What does a haunting mean? Is it a specter in your home who will not leave you alone? Is it something more personal? Perhaps it is your thoughts and feelings haunting you. In Dickinson’s “One Need Not be a Chamber — to be Haunted” by prolific poet Emily Dickinson, the author has a full grasp of what it means to be haunted.
The poem begins with Dickinson informing us of what a haunting means. “One need not be a chamber to be haunted, / One need not be a house; / The brain has corridors surpassing / Material place.” In other words, it is our mind that is the haunted place. The place where ghosts roam.
In fact, she tells us, these cliche haunted places are more preferable than one’s own mind. For example, she writes: “Far safer, of a midnight meeting / External ghost, / … Far safer through an Abbey gallop, / The stones achase, / Than, moonless, one’s own self encounter / In lonesome place.” That is to say, one’s own mind is far scarier than any haunted meeting or Abbey.
Next, Dickinson tells us that our own thoughts would startle most people. In this way, our thoughts acts as “Assassin, hid in our apartment, / Be horror’s least.” Likewise, we should be more concerned with “a superior spectre / More near.”
Conclusion
Real hauntings are defined in Dickinson’s “One Need Not be a Chamber — to be Haunted.” According to her, it is not the house on haunted hill. It is our own minds. Her focus on the inward psychology of ourselves is interesting. Of course, why be afraid of what is out there, when what is inside of us is far spookier?
We have discussed the gothic genre and death on this blog many, many times. It is definitely a pervasive element in horror and the gothic horror genre. Likewise, it is also a very interesting subject. Writer Henry James tackled this subject very well in his novel Turn of the Screw, which features some spooky imagery and atmosphere. In this post, we are going to examine James’ background and influences to better understand how he wrote a classic of the horror genre.
Biography
To start, James was born in New York City on April 15, 1843. His family had many intellectuals, as he was “born to a family of writers.” His father was “an affluent and well-connected journalist” and his mother was a descendant of “Irish immigrants who had prospered in New York State” (Poetry Foundation). Moreover, they traveled frequently, between Europe and America, which created a wide-reaching education for James.
Beginning his literary career as a critic and short story writer, James would go on to write popular novels, including The Portrait of a Lady, The Wings of the Dove, and The Golden Bowl. One of his most famous novels, The Turn of the Screw, appeared in 1889 to much acclaim.
James died on February 28, 1916, in London after becoming a British subject just a year earlier in 1915.
Writing The Turn of the Screw
In writing The Turn of the Screw, James left for Sussex and began writing in 1897. His play Guy Domville had a dismal opening in the theater. Thus, such a dismal letdown put him in the right frame of mind to write something horrific. His interest in spiritual phenomena existed due to his brother William’s proclivities, and so he penned the story with a robust fascination of ghosts firmly in check (Sparknotes).
Collier’s Weekly published the novel as a serial between Jan. 27-April 16, 1898. Eventually, The Two Magics published it in Oct. 1898 (Britannica).
Henry James’ Style
Using a complex understanding of the human condition, James wrote about a great many subjects using tell-tale hallmarks in his writing. Similarly, he was a writer who employed complex sentences and detailed descriptions. He also utilized a psychological depth to his narrative; one you can see in the beginning chapters of The Turn of the Screw when the governess begins to see eerie happenings in the Bly house.
As Britannica states of his style:
“James began to use the methods of alternating “picture” and dramatic scene, close adherence to a given angle of vision, a withholding of information from the reader, making available to him only that which the characters see. The subjects of this period are the developing consciousness and moral education of children—in reality James’s old international theme of innocence in a corrupting world, transferred to the English setting.”
Additionally, he approaches both social and cultural issues in his writing. His focus on social class and values between both classes is apparent in his writing. Moreover, he was a subtle writer. While he may overly describe situations and scenes, he is very careful to keep information tucked firmly behind his back, rather than letting it out in the open.
When thinking about the many iterations of Robin Hood, it’s hard to not think about the idealized version of the outlaw bandit. The author, Roger Lancelyn Green, wrote a perfect depiction of the folk hero in The Merry Adventures of Robin Hood.
For this post, we are going to examine The Adventures of Robin Hood by Roger Lancelyn Green. The novel is a children’s book that tells the tales in a straightforward and exciting way.
Background
Green was born in 1918 and “lived in Oxford and at his family home in Cheshire” (Bookroo). As a background and careers man, he worked as a librarian and a teacher. He also spent his time on retellings, including Egyptian, Greek, and Norse Legends. Moreover, he wrote a biography for the author of The Chronicles of Narnia, C.S. Lewis.
Book Blurb
From Amazon: “The classic story of social justice and outrageous cunning. Robin Hood, champion of the oppressed, stands against the cruel power of Prince John and the brutal Sheriff of Nottingham. Taking refuge in the vast Sherwood Forest with his band of men, he remains determined to outwit his enemies.”
From Goodreads: “Recounts the life and adventures of Robin Hood, who, with his band of followers, lived as an outlaw in Sherwood Forest dedicated to fighting tyranny.”
Reviews
Currently, The Adventures of Robin Hood has a 4.07 on Goodreads with 13,834 ratings and 430 reviews. Of those reviews, 5,256 are five-star reviews while 100 are one-star reviews.
While there are no reviews on Goodreads, Amazon’s five-star reviews highlight its ability to teach lessons. For example, there are lessons around “being good does not always mean following the rules.” These simplistic lessons resonate with reviewers because they are easy to understand. Similarly, others pointed out that it was “beautifully written” and was a good read aloud book for children.
Conversely, one-star reviews point out that it’s “the rewritten kids version,” and that it’s a “kid’s books. Not for over twelves” with “nothing original in there.”
Impressions
As an adult, I still love children’s books. As such, I go back to some of my favorites from time to time. These include Roald Dahl’s stories, Artemis Fowl, Harry Potter, etc.. I think there is a wealth of feeling and love under the surface of those books. Additionally, there is a reason that they have such an impact on us as children that we take to adulthood.
With that said, what follows is some of the syntax in the novel. I find it to be appropriate for young and adult readers, as it seems more complex than some modern writers.
The text states: “Although it was a hundred years since the Battle of Hastings, there was no real peace in England. William the Conqueror had divided the country amongst his followers, only in special cases leaving the old Saxon Thanes the ownership of even a small part of what had once been their properties.”
As stated above, I would not necessarily say that the inner-workings and political workings of post-Hastings Europe is “childish.” Regardless, I can understand that some people want a challenge when it comes to the old ballads and songs about Robin Hood and his merry men (I’m one of them). Yet, I also see the value in the stories of Robin Hood. Especially his symbology as a seeker of justice, and his status as an outlaw.
Have you ever been watching a movie or reading a book and thought, what is the author trying to tell me? For instance, No Country for Old Men by Cormac McCarthy ends on a downer (book and film), but there is actually a rich story and extended metaphor to watch out for in both forms of the story. This is actually a form of symbolism, in which one thing stands for another. Thus, it’s important to focus on close reading techniques for symbolism.
