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About the author and blogger ...

Anne Goodwin’s drive to understand what makes people tick led to a career in clinical psychology. That same curiosity now powers her fiction.
A prize-winning short-story writer, she has published three novels and a short story collection with small independent press, Inspired Quill. Her debut novel, Sugar and Snails, was shortlisted for the 2016 Polari First Book Prize.
Away from her desk, Anne guides book-loving walkers through the Derbyshire landscape that inspired Charlotte Brontë’s Jane Eyre.
Subscribers to her newsletter can download a free e-book of award-winning short stories.

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Narrative structure, psychoanalytic theory and the grief that never goes

13/7/2018

14 Comments

 
I sometimes wonder if there’s a fundamental incompatibility between my ambitions to improve as a writer and attract more readers, and my loyalty to my personal truth. Certainly the recent trend towards up lit seems at odds with my need to embrace both light and dark. And industry advice doesn’t always acknowledge the complexity of being human and that characters can be as motivated by loss and fear as by desire.

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And yet, thanks in no small part to Charli Mills, I’ve become persuaded recently of the value of the hero’s journey story structure, and been plotting my current WIP, a dystopian novel provisionally entitled Snowflake, according to its ups and downs. Until, as mentioned in a recent post about survival narratives, my ambivalence returned with a vengeance. I can see how the structure works well for creating and maintaining tension, but is it true to the stories I want to tell?
 
As I understand it, and drawing on
a recent post from Charli Mills, the hero’s journey derives from mythology and begins with a “call” away from the familiar to venture into the unknown. After facing challenges along the way, with help from some and hindrance from others, the hero enters the cave, the ultimate test of mental and physical prowess which seems to spell defeat. And yet it doesn’t: by conquering her demons, the hero is further empowered, returning home with the “elixir” of her transformation. The recipe for a great story, don’t you think?
 
I want to write page-turning fiction but something about this isn’t right for me. My reservations are threefold: the label of hero; the implication of choice; and the feel-good nature of the resolution.
 
As I
mentioned in a previous post, the definition of hero implies the possession of exceptional courage, but I want to read and write about flawed human beings. Of course we can change the label and write about the person’s journey but it doesn’t have the same ring. I’m also interested in another part of my dictionary definition which refers to someone who is idealised for their courage and nobility by others. Sometimes it’s empowering when others praise qualities within us we haven’t fully recognised ourselves, but sometimes it’s extremely painful. Calling someone brave or heroic can also be a way of distancing ourselves from their suffering and can be experienced by the person themselves as an instruction to carry on bearing the unbearable. There’s a risk, in creating heroes, of denying the darkness of some lives.
 
I feel this whenever I see child carers lauded in the media. Isn’t she wonderful, they say, failing to mention that
no child should be caring for an adult except in the most limited of ways. I’m sure you have your own examples of people pushed into the hero position rather than taking it on by choice. I had similar reservations about ascribing heroism to the teenage narrators of The Shepherd’s Hut and Sal. In matters of physical or psychological survival, the choice isn’t between safety and adventure, but between fight, flight and appeasement – the latter usually entailing a negation of the self.
 
My third reservation relates to the resolution: does the hero necessarily end up in a better place? What structure do we need for stories of the grief that never goes away? Almost four years ago, I had a lot of support and interest in my post
Good Grief for writers?, which included a quote about artists being “fundamentally inconsolable”, and that inconsolability being the position from which our best work derives. And it’s not only artists. I think many people can connect with such a sentiment if they’re led towards it in a nonthreatening way. It isn’t about wallowing in misery; it’s about being real. Those are the stories I want to write.

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So where does psychoanalytic theory come in? Although none of us can take too much reality, psychoanalytic thinking prizes facing the truth over more comfortable evasions. At first sight, this fits with the hero’s journey, but I wonder whether, in some interpretations, some of the darkness that continues beyond the cave is being denied.
 
The Kleinian concept of manic reparation relates to achieving a pseudo-acceptance of adversity without going through the painful process of mourning. I’m fine! I’m saved! I’ve put all that trauma behind me! But it’s a brittle adaptation that can easily break down. Reparation proper entails acknowledging the
damage, loss and guilt without succumbing to despair. For some people in some types of situations, the grief never goes away. We learn to live with it.
 
