"You are dripping on my lovely new floor," said Rafal. Rhian blinked at the black stone tiles, grimy and thick with soot.
595 posts
A Hypothetical TOTSMOV41Scene I've Talked Myself Out Of Writing
A Hypothetical TOTSMOV41 Scene I've Talked Myself out of Writing
There's a scene in the draft of TOTSMOV41 in which Tedros punches Rafal in the face while wearing heavy, wide band, royal rings (I did a little sketch of the results here), and I'm soo tempted to have Rafal's first, instinctual thought be: how ineffective. And I could have him mock Tedros for the punch in such a condescending way that he'd just be asking to be punched again at that point. The subtext would drip with: look at me and what a fine target my perfect jawline would be—
Rafal would be evaluating the effectiveness and the actual impact of the punch, as if Tedros were one of his ineffectual Never students, thinking to himself that brass knuckles would've been better than mere rings. Should restock those in Evil's arsenal. Hmm... as if he weren't just punched in the face. Like, how non-reactive would that be?! It would not be immediate rage, but he would be operating on autopilot, due to all the other terrible things the narrative had subjected him to by that point, like he's blatantly apathetic.
The whole thing could be an absolutely scathing review of Tedros' punch, which he just finds pitiful, running through his mind, and besides, this pain is nothing in comparison to everything else that's happened to him as of late, so the pain doesn't even really register, at first, and he has a high pain tolerance anyway and he hasn't had a decent night's sleep in weeks, so what?
Thus, he just. Defaults to Evil professor mode. He's going on about the wind-up or the velocity of the act, and everyone's staring at him like he's grown a second head, and then, partway through, he realizes. He's instructing his sworn, mortal enemy. He's literally giving this young idiot pointers!
The idea strikes me as funny because it poses the question: what if Rafal were in teacher mode at the time? Alas, the whole thing is just so unlikely that I think I'll have to scrap the idea.
Unless—he's in a disoriented and dazed enough state for this type of thought process to occur, which could very well be true, considering the previous, slightly horrific things that happened to him. And yet, I think he's the type to always be alert, to land on his feet, to hit the ground running, etc., which again, wouldn't work too well for his character, unfortunately. And, well, there's probably enough humor in that scene already (depending on how potential future readers will take it?) so nevermind.
I want to maintain the integrity of his characterization, but the comedy potential to be had here could be such fun to exploit (and he is sort of known for being under-responsive/unfazed)! So, instead of all this, which could potentially detrimentally slow down the pacing, Rafal will likely just get an awful, sardonic remark, as per usual. Ah well.
It could've been great otherwise, but this Rafal-lecturing-Tedros scene might not work for the greater purposes of the story. Rafal is probably too self-aware and not quite "absent-minded professor" enough, and this scene wouldn't have fit the tone, so that's why I'm scrapping the idea and posting it here instead. (If I can manage to have it both ways, with the sardonic comment and his lecture, I may put it in, but the current outline/draft as it is will likely not use this at all.)
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More Posts from Liketwoswansinbalance
An addendum to my last post:
Perhaps, Rafal should've been the light, not the shadow (even if he was the "Evil" that was killed by the end of it all, as Rhian characterized, or rather, misrepresented him to the Kingdom Council), given this from the start of Fall:
This is what the Storian told the last Pan School Master.
Somehow, this (characterizing the Evil as the dark, as the shadow only ever in relation to the light, and the Good as the actual soul, not a reflection, but able to exist separately on its own) is spun on its head here: the light (or alternatively, the object with substance and matter to it, not an insubstantial shade, not a projection, not a dark mirror, that casts the shadow) (Rhian) becomes/was Evil.
Rhian gets his own life, sort of. He's "freed," in a sense, unfettered mentally, not bound by the Rules of Good anymore.
In contrast, Rafal continues to revolve around Rhian, not always in the same way, not necessarily in the role of protector anymore—it's more like keeping tabs on Rhian, with the espionage plot bits—and his being obsessed with regaining his power/becoming the One. And, as Rafal becomes Good, he's more and more constrained in what he can do (about anything, for that matter). He was newly bound, shackled to conventional morality and the Rules.
(This particular line of thought also happens to recall Sophie's "Get your own life!" speech to Agatha in book one, about how Evil has to ruin others' tales because it doesn't/cannot have tales of its own.)
(Then again, the parallel plots work best as they are, with the shadow dead. So, I wouldn't necessarily make Rafal the light either. He just had become more reactive than active by a certain point, unfortunately.)