Today, I thought it would be beneficial to explore symbolism in literature to better understand it and get some tips on how to look for it with more skill.
What is symbolism?
To put it simply, symbolism is anything that stands for or represents something else; in literature, this means something metaphorical or symbolic that represents something else. In other words, symbolism is when an “object or element incorporated into a narrative to represent another concept or concern …” which “offer critical, though often overlooked, information about events, characters, and the author’s primary concerns” (Purdue).
Likewise, we can look at symbolism as only having meaning derived in “certain contexts,” so that when two particular ideas are juxtaposed, a third value can be discerned. For example, Leofwine hates death, so therefore Leofwine is afraid to die. A man wearing a black robe comes to Leofwine’s door and knocks. Even though the man is merely a plague doctor visiting Leofwine in the 1300s, Larry sees him as Death incarnate.
“A more sophisticated way of approaching symbolism would be to say that things have symbolic qualities only in certain contexts–and sometimes they do not symbolize anything at all,” states Oregon State University’s School of Writing, Literature, and Film.
Examples:
The Merry Adventures of Robin Hood
Robin Hood’s bow represents his skill and bravery and that he is a capable outlaw with the ability to strike from the distance.
Sherwood Forest is a symbol for homelife and safety–both of which Robin Hood lacks in a more practical way.
Treasure Island
The Hispaniola (the ship) symbolizes the safety of Captain Smollet, but also a mutinous crew and a need for departure.
The treasure map symbolizes the unknown world that Jim Hawkins must explore. It also represents avarice and greed.
How to read for symbolism
In reality, close reading techniques for symbolism really comes down to just that: close reading. Close reading takes a keen eye, but it also takes time, because it asks you to comb over the text, interact, exchange ideas, and reread (not necessarily in that order).
The following tips come from Vanderbilt University, and are some exercises you can do to better close read a text:
Selecting chunks of the text rather than the entire thing.
Reread the passages you have selected multiple times.
When we think of pacing, perhaps the first idea that comes to mind is how slowly or quickly a story moves. In other words, we are thinking about at what speed a story is moving through scenes and plot points. In this post, we are going to answer two questions. First, what is narrative writing? And, second, how do you create better pacing in narratives?
What is narrative writing?
Narrative writing is the act of writing fiction or nonfiction stories. In other words, it is creating imagined worlds and using elements of storytelling to tell a story. The elements one has to consider when writing include characters, plot, setting, conflict, and theme (and more). Therefore, narrative writing is an attempt at entertaining a reader through an engaging story that lives and breathes.
As some sources state, in approaching this style of writing, “one might think of it as telling a story.” These types of writings often center on “anecdotal, experiential, and personal” reflections (Purdue).
What is pacing?
Pacing is typically a reference to the speed at which a story is conveyed to a reader. It is important for holding the interest of a reader. The pacing differs between novels and short stories for a reason. An author typically doesn’t have to share as many details when writing a short story. However, they need to share many more details when writing a novel.
Writer’s Digest states that pacing is “a tool that controls the speed and rhythm at which a story is told and the readers are pulled through the events” (Carpenter). Likewise, the author states pacing is a matter of structure and word choice (syntax and diction). Some elements of pacing include actions, cliffhangers, dialogue, and word choice.
How to create better pacing in narrative writing
Let’s focus on the elements of pacing and see how they can help us along:
Actions
Actions are the events that happen in a story. They often involve the characters interactions with themselves and with each other. As an example, think about all of the action in Robert Louis Stevenson’s Treasure Island, from the fight at the palisade to the death of Israel Hands. Tips: Some tips to consider include whether you are using fast-paced action throughout the story–fights, chases, sudden events–or you are using slower-paced action throughout the story–reflecting, walks, dialogue, contemplation.
Cliffhangers
Cliffhangers: Cliffhangers are so crucial for most narrative writing, and are considered a plot device. They are a moment at a particular point in a story, typically moments of suspense, which leaves the reader wanting more. Cliffhangers create tension, especially at the end of chapters and parts to books. For instance, any short story collection, from Stephen King’s Nightshift to Hemingway’s In Our Time, often utilize page breaks to hint at more to come. These act as cliffhangers. Tips: Go to your favorite book and read the end of each chapter or part. You will get a sense of what the author is doing to make you want to read more.
Dialogue
Dialogue: Dialogue is any action of conversation between two or more people. It helps us understand characters’ thoughts, feelings, emotions, and their own relationships. Additionally, dialogue should move the plot forward. Consider Rum Punch by Elmore Leonard. This novel uses short snappy dialogue to convey naturalistic speech. Similarly, in Flannery O’Connor’s “A Good Man is Hard to Find,” the author utilizes dialogue as a means of argumentation. Tips: As a tip, consider how quickly your dialogue moves. Is is short and sweet? Or is it longer speech-like diatribes? You can use many types of dialogue in a book as well, as long as you feel that it moves the plot.
Word Choice
Word Choice: Word choice is difficult to talk about because it is a very personal choice for writers to consider. It often refers to the specific vocabulary (diction) and language an author uses in their writing. Word choice can be concise, straightforward, and in short sentences, or it can be far more descriptive and elaborate. For instance, Edgar Allan Poe describes his scenes and settings with lengthy passages. Meanwhile, other authors, such as Kurt Vonnegut, are more interested in the beats happening in the story so move you a long with sparse detail. Tips: As a tip, consider breaking down what each section of your story and decided what it is trying to say. If you feel as though it could benefit from shorter sentences and word, then you should go in that direction.
Conclusion
So, how do we create better pacing in narrative writing? We have to understand just at what speed your story moves based upon the decisions you make as a writer. The actions of your characters, the cliffhangers you introduce, the dialogue you use, and the word choice you implement all effect how quickly or slowly your story builds and releases. Understanding pacing can help you shape fun, engaging, and exciting stories that will enthrall your readers.
We know Robin Hood the outlaw, but do we know about Robin Hood, the average citizen? Of course, every hero has an origin story, and Robin’s is tragic and sorrowful. In this post, we are going to analyze the ballad, “Robin Hood’s Progress to Nottingham.”
Summary
The ballad, “Robin Hood’s Progress to Nottingham” tells the tale of how Robin Hood became and outlaw. In it, he ventures to Nottingham to test his skill in archery. The ballad begins by telling us that Robin is “fifteen winters old,” and “he was a proper young man / Of courage stout and bold.”
However, he encounters “fifteen forresters” along the way who are all “drinking bear, ale, and wine.” After questioning them of news of a shooting match (in which Robin could test his luck), the foresters treat Robin unkindly. They mock his archery abilities by stating, “That ever a boy so young / Should bear a bow before our king, / That’s not able to draw one string.”
