across his father in trouble. He helps him at first, before he realizes who he is. The father probably recognizes him sooner. He has a shock of hair that's a different color? When he realizes who his father is, he no longer wants to help him and his resentment of growing up without a father comes out. At some point he realizes that he almost did this to his own kid, had he not died at birth. He eventually forgives his father, maybe this is where he wishes he had more time, but he spent too much time with the woman. Maybe there was some reason a fence needed to be mended. Maybe there's poor people in the area that sneak around and steal wood from fences to keep their fires burning or maybe they aren't poor and simply don't want to buy their own wood so they steal other people's and his dad had gone to get a special goat, only to come back with his fences gone. If Leo had come 10 days before, he could have stayed to protect the fences. If he'd come a week before, he could have helped mend the fences and round up the goats so not so many would be lost. Where did he have wood? Maybe he kept it in the barn because he's learned to be prepared.

II.5. Apotheosis: He has changed and straightens his back. Maybe his dad gives him a horse?

II.6. Approaching the Innermost Cave: He has to fight his fears. Maybe this goes along with his father and helping him? Maybe most of his issues relate to his father leaving him? Once that's resolved in the cave, he can succeed in his mission. Maybe it's a real cave called a shifting cave where the interiors change from time to time and so you can be trapped in there forever. Or maybe it's called a cave of ghosts because of the howling sounds and the shifting interiors. But why does he go in? What is he after? A goat or cow from his father? A horse? His father? He should know better. Maybe the father goes in first to get his own goat and then the son goes in after him after he doesn't return. The dad recognizes him but he doesn't recognize his dad, but he stumbles on something that makes him realize who his dad is. His dad is scared to tell him who he is. The kid had guided him to his dad's place to help him release the weight and anger to prepare his heart to help him be able to stay with the kid's mom. Maybe his dad talks about being a man of his word and doing the right thing as stuff that he's learned in his life and that's important. This later encourages him to continue when he doesn't want to and it seems that all is lost.

II.7. The Crisis / Supreme Ordeal: Week 14--Going into the cave to save his dad who he's not even sure he loves.

II.8. Seizing the Reward: Week 17--He finally reaches the woman and discovers the key to the message he was keeping. Her husband was the one who died. He'd set out before he knew she was pregnant, trying to find out the name of someone they were going to name their kid after. He kneels down on the doorstep to talk to the kid about how they've finally arrived. Or the kid starts the conversation. "Are you ready for this?" "Definitely. I'm ready for this to be over with. I've come such a great distance." "You've come such a great distance, but you've come even further in here (points to his head) and you've travelled the furthest distance here (covers his heart with his hand). You are ready for this or you wouldn't be here yet."

III.1. The Road Back: He decides to head out, though without knowing exactly where he's going.

III.2. Climax/Resurrection: Week 18--He runs into spur hunters again.

III.3. Rescue from Without: Week 18--She(?) helps save him or maybe a sheriff does and he needs a deputy? Maybe his last one quit or chickened out or was killed? Maybe this helps the hero prove his heroic stature because maybe in the beginning, he was scared and the sheriff there let them run the town and he understood, but now he won't stand for it? Maybe he takes a stand? Maybe it's not as big as them trying to kill him or her, but maybe simply them getting handsy with a lady or something? Or making inappropriate jokes? Maybe he tells them to pick on someone their own _____ (IQ, weight, ugliness?)? Maybe he gets himself into trouble and she or the sheriff steps in? Maybe for some reason he's dressed like a woman and they try something and he slaps them and tells them that when he's dressed like a lady, he expects to be treated like one? Maybe they try to steal his horse? Or someone else's? Or do they stick to just piggish behavior in town and only really threaten folks who are on their own? Does he get caught alone at some point? Who rescues him or does he need rescuing? Maybe the sheriff offers him a job, not because he's good at taking care of himself, but because he's willing to stand up for himself or others or he's not smart enough to know when to run?

III.4. Return with the Elixir: Week 18--Maybe he decides to return to her farm with something she needed--seeds, wood, comfort? Maybe he tells her the place needs a man's touch. Maybe he jokes about how the pigsty isn't a pigsty and the cow or goat(s) almost seems to have been bathed recently?