Plus, it's also bizarre, how, for once, I'm characterizing Rafal as the "dependent" one, in a symbolic sense. (Usually, that role automatically goes to Rhian.) Yet ultimately, there would be no story or conflict without Rhian, the "restless soul," and the energy he brings to everything that had been static before.
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In case anyone would be interested in this second part, I'll tag those from the last post:
@deadlynightshadeunderthestars @anobody277642 @rosellemoon @harmonyverendez @discjude @joeykeehl256 @2xraequalstorara @wisteriaum
(You can let me know if I missed adding anyone!)
Uh Oh: The Third Person Omniscient Narrator Of Your Life Just Started Repeating The Opening Paragraphs Verbatim
I’m convinced that Grackles are the "Rafals" of the bird world. Just look at that hauteur. It’s at once inspiring and infuriating.
Rafal attempting to use slang in a Modern AU:
Rafal has joined the chat.
Rafal: I am insane. Unhinged. And mentally-ill. - RM
Agatha: Yes, that's true. What about it?
Rafal: I'm wicked.
Tedros: True again. Why are you stating the obvious?
Rafal: No, you misunderstand. I'm colloquially bragging like the youth do?
Agatha: Wut? Are you trying to say something we disagree on?
Rafal: Yes. I have a good argument too.
Rafal: Wait.
Rafal is typing.
Sophie has joined the chat.
Sophie: Apologies, darlings! I TOLD him not to go through my contacts! I've been trying to teach Rafal to keep up with the times as of late. He means "sick," and "wicked" as in "wicked cool."
Tedros has left the chat.
Agatha: And you thought that would work?!!
Sophie: It was worth a try?
Rafal: How's this, my love? I'm DECEASED at the sight of these previous texts!
Sophie: ???
Rafal: 💀💀💀💀
Sophie: What are you trying to SAY???
Rafal: Isn't it obvious? I'm LAUGHING at the princeling's idiocy.
Agatha: ...mood
Sophie: Oh. Slay.
Rafal: Whom?
Sophie: NO ONE. It means continue doing what you're doing because you're stylish and/or successful.
Sophie: He's right, you know, Aggie.
Agatha: Yeah... can't defend Tedros there.
Rafal: 💀💀💀💀💀💀
Sophie: ...We're never going to get him to give it up, are we?
Agatha: Nope
Rafal: These pictographic symbols are great. 🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛
Agatha: 🙄
Rafal: Look at my flock. Too bad there aren't any Stymph ones. 🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛🐦⬛
Agatha: Ok, this is your problem now. Bye.
Agatha has left the chat.
@discjude Yes! I'm so glad you agree with the Rafal-Latin interpretation. In my mind, Evil follows him around like a toxic contagion, like a contaminant, visible fog that everyone breathes and goes insane over. Meanwhile, Rhian's Evil is more insidious. I don't think it would be airborne in that same sense. Rhian's Evil, while dormant, would probably just mark him as a "carrier" of the symbolic disease. And, of course, Rafal (or Rhian) poisoned the entire bloodline.
Also, the Latin-relevance-to-modern-English thought sort of made me think: what if it were forcibly relevant, like at times when it wouldn't occur "naturally"? That could relate to the spirit of Rafal being beaten alive again and again and it never becoming irrelevant to the plot at any point, like you said, ingrained in everything. At some point, after the plot's undergone various cycles of the same after the same, it could probably seem like it's beating a dead horse.
And yet, Rafal himself would probably demand to be brought up again and again anyway, given his ego, so the plot thread never dies since it's not allowed to, in a kind of willful, conscious way possibly? Because, of course, he always has to be relevant. I can just picture him thinking, stubbornly deciding: fine, if I must be dead, I'll do it my way, on my terms, and still remain in the shadows, puppeteering everyone from beyond the grave. End of story, except it's not. The story is still mine. It always was. No matter how far the story gets from me, there's no getting rid of me.
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If you're interested, here's a second Rafal connection. Disclaimer: I barely know anything about this since I just heard about it the other week and most of my sources are Wikipedia:
There is a particular school of thought in literary theory called the "hermeneutics of suspicion," which is actually just a way of saying appearances belie reality, as usual.
hermeneutic (adj.) = "Of, relating to, or concerning interpretation or theories of interpretation."
"The hermeneutics of suspicion is a style of literary interpretation in which texts are read with skepticism in order to expose their purported repressed or hidden meanings. [...]"