Immediately after, the foresters set a wager. They claim that Robin could “hitst not the marke a hundred rod, / Nor causest a hart to dye.” Yet, he causes a heart to die, as he hits his mark. Regardless, the foresters decide not to pay Robin. So the archer “laught, and begun to smile / as hee went over the plain.” Out of bloodthirsty vengeance, Robin slays fourteen of the fifteen foresters. He then takes the last one hostage, only to “sent another arrow / That split his head in twain.”
The people of Nottingham try to arrest Robin and retrieve the bodies. Yet, Robin kills and maims many of them with his arrows and flees into the forest. The poem states: “Some lost legs, and some lost arms, / And some did lose their blood, / But Robin Hood hee took up his noble bow, / And is gone to the merry green wood.” Afterward, the remaining townspeople take the bodies to be buried.
Background
The ballad is one of the traditional English ballads and departs from modern Robin Hood myth in showing Robin as a true outlaw–and a vain one at that. This poem is a part of a larger corpus of Robin Hood stories that comes from stories told over the centuries, and comes from “several seventeenth-century broadsides and the early garlands” (Knight). Though, “Robin Hood’s Progress to Nottingham” can be traced back to the late medieval period.
The ballad certainly came from times of social upheaval, as stated here in this book review, when many citizens passed stories such as these of folk heroes who stood against taxation as a form of tyranny. As such, it embodies a story of rebellion and independence; that is to say, getting what is rightfully yours. As noted by some authors, the ballad has a “fierce tone” and demonstrates “an orgy of self-defence.” Furthermore, the ballad “harks back to the violent anti-forester spirit of Johnie Cock,” in which a palmer of foresters betray a boy and attempt to kill him.
The ballad appears in various collections of ballads, which are known as child Ballads, as they appear in the works and collections of Francis James Child, such as The English and Scottish Popular Ballads, which was published in the late 19th century.
Conclusion
We normally think of Robin Hood as a right and just person who is an outlaw due to the tyrannical circumstances of the feudal system in Medieval Europe. However, this tale tells us that Robin was far more bloodthirsty and violent, killing 15 plus people because he was denied his reward. With that said, we have to chalk up the morality of the medieval period to something wholly different from what we know today, because it was a different time and a different system of judgement and punishment. Consider Grimm’s Fairy Tales and how violent those children’s stories are in comparison to the children’s stories we have now.
Works Cited
Knight, Stephen, Ohlgren, H. Thomas. “Robin Hood’s Progress to Nottingham.” University of Rochester. Middle English Texts Series. Robin Hood and Other Outlaw Tales. 1997.
Knight, Stephen, Ohlgren, H. Thomas. “Robin Hood’s Progress to Nottingham: Introduction.” University of Rochester. Middle English Texts Series. Robin Hood and Other Outlaw Tales. 1997.
Fiction can create compelling stories and can insert action and suspense where otherwise there was very little. In Robin Hood by J.C. Holt, we see that action and adventure still existed in the real world. In this post, we are analyzing Robin Hood by Holt. This novel takes a historical look at the lore surrounding Robin Hood and attempts to separate fact from fiction.
Summary
Robin Hood by Holt takes a historical look at the swashbuckling rogue from Sherwood Forest. In this way, Robin Hood is an English folk hero. As such, the author analyzes his origins, development, and his role in history. Holt examines early ballads, and traces them from the past to modern times. Similarly, he examines Robin Hood’s beginnings and gives insight into how the character has changed over time.
Book Blurb
From Amazon: “The legend of Robin Hood began more than 600 years ago. The man, if he existed at all, lived even earlier. In this definitive work, Professor Sir James Holt, one of Britain’s premier historians and author of the standard work on the Magna Carta, unravels pure invention from real possibility and offers the results of some thirty years of research.
Holt assesses the evidence for the historical Robin Hood and finds that the tale originated with the yeomen and hangers-on of the households of noblemen and gentry in the later Middle Ages. Parts of the story that we now take for granted―the usual conventions―played little or no part in the original tales. Many of the conventions grew with the legends as centuries past.
The legend of Robin Hood has enthralled people from the first ballads to contemporary movies. Holt reconstructs the historical basis of the stories but never loses sight of the human imagination that sustained them. This edition includes new illustrations and The Gest of Robyn Hood, one of the oldest surviving tales. 16 color and 9 black-and-white illustrations.”
Reviews
On Amazon, Robin Hood has 4.5 out of 5 stars with 39 ratings. Seventy-five percent of reviews are five star, while it carries with it no 1-star reviews. Five-star reviews highlight the historical importance of discussing Robin Hood’s transformation from an “anti-obscene-taxes crusader” to a “champion of wealth redistribution.” In addition to that, other reviewers state that the novel is a “careful examination” of the Robin Hood story. Others write that the story has a “ring of authenticity about it.”
On Goodreads, the novel has 3.71 stars out of 5 stars with 285 ratings. Sixty five of those ratings give it 5 stars while 6 ratings give it one star. Five-star reviews state that it is both “solid” and “readable” and is an “academic examination of the outlaw tradition.” Likewise, other five-star reviewers state that it is “still the classic work on the subject of Robin Hood ….” Meanwhile, one-star reviewers state that it is “dull” so they “didn’t finish it.”
Impressions
I love the idea that Robin Hoodby Holt deconstructs folklore. Shedding light on the reality of a particular story or hero helps the reader build a broader context for the world around them. Namely, if we know Robin Hood was against taxation, and we know that many people shared the story of Robin Hood, we can then deduce that his popularity was probably due to how society feels about unjust taxation.
What’s more, world history shapes these types of readings. This is especially true because the happenings of the era created these stories. For instance, Robin Hood was a product of taxation and corruption in a feudal society. In a similar manner, the wealth redistribution mythos appeared later, which no doubt was in response to feelings about wealth redistribution at that time. “Steal from the rich and give to the needy” is a response to social issues, therefore it must have been in the cultural zeitgeist in order to illicit such a reaction.
The Sheriff of Nottingham is typically a rather looming menace in Robin Hood lore. In Howard Pyle’s The Merry Adventures of Robin Hood, he is otherwise a background antagonist who is often foiled. However, he is still an authority figure and sets out to stop Robin Hood and capture the outlaw once and for all. This is just one example of authority figures in literature.
In this post, we are going to examine authority figures in literature and analyze what makes them tick and why they are so pronounced in so many books we love.
Making an authority figure
Authority figures in literature often help propel narratives, shape existing characters, and reflect the themes of the novel in which they appear. The authority figure often ranges in background and scope, from representatives to hospital nurses. As such, authority figures show us how the author perceives power and control in a novel.