It’s personal too. Having worked for my elixir, I’m
happy with my life. I could frame my story as a hero’s journey, but that would be to imply I had a choice. I reject the notion that the struggle was worth it. I like where I’ve got to, but I’d rather have had an easier journey even if the outcome wasn’t as good.
 
Is there a narrative structure that’s gripping as the hero’s journey that allows for these reservations? Am I arguing for a revised nomenclature; a stronger role for ambivalence and mourning; for a different type of journey altogether? At the moment, I don’t know, so if any of this makes sense to you, please share your thoughts.


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This week, Charli is asking for 99-word stories about broken fences. The hero’s journey is about mending those fences – or knocking down fences where they keep people apart. I suppose I’m saying I want to write about those fences that in the process of breaking leave splinters in our hands. Or broken fences that are imperfectly repaired.

But, with hackles rising over Trump’s visit to the UK, and his humiliation of our Prime Minister compounding her Cabinet’s betrayal, I couldn’t resist a Friday the Thirteenth political story:

Strong and stable

Some party! Guests hurled abuse across a bifurcating fence. But Theresa would get them dancing and use the wooden panels to erect a different fence. Strong and stable to keep the rabble out.

Sipping champagne, she waited for the guest of honour at the porticoed door. Behind her, the factions hollered, whacking each other with bits of broken fence. Theresa’s smile was equally wooden. Just high spirits, she’d tell the POTUS, when he finally arrived. Where was he?

She turned, flinching at the wreckage as Boris shook Donald’s hand. He’d certainly made an entrance, bulldozed through her precious fence.
 
 

Thanks for reading. I'd love to know what you think. If you've enjoyed this post, you might like to sign up via the sidebar for regular email updates and/or my quarterly Newsletter.
14 Comments
Norah Colvin link
14/7/2018 10:56:50 am

Interesting post, Anne. While I quite like the thought of a hero's journey and agree that it's a structure which many stories follow, I'm also inclined to agree with you. I like your description of "those fences that in the process of breaking leave splinters in our hands". We are flawed, we remained flawed, though our actions may bring us further than we thought possible. Some of us work hard and never see a good thing come of it. Others hailed as heroes do little to earn the accolades. I agree too, that it can be a label that is difficult for one to live up to, one that implies heroic deeds are always now the expectation. I also agree with your sentiment that an easier journey through life may have been preferred. So, you see, I found myself nodding throughout your article and could not help but think of Patrick White's novels of dysfunctional characters, which I thoroughly enjoyed. Perhaps I recognised more of me in them than in some of the more heroic characters. They are for my dreams. But even heroes can develop from those dysfunctional characters, even if the splinters remain embedded - they (we) just learn to live with them.
I was hoping to read your post Good Grief for Writers (unsure if I'd already read it or not) but the link comes up blank. I didn't follow any other links due to time constraints at the moment.
Is Diana a hero? She confronts her vulnerabilities and learns to live her life despite the splinters. As most of us do. But hero - I'm not sure.
Steve - I'm less optimistic.
Do I need a story to follow the hero's journey to enjoy? Definitely not.
Funny you wrote about splinters. My festering thought is about the danger of sitting on a fence - the danger is if one sits too long the result might be impalement, which might be even more uncomfortable if the fence is barbed wire rather than wood. :)

Reply
Annecdotist
16/7/2018 02:15:28 pm

I’m glad this post resonated, Norah, and thanks for your detailed response. You’ve reminded me that I want to recognise the heroism of those who put in the effort but bad luck takes away the rewards. I think it’s political – the pretence that any of us can reach the top if we try hard enough, or in the case of the US right now, if we are brazen and shameless enough.
Thanks for mentioning Diana. I think she’s initially an example of manic reparation, thinking she can forget – or at least ignore – past trauma and live as if the difficult stuff never happened. Although neither you nor I would consider her heroic, I think she does fit the story structure in the risks she takes in order to change. Maybe I’ve written Steve as the other side of the same coin in that he also believes he can overlook his vulnerabilities, but his story is one of sinking into a deeper cave.
I like your analogy of sitting on the fence giving us splinters and far worse. Sometimes we just have to jump – but to which side? And I’m wondering now if you’ve written your 99-word story about barbed wire. Look forward to finding out.
Thanks for flagging that broken link. It’s fixed now.