"[...] a similar view of consciousness as false. [...] This school is defined by a belief that the straightforward appearances of texts are deceptive or self-deceptive and that explicit content hides deeper meanings or implications."
"According to literary theorist Rita Felski, hermeneutics of suspicion is 'a distinctively modern style of interpretation that circumvents obvious or self-evident meanings in order to draw out less visible and less flattering truths.'"
"Felski also notes that the 'hermeneutics of suspicion' is the name usually bestowed on [a] technique of reading texts against the grain and between the lines, of cataloging their omissions and laying bare their contradictions, of rubbing in what they fail to know and cannot represent."
In contrast, we have:
"[...] a hermeneutics of faith, which aims to restore meaning to a text, [...]"
And then, when it's applied to things like religion or philosophy, not just literature:
"It contends that a hermeneutic of doubt reduces religious experiences (and the believers committed to them) to something distant and 'other,' while a hermeneutic of trust enables scholars to reconstruct religious worldviews."
It vaguely echoes Rafal versus Pen. Or rather, Rafal's literary 'man versus society,' 'man versus self,' and 'man versus fate' conflicts.
"Sometimes a hermeneutic of suspicion may be important for more negative reasons, as when we suspect that texts are not telling us the whole truth."
This negative side to the concept can also somehow extend to fit typically skeptical Evil Rafal and repressed "Good" Rafal. (Sorry. After all this time, I refuse to call him strictly Good because his actions negate his soul's supposed Good status. I would love it if both brothers could each just consciously acknowledge their own capacity for Evil. Messy greyness like that would've been nice to see. But no! Rafal is/has to be "Good." [sigh.])
It's as if all this applied skepticism, this belief that there is something beneath the surface even when something/someone presents itself as trustworthy, (and probably, to some degree, it's also projecting your own untrustworthiness onto others as potential "traitors") is simply characteristic of Rafal. By my subjective interpretation, he probably mentally says: what reason have you given me to trust you? Or, vice versa: what reason have I given you to trust me? Or, at least, I tend to view him as paranoid, which could very well be exaggerating canon.
"The expression 'hermeneutic of suspicion' is a tautological way of saying what thoughtful people have always known, that words may not always mean what they seem to mean. Some forms of expression, such as allegory and irony, depend on this fact."
I do wonder if it's only because of sequential order that Rhian and Japeth feel more, idk, allegorical or "representational" (aside from just the Lion and the Snake roles, Japeth's mimicry of the first fratricide, and so forth) than Rhian and Rafal do? I think, partly, it could be because we get less page time of them overall, and partly because they're not quite "whole" entities, as in, the tale still technically belongs to Tedros and company. And the narrative doesn't always pin its focus on them.
And then, there's the argument against this school of thought:
"In sum, it is sometimes useful to 'see through' things, and suspicion has its place. If we insist, however, on 'seeing through' everything, we end up seeing nothing."
Ergo, Rafal's lack of self-awareness (and moments of misusing trust, like how he never reveals himself as the perceived threat of Fala) are probably part of his very own version of "seeing nothing" as he actively searches for "something" to find fault with (usually Rhian, let's face it) or it could be a case of seeing nothing wrong with his actions.
He starts to distance himself from Evil and turn to Good, doing too little, too late, while also being blind to Rhian's earlier losses and point of view. He thinks he himself is entirely deserving of what's coming to him, and at his most extreme, he's blind or rather, is caught in a sort of one-track mind, self-contained feedback loop? As if he has tunnel vision but in an upwards-ambition direction, that he reinforces with the total excess of pride embedded in the self-image he started out with.
And, this state of mind comes over him every single time he's sought out power above all and/or control over his immediate surroundings, without fail.
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I had a Rhian and Rafal thought since I thought of a way to elaborate on something old. (Not sure if this one can apply to the second set of twins because I've no examples for it currently, but if you've got any thoughts, go right ahead!)
Originally, I assigned Rhian death of the author due to how he interferes with or foils the Storian's will (as the "author") in Fall by murdering Rafal so abruptly. Because, Rhian, especially in TLEA, in trying to rewrite the past and reshape the world, decides to interpret the texts of his world apart from the "author's" intention, imposing his own interpretations onto the texts (tales).
For comparison, return of the author or authorial intent could be seen as Rafal ceding to the Storian in the end, or considering the author as inseparable from his work, and seeing works in the original contexts they once inhabited, as products of their time.
Plus, Rafal would've been the Storian's intent, the One. And, the Storian had been drawing him, not Rhian, initially—well, assuming it had decided on Rafal and wasn't in on the twist, until the eye color change in the illustration, which seemingly could've signaled it knew the One was Rhian all along. Depends on how we interpret the scene, I suppose.