The Role of Authority Figures
Authority figures factor into novels for many reasons. Their very presence lends itself to plot development. They also show the norms and mores of a particular society or institutions. The encourage character development, and they also highlight power dynamics in stories as well. Here are some of those examples further defined:
Drive the Plot
Authority figures act as a central conflict for many novels (One Flew Over the Cuckoos Nest, 1984, The Great Gatsby, The Crucible, etc.). As such, their very drive pushes the plot of the story forward, such as Randall Flagg’s attempt at control in Las Vegas in Stephen King’s The Stand, which results in the crucifixion of those who do not comply.
Represent Norms and Values
Authority figures also show the norms and value of a society. In Treasure Island by Robert Louis Stevenson, Captain Smollett represents the moral and ethical side of seafaring life by encouraging the crew to stay the course and not violently oppressing those around him (unlike Long John Silver).
Encourage Character Development
Authority Figures challenge the hero of a novel to grow and change. For instance, in A Connecticut Yankee in King Arthur’s Court, Hank Morgan is pushed to change his views of the society by those around him, after seeing the desperate way in which the church uses its authority to manipulate and oppress the people of Britain.
Illuminates Power
Authority figures also reveal the complexities of power. In referring back to A Connecticut Yankee, we find Hank Morgan challenged multiple times to change his use of authority to avoid disaster; ultimately, it leads to the complete destruction of his empire when he quarrels with the Church.
What makes them tick
Authority figures in literature often have multiple motivations for why they seek power over other individuals. Some of these reasons include:
Desire for Control
Authority figures need to maintain control over their environment and their people. In George Orwell’s Animal Farm, the pig antagonist Napoleon uses revisionism in order to bring the animals in line with his goals; likewise, he urges the animals to fight for the good of the farm even though it has more to do with his wants and gains. Similarly, in Orwell’s 1984, Big Brother attempts to control every aspect of a person’s life by manipulating their history, news, and environment.
Sense of Duty/Responsibility
Authority figures also appeal to their own sense of duty and responsibility when it comes to maintaining order. While seemingly more benevolent, this can be seen in many of the characters and cities in J.R.R. Tolkien’s Lord of the Rings saga, from Gondor to Rohan. Additionally, one could argue that the evil dragon Smaug, who guards a horde of gold, does so out of a sense of duty and responsibility to himself (due to his lust for treasure).
Ambition and Greed
Authority figures also have a selfish sense of their own power. As such, they are driven by their own purpose and their own greed. A desire for more power definitely drives many authority figures. The Wizard from The Wizard of Oz admits that he kept up the ruse about being a wizard (when he was in fact not a wizard) in order to dupe the citizens of the Emerald City. Additionally, greed drives many characters in positions of authority. Greed also drives characters of authority. Ebenezer Scrooge, for instance, has a great deal of control over people’s loans, and uses that power in order to extort and threaten those who cannot pay.
Insecurity and Fear
Authority figures are also rife in insecurity and fear, thus their power comes from their very limited self worth. Severus Snape in the Harry Potter franchise is an insecure and fearful man due to his history with Harry’s father, James, and Harry’s godfather, Sirius Black, thus he uses his authority to punish and hurt Harry while he is at Hogwarts.
Conclusion
There are many reasons why authority figures appear in novels, and there are many reasons for why they act the way that they do in the context of a story. I think if we keep these reasons and attributes in mind, we can better analyze authority figures in novels. Moreover, understanding the motivations of fictional characters can help us see the exact same motivations in the real world. For instance, ambition, greed, and a lust for power is perfectly evident in our culture, from the business world to the political realm, and with such insight from our own knowledge, we can better judge and asses these actors in our world, which may govern our overall reactions to ethical and unethical conduct.
In this post, we are going to discuss imagery and figurative language and how to use it in your own writing. The point of this post is to create a dynamic approach to describing characters, scenery, and what have you in order to draw your readers into your writing.
Imagery, figurative language, and senses in writing
Blink, and you’ll miss it. The images flash in your mind, and you can see the stars, a forest, or a sunset on a beautiful evening. The sounds come alive too. You can hear the crickets or the droplets of water falling onto a steel bucket near the shed after a recent rain. The smells of fresh rain and leaves waft through your nose, and you can feel the autumn chill on your skin. It’s time to put on a warm, wool sweater.
Imagery is at its best in writing, especially when executed perfectly. Today on the blog, we are going to define imagery, explore how to use it, and understand why it is an important component of writing.
Defining Imagery
Imagery is a blend of various elements, encompassing the types of language we employ and how we employ it. Some sources define imagery as language designed to be vivid and to engage a reader’s senses. According to Del Mar College, “In literature, imagery refers to words that trigger the reader to recall images or mental pictures, engaging one of the five senses… Imagery is one of the most powerful literary techniques because it connects with the reader’s personal experiences or memories.” Therefore, imagery can be described as the “mental images” conjured in a reader’s mind while they read.
Using Imagery in Writing
As writers, we often use language that appeals to sight, hearing, smell, touch, or taste to make an event or scene more tangible to the reader. This is referred to as using sensory language. In the introduction, I attempted to describe a scene that is familiar to most people without overdoing it. We can see, hear, and smell that scene with minimal effort.
In this approach, we must “show” rather than “tell,” which means we should describe an experience instead of simply narrating it. For example:
He walked into a room in mid-December and grabbed a book off the old shelf before he left.
Versus
The creaky old door greeted him as he entered the acrid-smelling room. The books on the shelf had damaged bindings and moth-eaten exteriors. He noticed one book had no binding at all, and a shiver ran up his spine as the cold seemed to creep in. He hurriedly left the room, slamming the ancient door shut behind him in a plume of dust.
Another effective approach to employing imagery is by using figurative language. Similes and metaphors create vivid comparisons:
Metaphor: The trees danced in the wind.
Simile: The trees danced like the wind was their music.
In both cases, a clear picture is painted; the trees are moving in the wind. Additionally, employing onomatopoeia and hyperbole can add sound effects and exaggeration to make our writing more engaging.
Conclusion
In conclusion, when writing, we should be mindful of the mental images we are creating for our audience. Readers appreciate descriptions, but not just any descriptions—they should be accurate and purposeful. Imagery should bring us closer to conveying our message, not further away. If you feel that your descriptions are not effectively conveying your message or if they seem dull, consider implementing imagery techniques such as similes, metaphors, or sensory descriptions.
Other resources
The following resources are further links to descriptive writing in context. Each post will detail a particular facet of writing descriptively.
Archery is quite important in Howard Pyle’s The Merry Adventures of Robin Hood. It shows his deftness of character and his heroic qualities. Likewise, in Robin Hood ballads, Robin Hood uses archery to defeat villainy. It also defines him as a hero. Understanding the importance of archery in the story of Robin Hood also sheds like on Medieval England. In this post, we are going to examine some of these aspects.
Historical Context of Archery
Archery has been around since at least prehistoric times. Many early civilizations used it for hunting ang and warfare. “The bow allowed the prehistoric human to become the most efficient hunter on earth, providing him with safety, food and raw materials such as bone, sinew and hide,” states The Washington Post. In fact, if you were to examine Greek Mythology, you would find a great deal of heroes utilizing archery as a means to exact revenge and win in combat. For instance, Paris of Troy used his bow to pierce Achilles’ heal during the Trojan War.