III.5. Crossing the Return Threshold: Week 18--Maybe she has a rickety farmhand house he's allowed to live in? Maybe it has something he hates, rats or something and he mans up and says it's perfect? Maybe she teases him that she hopes it's manly enough as she recently discovered a leaking roof and rats seem to have moved in to escape the snakes nearby and he hates both? Maybe he doesn't mind spiders, but it's not got any and she thinks that's a good thing but he likes them because they keep the bugs down?

III.6. Master of Two Worlds: Week 19--MC is working on fixing his rope that's become frayed. He's in a new town, but a guy asks, "Aren't you that drunk I met back in ___ who always loses at cards and causes trouble in every town he comes to? He holds up his rope. "Frayed not," then goes back to the rope. "Huh. Yeah, he had a different horse. Welcome to town." Maybe he gives her some respectability because she now has a man around or a farmhand which shows she has some resources?

III.7. Freedom to Live: Week 19--He decides to live with her or maybe he opts to live in town? Maybe he gets a job with the sheriff as a deputy? Maybe the sheriff doesn't even need him that much, but it's just good to have backup? Or maybe he does? Maybe there's some fight about water rights? Or is that in the next book? I think he ends supporting her emotionally and we hope they get together, but I don't show that.

OCT 27 Character: Protagonist Interview ▶︎

You are a journalist. The story of your novel is complete. Interview your protagonist and ask the following questions:
(1) How is life for you now, compared to life prior to these events?
(2) How did the events of your story change you?

(1) My life is so vastly different now, yet the funny thing is that not only did I not realize I needed to change, but the way my life is now isn't something I would have wanted before. I thought I was happy drinking and gambling and doing odd jobs. I didn't realize that was all hiding my misery. Now that I have a woman that I'm interested in and am confident I can be faithful to and a steady job, plus some semblance of family and stability, I didn't realize how much I needed it and missed what I had with my other wife. It wasn't her. It was totally me. I'm the one who ruined the family. But now, I know I can have that life again with another family and I can live in peace and comfort and be the man I was meant to be.
(2) Several things helped me become this person. Realizing the damage I was doing by cheating helped me a lot. To me, it was all fun and games and I didn't see the heartbreak behind it all. Even when I went back to my wife, it wasn't because I'd fully realized what I'd done. It was guilt, and if I'm honest with myself, a bit of missing homecooked meals and someone to greet me when I came home at night. It wasn't some sense of loyalty and duty that brought be back so much as selfish motives, including a desire to relieve my own guilt. Also, meeting and reconciling with my father helped me. I'm not sure why, but somehow mending that relationship helped to fix something broken inside of me. I came to see him in a different light and that helped me to shine light in my own dark places and see what needed to change. Also, killing my horse helped me see that my choices have consequences. It was the hardest lesson I had to learn, but it was important for the rest of the lessons to take hold. Life isn't simply a series of unfortunate events. Our choices have consequences and what we do makes a difference. Our choices impact our future opportunities and they impact others.

OCT 28 Plot: Plot Background Story ▶︎

Write a story that sets up your plot. EXAMPLE: The Lord of the Rings story revolves around the One Ring, its significance, and how it's destroyed. But how did Frodo get the One Ring in the first place? We learn that in The Hobbit. You obviously can't write a full-scale novel in 15 minutes, but you could write the scene where Bilbo encounters Gollum and stumbles across the ring. That would be a background story that sets up the plot in Lord of the Rings.

*Contest Round entries may be any rating. Submit your ITEM or ENTRY number by 1200 noon WDC time on Sunday to compete. WDC time is New York City time and can be found at the top of the IM Console. If you miss this deadline or choose not to compete, you must still log the assignment complete (without linking your work) for the grand prize, per the standard Prep guidelines.

Leo heard his father and mother arguing, but couldn't make out the words. He'd been banished to the barn for what he knew was busy work, granted, work that should be done eventually, but nothing that was pressing or that needed to be done at this time of night when he should be in bed for school tomorrow. He wanted desperately to go press his ear against the crack between the door and the jam, but he dared not get so close. His mother had a temper on her and his father could be a bear when he was disobeyed. Instead, Leo just stood in the light of the barn, making sure anyone glancing in his direction would know that he wasn't listening in, but nor was he working.

The argument took a heated turn, then went silent. He felt a sense of relief, sliced in half with dread as the silence pushed forward. His mother shoved open the door and called him to bed. He was relieved to come inside and see his father had already gone to bed. He didn't want to see his face as the hurt and anger on his mother's face was hard enough. They'd argued before, but not like this. She'd seen a shadow of his mother, perhaps slapping his father, perhaps swatting at a mosquito.