Or, perhaps, less sinisterly than the Pen just knowing and being complicit in the twist Rhian chose for the tale in taking Rafal's face and identity, the Pen could have conceded to Rhian's "interpretation," as a sort of "reader" of its tales over itself as the prime "author." Because, well, Rhian is called the "author of his own misfortune" by the narrative. Maybe, the Pen was handing over the authorship to him, in complying with what Rhian wanted, in that moment, so Rhian could bend the story to his own designs and ends.
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I could see chivalry theory happening in the Endless Woods—that's an interesting one! Though, does Evelyn actually get a lenient sentence? She does die, and the "no longer useful" judgment Rafal barely passes over her is harsh.
Enjambment and caesura fit TCY twins well. If the plot and his plan didn't force him to be conscious of what he said, could Rhian have been as sociable as Sophie was? Do we ever see a side of him like that, like in the Beauty and the Feast chapter of QFG, for instance?
Ooh, the self-fulfilling prophecy and Becker's labeling theory remind me of the Pygmalion Effect (expectations shape behavior and self-image/people return what you invest in them) in psychology. I wonder if they're, by any chance, directly related, with one on a larger societal scale and the other on a smaller individual scale? Though, the Pygmalion Effect is more psychology than sociology, so maybe it wouldn't apply on a wider level? I don't know much at all about sociology, so thank you for the terms though!
The labeling happens to remind me of the concept of our subconscious "thin-slicing" stimuli, when we intuitively parse out new situations in split-second, snap judgments, with how the phenomenon is explained in a book, Blink: The Power of Thinking Without Thinking by Malcolm Gladwell. It's not a terminology heavy book though, so maybe some things described in it were more colloquial than truly sociological.
Also, I love the term folk devil! It fits so well and it's in line with the Gavaldon assumptions! In fact, it fits Rafal even better than "scapegoat" ever could, or general moral panics/witch hunts/persecution, so thank you!!! I didn't really call him a "scapegoat" before because it sounded too "innocent" for him, and to be fair, in his case, he is more guilty/disruptive, and wasn't persecuted without reason, honestly. And, he can, unlike other actual victims, be compared to a literal demon beyond just how he's viewed.
Also, I think Japeth at certain points deserves to go into that same media circus kind of category too, considering how Rhian's plan initially forced him to take the blame for all the terrorism publicly as the Snake.
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Ooh, you're absolutely right about the edgework angle being a part of the series, I'd say, and I think I might know how to fit it in!
It could apply to nontraditional villainy, to those who deliberately seek out a type of personal, "selfish" freedom from societal/structural constraints, like the Never kingdom of Akgul's entire philosophy to live by does, iirc, with its endless hedonism.
Of course, this kind of villainy would be the kind that Rafal sometimes appreciates and sometimes looks down on. For instance, he doesn't see as much Evil value/potential in the communal piracy or more social tendencies of the pirates, unlike true villains who work alone, while, at the same time, he does see the point to the revelry at The Black Rabbit—that's the thrill-seeking side of "Evil." (It's also a bit present in the 'No Ball.')
And, the Nevers in the main series are sort of known for their intrepidness, their recklessness, their raucousness. It's actually just their general "culture" of not allowing for cowardice, to the extreme, even at the expense of personal safety, all for the sake of reputation, even when "cowardice" is the smarter option. So, naturally, they have got a lot of grandstanding and brashness. They're all about putting on bravado! (And they also seem to be a dark mirror of the Everboys, in my opinion. They just take things further. Though, I guess they owe it to Rafal's deprivation early on, which must've reinforced the idea that they could do without a lot of the time because they're better than the "namby-pamby" Evers could ever be.)
Lastly, the best in-narrative example I think we have of this type of behavior is probably the cost of entry to The Black Rabbit: reporting sins, and how that practice is likely perpetuated by the very drinks they serve there, so the attendees can party all night long and do Storian knows what that's probably worse!
The Snake Venom drinks contain literal, real-world psychoactive ingredients (i.e., kola nuts and nutmeg/mace(?)). And these hallucinogens really do alter a person's state of mind. So, it's no wonder the Nevers are collectively predisposed to doing crime—just look at what they're being glutted with at mass public events! It's all built into a societal level other than soul.