Later, in Medieval England, English longbowmen put archery to use. It became a staple in the military forces of the time for their tremendous power. The Battle of Agincourt in 1415 is a notable conflict in which the bow prospered in combat. As such, it was important for men to practice their archery even outside of warfare to finetune their skills. Building from that, longbowmen were victorious in the Hundred Years’ War (1337-1453). This was due to their effectiveness at long range. They could also fire a large quantity of arrows in a short time (Britannica).
Archery in the story of Robin Hood
Robin Hood is known for his archery. I would wager there are very few people who don’t know about the famed archery contest in which Robin Hood splits an arrow in twain. Yet, using the bow shows Robin as not just a common cutthroat outlaw, but a man of honor and heroism, which allows him to challenge authority because his skill is so mighty.
Archery in the Narrative
Additionally, we might consider why there are so many archery contests throughout the story. As such, Robin and his merry men practice archery for warfare. Thus, as it relates to Robin Hood’s own morality, archery is a discipline that requires astute dedication and focus, which shows Robin as more than a mortal man–a genuine hero.
Here, Robin wins the competition against his murderous aggressor in Chapter One: “Then Robin took his good yew bow in his hand, and placing the tip at his instep, he strung it right deftly; then he nocked a broad clothyard arrow and, raising the bow, drew the gray goose feather to his ear; the next moment the bowstring rang and the arrow sped down the glade as a sparrowhawk skims in a northern wind. High leaped the noblest hart of all the herd, only to fall dead, reddening the green path with his heart’s blood.” This quote shows that Robin is a articulate archer, capable of great feats of finesse and dexterity.
Symbolism
Nevertheless, the bow represents combat and one’s skill with it shows that they aren’t playing around. The Sheriff of Nottingham is corrupt and uncaring. Regardless of Robin Hood’s crime, the Sheriff is hunting him because the slain man was kin; thus, he will show no remorse and will act outside of justice. I wouldn’t call that fair in judiciary terms, especially since Robin Hood was defending himself and was not the attacker. Robin Hood having great skill with the bow shows that he is more than capable of taking justice into his own hands and defending not only his own honor but the honor of those around him.
Works Cited
Editors. “Archery.” Britannica. July 1, 2024. Web.
“History of Archery and the NAA.” The Washington Post. 1996 US Olympic Archery Team fact Book. September, 1995.
“Robin thought on Our Lady deere, and soone leapt up againe, And thus he came with an awkwarde stroke; Good Sir Guy hee has slayne.” — “Robin Hood and Guy of Gisborne”
Robin Hood goes on many adventure in the early ballads of the medieval period. Typically, he sets out with a companion and they run into trouble. Afterward, Robin invites the person to join his troupe, and off they go into the wild. But, the ballad “Robin Hood and Guy of Gisborne” is a little different. And it is definitely one of the most bloody. In it, Robin Hood confronts a most dastardly villain who is out for his head!
Background
The ballad is a part of the Percy collection of Robin Hood tales, and features Guy of Gisborne, who is a notorious villain of Robin Hood’s, along with the Sheriff of Nottingham. It is an older ballad, surviving in a single seventeenth century copy, with a similar play dating back to 1475; and, it is “the only one of the six Robin Hood ballads in the manuscript that Percy printed in his Reliques of 1765″ (Knight). It is oft cited as it is quite popular.
Summary
Quarreling with Little John
The ballad begins with Robin Hood waking and feeling out of sorts–a dark wind is on the horizon. Robin Hood leaves his companions behind as to not disturb them, venturing only with Little John. Yet, after scouting the forest, he encounters a man dressed in horse hide who also has the head of a horse as his hood. As it turns out, he is a bounty hunter (mercenary) by the name of Guy of Gisborne, sent to captures Robin Hood.
As the ballad tells us, “There were the ware of wight yeoman, / His body leaned to a tree. / A sword and a dagger he wore by his side, / Had beene many a mans bane, / And he was cladd in his capull-hyde, / Topp, and tayle, and mayne.”
Little John and Robin Hood agree to go their separate ways. “But often words they breeden bale, / That parted Robin and Iohn; / Iohn is gone to Barnsdale, / The gates he knowes eche one,” states the ballad.
Guy of Gisborne
Afterward, Robin runs into Guy of Gisborne out in the woods. The two men converse but quickly come to know one another as enemies. Then, they begin a contest of archery and swordsmanship. Nonetheless, their skills are matched, and they are at a standstill. The only thing left to do is fight to the death.
They begin to duel, and though it is an arduous fight, Robin eventually defeats Guy of Gisborne. Robin then uses the bounty hunter’s outfit and takes his weapons, leaving his mutilated corpse for anybody who comes across it in the wilds.
Rescuing Little John
Returning to his companions, he finds that Little John has been taken captive by the Sheriff of Nottingham and so ventures to the man, using his disguise to trick the Sheriff into believing that Robin is dead (he also shows him Guy of Gisborne’s decapitated head). After being rewarded, Robin frees Little John. The two men battle the Sheriff’s men and make their escape back to Sherwood Forest.
The text ends with these four lines: “But he cold neither soe fast goe, / Nor away soe fast runn, / But Litle Iohn, with an arrow broade, / Did cleue his heart in twinn.”
Conclusion
The ballad “Robin Hood and Guy of Gisborne” shares similarities with “Robin Hood and the Monk” (last week’s reading) as it separates Robin from Little John and “leaves them both vulnerable.” Additionally, the story is a swift one, moving quickly through an abcb and abab rhyme pattern and a “consistent metrical pattern,” and that propels the action and keeps pace riveting “which is the central instrument of this fierce and powerful ballad” (Knight).
Such frenzied storytelling is very much in line with Howard Pyle’s own writing in The Merry Adventures of Robin Hood. I believe this to be a good thing for both readers and writers, as action takes precedent in the text, which lends itself to the violence and explosiveness present in the story. In this way, folklore is living through movement and adroit writing, and that keeps the ballad relevant for modern readers.
Retelling a folktale always seems to change it a bit. As such, when writing a complex story, sometimes a retelling can be a disaster. Sometimes, though, you can create a much-lauded piece of work. Robin Hood, for instance, has many retellings, and some of them work and some of them do not. In this post, we are going to examine The Outlaws of Sherwood by Robin McKinley. We will see how a retelling helped shape the Robin Hood mythos.
Summary
McKinley’s The Outlaws of Sherwood starts much in the same way that Howard Pyle’s The Merry Adventures of Robin Hood starts. Robin kills a man in self defense and becomes an outlaw. Continuing, many of Robin Hood’s faithful companions join him in his adventures, including some new characters, like Cecily, his sister. The dangers they face include the Sheriff of Nottingham and Guy of Gisbourne, a mercenary. After many exploits and adventures, the band pledges themselves through loyalty, honor, and fighting for the king.