In the morning, his father was gone. Leo got up, did his chores, ate in silence, and left for school, unaware that he wouldn't see his father again, not for many decades. His father had had difficulty staying settled down. He'd never cheated on his wife, but he knew he couldn't stay any longer. It wasn't that he didn't love her. He loved her more than he loved himself, not that that was saying much. He simply wasn't a man to be tied down, not be a farm, not be a child, and certainly not by a strong-willed woman who had ideas of what marriage should be. Before he broke those ideas, he thought it best to simply leave.

OCT 30 General: Market Definition and Narrative Voice Synopsis ▶︎

(1) Identify your story type from this list of story types or define it with your own nomenclature.
(2) Describe your target audience. Identify a demographic profile of your ideal reader (try using your character profile template!) Explain in detail what aspects of your novel will appeal to this particular audience and why. Please read this blog post to understand the importance of marketing, and why targeting "mass appeal" or "all readers" isn't good enough: "Building Your Brand"
(3) Write a synopsis of your novel using the same narrative voice you will use to tell the story.

(1) Fantasy/western/action/adventure
(2) My target audience is younger males with a sense of adventure and not too much interest in romance. This works because I don't have too much romance in my story, but there's a lot of adventure. My story is also for people who enjoy fantasy novels that are based in some sort of reality because while I certainly have fantasy elements such as the sand penguins and slipping sand and night jackals, it's also a cowboy trying to make his way through difficult and dangerous terrain to reach his objective.
(3) MC, a cowboy whose lost his way, is asked to fulfil one simply last request of a dying man--tell his wife, "It was nickel." Simple enough, except that the wife is hundreds of miles away, across distant and dangerous places. The cowboy, with his new sidekick, a young boy known as Baby Bean, must brave the night jackals, escape the spur hunters, and make his way to the bereaved wife...or not, because it's a long and dangerous journey and there's still whiskey left in the bottle.

OCT 31 Plot: Premise Revision ▶︎

Now that you have spent a month planning your novel, revise your initial premise. Identify the following:
(1) Setting(s). Where does your story take place?
(2) Protagonist(s). Who is(are) your main character(s)?
(2b) Flaw(s). What is(are) the protagonist's major flaw(s)?
(2c) Goal(s). What does(d) the protagonist(s) want (or want to avoid)?
(3) Conflict(s). What's keeping them from their goal(s)?
(4) Antagonist(s). Who or what is creating the conflict(s)?
(5) Resolution. How does it all turn out in the end?
(6) Theme: What is the theme or moral of the story?
(7) Outline: Update your outline as needed.

(1) Setting: Most of the story takes place along the journey, often in the desert, though also in a saloon in the beginning and at her house in the end and at his dad's house and in a cave near the end and at a shopkeeper's house part way through. It's all in the 1800's time of the old west, but with a fantasy twist.
(2) The main characters are MC and Baby Bean.
  (2b) Flaws: MC is disorganized and doesn't believe in much. He's been unfaithful and is self-sabotaging with alcohol and gambling. (Because he thinks life is a gamble whether you can count on anyone/anything or not?) He's hurt and angry and doesn't think things through. Baby Bean is young--8? He doesn't understand some things and isn't great at compassion. He is a black and white thinker. He can sometimes see future consequences, but doesn't usually (doesn't always?) tell the MC.
  (2c) Goals: MC wants to get to the woman to deliver his message to her with as little trouble as possible. Baby Bean wants to get MC to his mom in time, but wants to help him learn to be a better person along the way because if he can help him heal his heart, then Baby Bean can have a father. Maybe he gets the MC to go on the journey saying he needs to go to find his mom.
(3) MC is being kept from his goal by his own self-sabotaging and from the long journey and difficult things that lay between. Baby Bean is being kept from his goal because he has to keep MC on the straight and narrow and moving forward when he doesn't want to.
(4) In some ways, the MC is his own antagonist. But also the desert, night jackals, spur riders, and slavers.
(5) In the end, the MC has learned to forgive and he decides to stay with Baby Bean's mom and help out and to stay on as deputy because he's brave and willing to stand up to bad people.
(6) Man vs. Self, Man vs. Nature, Forgiveness