Reply
Charli Mills
14/7/2018 09:15:41 pm

Anne, I'm glad you were able to process and articulate your reservations with the hero's journey. In a classical sense, a hero is an archetype who is idealized for their courage. When Joseph Campbell collected hero stories from around the world, he developed his theory of the monomyth and created the cycle of the hero's journey. However, the hero can be -- and usually is -- flawed. And when it comes to our individual lives, or the lives of our characters, there can only be one hero in the way that Steven Pressfield describes it:

"The hero’s journey in real life begins in darkness. A seed burgeons, way below consciousness. This seed is the germ and kernel of ourselves-in-becoming. It is not us-as-we-are. It is who we will be."

So the hero is "ourselves-in-becoming." And I completely agree with you in creating authentic stories. Not every work of fiction has to be UP Lit or a romance template. You could call the hero the protagonist, seeker or self. Would you consider the journey differently is it were called the journey of self? The seeker's journey?

As far as choice, the journey is impacted by choice. The writer is in full control of how classical or creative they want to interpret the journey and the choices of the protagonist -- good, bad, indifferent -- create all kinds of tension. There are always consequences to choices. That's real life.

You ask, "does the hero necessarily end up in a better place?" No, the hero ends up in the same place but is changed. For the better? Happier? Not necessarily. I think it's entirely plausible for the character to return to the ordinary world of grief, to return apathetic. But they are changed. That's the greater point. The change. And if they are not -- if a book rambles on for 300 pages and the character at the end is exactly the same as at the beginning, I'd find it unrealistic, boring and waste of my time as a reader. Why would someone grieving not change? Even grief has its cycles.

To me, the structure can be a limiting or as limitless as you allow it to be. If you see Joseph Campbell's theory as one that only applies to classical or mythological hero's, then it is a specific construct. And I don't believe any writer should write novels according to templates unless they make a living writing genre specifics like romance or cozy mysteries. I believe the hero's journey resonates with us because life is growth.

You write, "Reparation proper entails acknowledging the damage, loss and guilt without succumbing to despair. For some people in some types of situations, the grief never goes away. We learn to live with it." I believe the hero's journey can show this. The change is becoming a grieved person, life will never be the same, but the elixir is to not succumb to despair.

I can't say more here because I've been privileged to read your third novel in progress, but I fully see the self-journey in each of your three characters. Perhaps change the label, focus on character choices rather than forces, and find reality in the elixir.

Thank you for the opportunity to examine the structure and discuss its application.

As for your flash -- great use of wood and fences although painful to watch the embarrassment our POTUS causes with his bull-dozer approach.

Reply
Annecdotist
16/7/2018 02:44:17 pm

Thanks for your patience, Charli, in thinking about my reservations and in responding to them in such a helpful way. While I think, from previous conversations, you probably prefer more optimistic outcomes than I do, there’s probably not a great deal of difference between us regarding the story structure. I just need to fiddle around with it a bit and find some different labels.
Hero is clearly too much of a distraction for me, loaded with assumptions that perhaps not everyone shares. Seeker is more appropriate, or even journeyer, if my screen would allow it. I also need a gentler term for elixir (not least because my voice recognition software insists on printing it as Alexa) – but I do agree with you about change. Novels are not the same as real life and we do want our own elixir as readers for the time and effort we’ve put into it. I’m sure it’s possible nevertheless to write engagingly about characters who fail to change, as long as it’s done in an interesting way. Sometimes perhaps the reader changes more than the characters.
I’m glad you’ve pointed out that there can be losses as well as gains at the end of the hero’s journey. It’s not like finding the crock of gold at the end of the rainbow. I think part of my gripes here might be influenced by some recent agency feedback about Matilda Windsor which it’s not really appropriate to discuss publicly but relates to the elixir I’ve given the three main characters at the end of their journeys not being as sweet as readers might require.
I wonder if I’d discover more if I actually took the trouble to read Joseph Campbell for myself? Although I think I’m learning a lot from getting his ideas filtered through you. Thanks for accompanying me on this part of the journey.