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By the way, if anyone had wanted to know about the updates to this post above and in all the reblogs, I'll tag everyone who seems to have shown interest:
@ciieli @horizonsandbeginnings @books-and-tears @loverofbooksandhistory @joeykeehl256
@heya-there-friends @2xraequalstorara @arcanaisarcana
@wisteriaum
SGE Characters as Literary Things
(Not all of these are actual literary or rhetorical devices; some are just writing techniques, forms, genres, mediums, etc.)
This is a bit abstract, so I’m curious about how subjective these might be. Does anyone agree or disagree? And feel free to make additions if you think I left anything out, or request another character that isn’t here.
Hopefully this makes (intuitive?) sense. As always, I'm willing to explain my thought process behind any of the things I've listed.
Also, anyone can treat this like a “Tag Yourself” meme, if you want. Whose list do you most relate to, use, or encounter?
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LANCELOT (I know—how odd that I’m starting with a minor character and not Rafal, but wait. There’s a method to my madness. Also, watch out for overlap!):
Metonymy, synecdoche (no, literally, to me, these are him.)
Zeugma
Analogy
Figures of speech
Slang, argot
Colloquialisms
Idioms
TEDROS:
Simile
Metaphor
Rhyming couplets
Rhyme schemes
Sonnets
Commercial fiction
Coming-of-age genre
Line enjambment
Overuse of commas
Cadence, prose speech
Waxing poetic, verse (not prose)
Alliteration
Kinesthetic imagery
Phallic imagery/sword sexual innuendos (sorry)
The chivalric romance genre
AGATHA:
Anaphora, repetition
Semicolon, periods
Line breaks
Terse, dry prose
Semantics (not syntax)
Elegy
Resonance
Consonance, alliteration
Pseudonym
Narrative parallels
Realism
Satire
SOPHIE:
Sophistry (yes, there is a word for it!)
Imagery
Italics, emphasis
Em dash
Aphrodisiac imagery
Unreliable narrator, bias
Rashomon effect
Syntax (not semantics)
Diction
Chiasmus (think: “Fair is foul and foul is fair.”)
Rhetorical purpose
Provocation, calls to action
Voice, writing style
Rhetorical modes: pathos, logos, ethos
Metaphor
Hyperbole, exaggeration
Sensationalism, journalism
Surrealism
Verisimilitude
Egocentrism
Callbacks (but not foreshadowing or call-forwards)
Narrative parallels
Paralepsis, occultatio, apophasis, denial
Hypothetical dialogue
Monologue
JAPETH:
Sibilance
Lacuna
Villanelle (an obsessive, repetitive form of poetry)
Soliloquy
ARIC:
Sentence fragments
RHIAN (TCY):
Unreliable narrator
Setup, payoff
Chekhov’s gun
Epistolary novel
RHIAN (prequels):
Multiple povs
Perspective
Dramatic irony
Situational irony
Chiaroscuro (in imagery)
Endpapers
Frontispiece
Deckled edges
Narrative parallels
Foreshadowing
Call-forwards
Foil
Death of the author
RAFAL:
Omniscient narrator
Perspective
Surrealism
Etymology
Word families or 'linguistic ecosystems'
Latin
Verbal irony
Gallows humor
Narrative parallels
Call-forwards
Circular endings
Parallel sentences or balanced sentence structure
Narrative parallels
Foil
Juxtaposition
Authorial intent (“return of the author”)
HESTER:
Protagonist
Allusions
Gothic imagery
ANADIL:
Defamiliarization
Deuteragonist (second most important character in relation to the protagonist)
Psychic distance
Sterile prose
Forewords, prologues
Works cited pages
DOT:
Tone
Gustatory imagery
Tritagonist (third most important character in relation to the protagonist)
KIKO:
Sidekick
Falling action
Dedications, author's notes, epigraph, acknowledgements
Epitaph (Tristan)
BEATRIX:
Pacing
Rising Action
Climax
HORT:
Unrequited love
Falling resolution
Anticlimax
Malapropism
Innuendo
Asides
Brackets, parentheses
Cliché
EVELYN SADER:
Synesthetic imagery
Villanelle
Foreshadowing
AUGUST SADER:
Stream of consciousness style
Imagery
Foreshadowing
Coming-of-age genre
Elegy
Omniscience
Rhetorical questions
Time skips, non-linear narratives
Epilogues
MARIALENA:
Diabolus ex machina
Malapropism
Malaphors, mixed metaphors
Slant rhyme
Caveat
Parentheses
Footnotes
MERLIN:
Deus ex machina
Iambic pentameter
Filler words
BETTINA:
Screenwriting
Shock value