McKinley’s retelling seems to depart from another author, Howard Pyle’s The Merry Adventures of Robin Hood, in a few notable ways. One of which is the overall tone. McKinley keeps the story very serious and realistic, while also using modern language, as opposed to Pyle’s ballady language. Additionally, there are many complex characters. Pyle used a folkloric prose to convey his characters. For example, Robin often doubts himself and struggles with what he must achieve and accomplish in his adventures.
Book Blurb
From Amazon: “Young Robin Longbow, subapprentice forester in the King’s Forest of Nottingham, must contend with the dislike of the Chief Forester, who bullies Robin in memory of his popular father. But Robin does not want to leave Nottingham or lose the title to his father’s small tenancy, because he is in love with a young lady named Marian – and keeps remembering that his mother too was gentry and married a common forester.
“Robin has been granted a rare holiday to go to the Nottingham Fair, where he will spend the day with his friends Much and Marian. But he is ambushed by a group of the Chief Forester’s cronies, who challenge him to an archery contest…and he accidentally kills one of them in self-defense.
“He knows his own life is forfeit. But Much and Marian convince him that perhaps his personal catastrophe is also an opportunity: an opportunity for a few stubborn Saxons to gather together in the secret heart of Sherwood Forest and strike back against the arrogance and injustice of the Norman overlords.”
Reviews
On Goodreads, the novel has 11,965 ratings and 1,001 reviews. There are 3,017 five-star reviews and 171 one-star reviews.
Five-star reviews elaborate on the love of a retelling, and its modern feel without “being obnoxious.” Moreover, reviewers said reading the novel was fun, and it was “unabashedly” a favorite.
One-star reviews wrote that they “could not get into his book.” They also felt that the style was “rather wooden and the characters don’t work too well.” Furthermore, some reviewers said they “couldn’t finish it,” and felt the writing style was extremely “longwinded.”
Works Cited
McKinley, Robin. The Outlaws of Sherwood. Oct. 4, 2005, Penguin Publishing Group.
There is an old RPG for PC that came out in 1998 calledBaldur’s Gate II: Shadows of Amn. It’s an excellent game with great storytelling and atmosphere. It also has one of the best villains of all time: Jon Irenicus. Irenicus is a powerful wizard and hails from Suldanessellar, an elven city. However, after he is cast out of the city by Queen Ellesime for attempting to use their Tree of Life to become a god, he attempts to use a Bhaalspawn in order to harness their divine blood. In viewing Irenicus, we can see how to make a memorable villain.
Irenicus is truly dastardly, plotting, and always a step ahead of the players, as his contemplative actions are intelligent and logical. Even as a player, you have to respect the guy, regardless of his maniacal plans.
So, what makes a memorable villain? It certainly has to do with intellect, but also with a villain’s logical motivations. But, there’s always something more that makes us truly hate a bad guy. So, let us take a look at a few examples. Then, we can see how to make our own memorable villain.
Memorable Villains from Literature
1 . Anton Chigurh from No Country for Old Men
I have discussed this book in detail here, but No Country for Old Men is a cornerstone read for most people. Its antagonist, Anton Chigurh, is an unrelenting monster of a man who uses his morality (chance and the flip of a coin) to dole out the inescapable flight from death (until it doesn’t work out in his favor). What makes him a memorable villain? In the end, he’s kind of right about people trying to escape themselves and win. Lewellyn Moss and Sheriff Ed Tom Bell (protagonists of a like in the novel) ultimately fail and Chigurh comes out the winner (sort of).
As McCarthy writes: “The man stepped away from the vehicle. Chigurh could see the doubt come into his eyes at this bloodstained figure before him but it came too late. He placed his hand on the man’s head like a faith healer. The pneumatic hiss and click of the plunger sounded like a door closing. The man slid soundlessly to the ground, a round hole in his forehead from which the blood bubbled and ran down into his eyes carrying with it his slowly uncoupling world visible to see. Chigurh wiped his hand with his handkerchief.”
2. Professor Moriartyfrom Sherlock Holmes
Sherlock Holmes is a genius detective whose extreme intelligence allows him to solve even the most dumbfounding cases. However, he would not be nearly as interesting if it weren’t for a great villain to match wits with time and time again. In other words, it gets to be kind of a bore when Holmes is capable of solving all crime like an Agatha Christie novel, as he often pops out of nowhere to give the reader the rundown of who, what, when, where, and why.
Nevertheless, Professor Moriarty is a memorable villain because he is Holmes’s equal in every way. He has the ability to outwit him and get away with crimes (often times intimidating Holmes). He is also a crime lord who has his hands dipped in many different pies, including as a criminal consult. Such widespread control in a city forces Holmes and Watson to flee where the detective confronts the man in a final one-on-one duel to the death.
As Moriarty states in the short story “The Final Problem”: “It seems a pity, but I have done what I could. I know every move of your game. You can do nothing before Monday. It has been a duel between you and me, Mr. Holmes. You hope to place me in the dock. I tell you that I will never stand in the dock. You hope to beat me. I tell you that you will never beat me. If you are clever enough to bring destruction upon me, rest assured that I shall do as much to you.”
3. Mr. Hyde from The Strange Case of Dr. Jekyll and Mr. Hyde
Mr. Hyde from The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson is the antithesis of Dr. Jekyll. He is the abomination–the id–who is altogether frightful and callous. A truly insidious creature, Mr. Hyde is capable of great feats of malevolence, such as when he bowls over a child on the street and stampedes them with his own feet. He is a memorable villain if there ever was one.
As Stevenson writes: “Well, sir, the two ran into one another naturally enough at the corner; and then came the horrible part of the thing; for the man trampled calmly over the child’s body and left her screaming on the ground. It sounds nothing to hear, but it was hellish to see. It wasn’t like a man; it was like some damned Juggernaut.”
Mr. Hyde is an excellent villain because he is purely evil. He is selfish, greedy, violent, and crass. He is also Mr. Jekyll, who is none of those things. As such, we the reader have to contend with the good person inside of him (literally), and thus have a point of contention when it comes to deciphering his character. That is to say, he’s not all bad, just outwardly so in all of his actions.
4. Randall Flagg from The Stand
Randall Flagg is the big evil in Stephen King’s universe (along with The King in Yellow). He is both charming and vile, intelligent and rapacious, and he also has many powers that allow him to pursue his desires. In Stephen King’s The Stand, he is doom–seeking the end of the world to fulfill his destiny as king of destruction. Meanwhile, in The Dark Tower series, he is the protagonist Roland Deschain’s archnemesis, trying to outdo him at every turn.