Reply
Charli Mills
18/7/2018 07:41:58 am

As I've pondered more about this discussion, I wondered what it is that attracts me to the HJ (there, we don't have to say hero)? I think it's the journey -- the seeking, self-discovery, the courage to live up to one's potential. But is that problematic, too? Is it assuming too much that we all have potential? Yes, I tend to be idealistic and optimistic, preferring not a "happy ending" but definitely an elixir. Ha! I tried to find a replacement for Alexa (elixir) and discovered catholicon! It means universal remedy. Maybe the word broth would be better. The journey of self ends with a cup of broth. Thank you for pushing into this story-form and challenging my thinking. Steven Pressfield is as enamored with HJ as I am, and at one point even apologizes to his readers for going on about it! :-) But you might find this interesting: https://stevenpressfield.com/2012/06/the-heros-journey-in-real-life/

Annecdotist
19/7/2018 10:14:27 am

I think we’re getting closer, Charli! Interestingly, after posting this on Monday, I drafted a post on the therapy journey in real life and its overlap with the HJ (I like that) – and that’s very much a journey towards the self.
Rather than the courage to live up to one’s potential, I’d go for the courage to try or to make a conscious decision (based on weighing up the options rather than on clear) not to, or to begin to explore and recognise it’s not going to happen.
Norah has often written about her attempt to set up an alternative school. I deeply admire her, and I think she deserves the designation of hero, for both trying to realise her dream and accepting failure. And you likewise, in setting up the Ranch when you’d have no idea whether you’d be able to draw people into it. In fact, all of us in risking writing from the heart.
I also think of people who are not heroic – although sometimes it’s the pre hero stage of not heeding the call – in boring the pants off everyone talking about what they could achieve but doing nothing about it. I don’t have much sympathy for such characters. No shame in my opinion of deciding against following a dream but only if that is also a way of moving forward, facing up to the reality.
Thanks for the link. You’re in good company!

Charli Mills
19/7/2018 10:35:27 pm

This has me thinking we could come up with an alternative model that is more inclusive of real-life journeys! Failure is so important because it refines our ideas and future attempts. There's something to what Norah has identified as the growth mindset and yet there exist the resisters, too -- resisting the call, resisting the dreams, resisting freedom from the cave.

Reply
Annecdotist
20/7/2018 01:52:03 pm

That would be good, although we don’t want to generalise so widely it loses its oomph. On the other hand, I know it works for some types of story and it would be great to extend it to others.
Psychoanalytic theory, of course, has a lot to say about resistance and I do think that in some ways an initial no can make us more committed to the journey when we finally embark. The novel I’m reading at the moment, and should be ready to review soon, Milkman, set in Northern Ireland during the Troubles, is about a community’s resistance to knowing just about anything, in an amusing yet extremely poignant way.

Reply
Charli Mills link
22/7/2018 04:08:41 pm

Without generalizing, I wonder if we could have options at key points, in the manner of how Kurt Vonnegut taught the "shape" of stories. Have you ever seen that clip? He simplifies story structure in a brilliant way (but does not mention the HJ): https://www.youtube.com/watch?v=oP3c1h8v2ZQ. Any how, I think you are on to something with a theory that could enrich the HJ structure with that of the psychoanalytic theory and perhaps define some key points on the map, such as the resistance to the call, the choice to stay in the cave, or the reality of failure and other influences that might not be considered heroic or happy-ending. Through these discussions, I think I've come to the idea of why I like the HJ so much -- it represents the effort to try, the desire to learn, grow, evolve. I'm looking forward to your review of the Milkman. Thanks for the discussion!

Annecdotist
23/7/2018 03:49:28 pm

Thanks, Charli. I’ve been thinking about some kind of flowchart with decision points – do they even have those things these days? Thanks for sharing the Kurt Vonnegut clip – and still smiling, and it reminds me I have a Cinderella story that still looking for a publisher! But I suppose at its most basic, he’s saying that we need the main character’s fortunes to change in some way the course of the story, often several times. I’m very grateful for this discussion.

Charli Mills
24/7/2018 11:33:04 pm

I like the flow chart idea.

Norah Colvin link
22/7/2018 11:44:07 am

Great conversation, ladies. Love that Steven Pressfield article. (What a great name for a journalist BTW.)

Reply
Annecdotist
22/7/2018 12:22:58 pm

Ha, you’re so right. Hadn’t noticed that name!

Charli Mills
22/7/2018 04:13:02 pm

Good catch, Norah! Steven is one of my favorite writing mentors, although I don't know him personally. Obviously, he shares my enthusiasm for the HJ! He's the author whose book, The War of Art I had tried to share with you.




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