Additionally, in The Stand, Randall Flagg is described as such: “He looks like anybody you see on the street. But when he grins, birds fall dead off telephone lines. When he looks at you a certain way, your prostate goes bad and your urine burns. The grass yellows up and dies where he spits. He’s always outside. He came out of time. He doesn’t know himself.”
What makes him a great villain? He is beyond capable and conniving, and he is quite a character–one moment funny and insightful while the next moment violent and beastly. The contrast allows the reader to see a great deal of depth in his character and personality. Yes, he outwits people all the time, but his frenzy and lust for many things get the better of him.
5. Long John Silverfrom Treasure Island
In Robert Louis Stevenson’s Treasure Island, Long John Silver is more than just a pirate I wrote about him and his travels extensively in multiple posts. He is a capable man who is vested in finding treasure through his use of manipulation tactics, charisma, and intelligence. He is drawn exceptionally well in Stevenson’s story, and you can appreciate him by the end of the novel, even though he is a murderous cutthroat.
By N.C. Wyeth
As he is described in the novel: “Aboard ship he carried his crutch by a lanyard round his neck, to have both hands as free as possible. It was something to see him wedge the foot of the crutch against a bulkhead, and propped against it, yielding to every movement of the ship, get on with his cooking like someone safe ashore. Still more strange was it to see him in the heaviest of weather cross the deck. He had a line or two rigged up to help him across the widest spaces—Long John’s earrings, they were called; and he would hand himself from one place to another, now using the crutch, now trailing it alongside by the lanyard, as quickly as another man could walk.”
In such a description, we can see why he is such a great villain. He is determined regardless of what stands in his way. He has lost a leg, and yet he carries himself across the deck of a ship through intelligence and ingenuity. It is actually what makes him a good captain and a good leader. He gets the job done no matter what. That’s both exciting and frightening, as it tells Jim Hawkins exactly how far he will go to get what belongs to him.
Crafting Villains of Your Own
So let us answer the question: how to do we make a memorable villain? From what we have gathered, there are a variety of ways to make a villain in your story compelling.
Make them dynamic: True villains should be good and bad. They should have many traits, such as intelligence and cruelty. They should also put these traits to use like the aforementioned Long John Silver. After all, he is both smart and cruel.
They should have motivations: What is the villain’s goal? Randall Flagg wants to destroy the world and be its ruler in The Stand (from my best estimation). That drives him from scene to scene with no question asked.
They should have morality: Even villains have their own sense of right and wrong. Both Anton Chigurh and Dr. Jekyll have a moral compass. They know what is right and wrong, but they live by their own code. Chigurh is one of fate. Dr. Jekyll is one of science. These moralities guide their interactions and responses.
They should be plotting: We shouldn’t be bored by a villain. Truly interesting villains are engaging and have interesting backstories. Professor Moriarty acts as Sherlock Holmes’ nemesis and we never have to wonder how that’s the case. He proves it through malice and manipulation.
Conclusion
After taking stock of five different characters, a variety of qualities come up. Anton Chigurh’s unrelenting moralism and behavior is one thing. That is, villains need to believe in something to be menacing. Moreover, villains should be intelligent and use that intelligence for their own gain, like Moriarty.
Additionally, their capability for violence should be high; and how they engage with sin, such as the case with Mr. Hyde. Likewise, they should have a duality about them–they should be capable of humor and destruction, sanity and madness, just like Randall Flag. Lastly, in Long John Silver’s case, villains should be human (at least in characteristics), and should be capable individuals who have clearly fought for their position.
Certainly, you could add countless other characteristics to villains; but here, we have legendary villains with common qualities capable of great harm to the world and those around them.
Books and poems have an amazing way of transforming our lives. A simple line can convince us to change our fate. As such, everybody has a book, an author, or a story that pushed them into the literary world. The following shortlist is a collection of the books, stories, and poems that represent 7 life-changing writings and poems from famous authors.
What is there not to say about this poem as it relates to life-changing verse? It’s exceptionally relatable (maybe more so for writers), as it tells the tale of a late-evening stroll through town. “I had for my winter evening walk — / No one at all with whom to talk,” Frost states. And while this sounds forlorn, you can’t help but wonder if the author wants it this way. “And I thought I had the folk within: / I had the sound of a violin;” he continues, but then surmises: “I turned and repented, but coming back / I saw no window but that was black.”
Certainly, there is a feeling about wanting to be alone. Yet, the reality of actually experiencing it when it happens is much darker. There is also sadness in that feeling. Nevertheless, I would say this is a piece of life-changing writing. In the end, it makes you think about craving loneliness only to want to repent once it is upon you.
“1292” by Emily Dickinson
Also known as “In this short life that only lasts an hour,” Dickinson’s poem is brief; just two short lines:
“In this short Life that only lasts an hour How much – how little – is within our power“
It’s a truly resonant poem, and reminds us that life is both fleeting and out of our grasp. It’s actually quite comforting in that you sidestep the nihilism inherent in the oftentimes existential questions and topics that Dickinson both writes about and poses. But with it comes the knowledge that Dickinson is both brilliant and exacting in her meaning. That’s why I consider this life-changing writing.
“Jet” by Tony Hoagland
There are many moments that feel singularly yours when you are growing up. Sometimes it’s a moment in time, or it’s an entire year. When I think about growing up and being a young man, I think about hanging out with my brothers and drinking cheap beer at our parent’s house in the middle of a farm town.
Upon reflecting on those days, I suffer from heartache. This is mostly due to the loss of innocence and love. It is also due to the realization that I can never go back to a time when I felt a sort of happiness I would never feel again. Tony Hoagland’s poem “Jet” is a perfect example of putting shared experience in verse and capturing not one moment, but many. It is apart of the quintessential life-changing writings by making us think about the lives we once had.
Hoagland writes:
“… We gaze into the night as if remembering the bright unbroken planet we once came from, to which we will never be permitted to return. We are amazed how hurt we are. We would give anything for what we have.”
Something Wicked this Way Comes by Ray Bradbury
An instant classic, Ray Bradbury’s Something Wicked This Way comes popped years ago on a dark fall night. Bradbury’s tale about the things we want in life is an atmospheric, brooding story of losing one’s youth while also remembering what it’s like to be young (or forgetting that you ever were).
The carnival that rolls into town and scares the bejesus out of our heroes is frightening as all get out. There are also thrilling moments that simply can’t be forgotten, from carousel rides to strange weather vane salesmen. Meanwhile, the characters in the book are wonderful, and the setting smacks of fall. Every time I pick it off the shelf, I can smell aging leaves and early-morning cold. And, I’m not going to lie, that’s a great feeling.
“A Good Man is Hard to Find” by Flannery O’Connor
There is one story that I can point to that rocked my literary world after I first read it, and Flannery O’Connor’s “A Good Man is Hard to Find” is that story. I remember reading it for a literature course in college. I immediately read the analysis section afterward. The author for that edition pointed out that O’Connor’s story had layers and could be interpreted in many ways.
One way to read it, the way in which I stand by to this day, is that it’s a story about the difference between espousing morality and actually living by it. The dichotomy of grandma and The Misfit spans lightyears, but the realization that The Misfit actually lives by what he says, thus making him more moral, is truly unsettling. In the end, grandma found her good man, but she didn’t really understand the definition.
“Lady,’ The Misfit said, looking beyond her far into the wood, ‘there never was a body that give the undertaker a tip.”
Slaughterhouse Five by Kurt Vonnegut
Kurt Vonnegut’s Slaughterhouse Five was one of my first difficult reads in that it challenged my notions of structure and development. I came to learn that I truly love post-modern literature; but, above all, I really just love the story and Vonnegut’s style and voice. I can hear him in my head as I read–his writing voice is that strong–and both his dry humor and sardonic nature really push the plot forward for me. Slaughterhouse Five is a great story that was relevant when it was written, and I would argue that its themes of death and irrelevance are relevant even now.
As a companion to a collection of life-changing writings, Vonnegut’s book does wonder for showing us the vile and beautiful faces of humanity. Vonnegut writes: “Somewhere in there was Christmas. Billy Pilgrim nestled like a spoon with the hobo on Christmas night, and he fell asleep, and he traveled in time to 1967 again-to the night he was kidnapped by a flying saucer from Tralfamadore.”
The Road by Cormac McCarthy
Cormac McCarthy’s The Road was another challenging read for me, but once I got used to the language, I fell in love, and the book made me cry when I finished it. It’s a story about a man and his son traveling through a wasteland hellscape to head south to warmer climate. Along the way, they run into cannibals, nearly starve to death on multiple occasions, and do their best to “carry the fire” for another day.
McCarthy wisely decided to keep details sparce in the story and the language reflects that stylistic choice. I am a fan of moody books because I can be a moody guy (ask my wife), but there is something cathartic about interpreting loss and conviction in characters and plot that I am always attracted to, which I think is probably important in most people’s reading lives and I think it’s also important to face those traumas—even if they are fictitious.
That’s why I consider it one of the life-changing writings that impacted my life.
In the story, McCarthy writes: “He walked out in the gray light and stood and he saw for a brief moment the absolute truth of the world. The cold relentless circling of the intestate earth. Darkness implacable. The blind dogs of the sun in their running. The crushing black vacuum of the universe. And somewhere two hunted animals trembling like ground-foxes in their cover. Borrowed time and borrowed world and borrowed eyes with which to sorrow it.”
Conclusion
Life-changing writing comes in many forms. In this post, we examined books and poems that have an influential sway over me. Yet, I think each of these writings has something in their core. And that thing is heart. It is a passion for life and craving for love. They speak volumes to those of us who would listen.
Developing characters can be tricky business. You really have the choice between setting up static or dynamic characters. That is to say, characters that change and characters that do not. How do you go about this? Well, there are many ways to increase character development. In this post, we are going to look at how characters have developed in a piece of example media. Then, we are going to look at four ways to increase character development.
Character Development in the Merry Adventures of Robin Hood
In Howard Pyle’s The Merry Adventures of Robin Hood, there is a great deal of character development from multiple characters. Why choose this book? Because Robin Hood is a well-known hero, and he is a dynamic character. As are his merry men.
To start, Robin himself changed from simple woodsmen to hero of Sherwood Forest. At the start of the book and his legend, he killed a man in self-defense and fled as an outlaw. Fundamentally, he changed from an onlooker to an active participant in freeing his fellow citizens. He was the hero of the day for saving them from the tyranny of the Nottingham.
Moreover, Little John, Robin’s companion, showed himself to be more than just a big, talented thug. He attends Nottingham Fair to infiltrate the Sheriff’s quarters. Inside, he gains more information for Robin, which shows that he has a tactician’s mind. Furthermore, in his fight with Arthur-a-Bland, Little John has compassion for even those he quarrels with in combat. Afterward, he welcomes the man to the fold of the merry men.
Other characters in the novel and lore, like Arthur, Midge, and Will, all have a change in character once confronted by Robin Hood or Little John. As mentioned, Arthur changes his mind about battling and becomes an ally of the merry men. Midge is initially resistant and defensive when it comes to protecting his goods. He softens when he confronts a noble cause; this shows his development as a good and noble person. Likewise, Will Scarlett first fights with Robin, but then drops his violent charade. He does this in order to show that he is of both relation to Robin and a friend. In this way, he demonstrates his developing honor and sense of loyalty.
Tip and Tricks
In previous posts, we discussed coming-of-age stories. These stories show heroes’ growth; also, how characters become fuller through conflict. As such, we must consider that our characters develop throughout a text due to their engagements with other parties. This includes actual people or just events. All of which increase character development.
So, there are many ways to make your characters more realized:
Show growth over time:
Character development doesn’t happen overnight. You may need to show your character coming to a realization over time. For example, much like Jim Hawkins from Treasure Island, who reflects on his adventure at the end of the novel.
Show Development as Growth
Characters learn new skills, are given new opportunities, and are enabled to do extraordinary things in stories. At your character’s core, they are the same person, but growth should show small evolutions in character. For example, once tricked, they won’t be tricked again; they lie once, but immediately regret it, so they won’t lie again; they trusted somebody completely but were let down time and time again, therefore they refuse to trust that person again.
Conflict Makes Characters Stronger
The evil stepmother, the peremptory government, the vicious monster, the undying machine; all of these are conflict-driven villains that changed the characters they were out to harm. Cinderella was beaten down by her mother but found the courage (and the magic) to strive for a more enriching life (literally); Winston from 1984 went from idealist to beaten-down cog in the wheel of Big Brother (sadly); Sheriff Brody took on the duty of killing the tireless shark in Jaws and became a hero (triumphantly); and Sarah Connor became a warrior against the terminator in Terminator (violently).
Characters Change Beliefs
Characters–good characters–are not static (though your side characters can be), so they change when confronted with new information or new problems. If your character believes in the tenants of their government, but suddenly one day are show the reality of their existence (ala The Giver by Louis Lowery), then they are bound to develop and become different people.
Conclusion
We have seen many ways in which characters have developed in The Merry Adventures of Robin Hood. Many of them have shown growth through interaction, which demonstrates their loyalties and dedication to bravery and honor. Additionally, we see Robin’s development as a leader and somebody who is not just bent on leading time and time again. Rather, he allows other members of the merry men to engage in dangerous exploits (Little John and the Sheriff of Nottingham).
Finally, through understanding that characters develop for many reasons (conflict, justice, beliefs, etc.) we can see that they have many avenues to becoming more believable and exciting. In other words, characters engage in a coming-of-age story but also fall into a dangerous plot (The Hunger Games by Suzanne Collins). Likewise, characters’ beliefs can change for the worse while they battle and oppressive force (1984 by George Orwell).
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