#46: How to Give an Objectionable Perspective to a Protagonist

November 24, 2021/0 Comments/in Jane Austen Writing Lessons /by Katherine Cowley

Often, objectionable opinions—ones the author strongly disagrees with—are assigned to antagonists: if the perspective belongs to an antagonist, it is easy to represent it without condoning it.

Yet our protagonists should not be perfect people—they need flaws and weaknesses, and sometimes even objectionable perspectives that actively cause harm to others.

An example of this is Emma, the title character and protagonist of Jane Austen’s novel Emma. She is the protagonist, and while at times the narrator makes commentary on her, the narrative voice generally leans into her perspective.

Emma is clever, handsome, and rich. She has a dominant, influential position in her society. She also holds objectionable viewpoints on who has value; she believes her perspective is always superior to that of anyone else; she is judgmental, classist, and self-centered.

Emma opening the carriage window (from Emma 2020)

So how do you give an objectionable perspective to a protagonist?

1. Understand your character’s views and the reasons for their views and behaviors

In last week’s lesson, we discussed the importance of understanding your character’s views, even—and especially—when you disagree with them. This is also essential when a protagonist holds objectionable perspectives, and when these objectionable perspectives lead to negative behaviors.

After giving a little background on Emma’s character and situation, the narrator helps us understand the reasons for Emma’s perspectives:

The real evils, indeed, of Emma’s situation were the power of having rather too much her own way, and a disposition to think a little too well of herself; these were the disadvantages which threatened alloy to her many enjoyments. The danger, however, was at present so unperceived, that they did not by any means rank as misfortunes with her.

This does not necessarily absolve Emma of her approach, but it does help us understand her.

2. Craft an unreliable narrator

An unreliable narrator is one who cannot give us a full perspective—or chooses not to. When using a close third person point of view (as much of Emma does), or when writing in first person, readers are given the story through a character’s lens. No character can see the big picture—every character is limited by their experiences, their knowledge, and their interactions with other. If the character has an objectionable perspective, this can make them even more unreliable: everything they see or experience will be filtered through that perspective and their understanding of the world.

This happens constantly in the novel Emma. Emma has disliked (and been jealous of) Jane Fairfax since childhood. When Jane Fairfax returns to Highbury, Emma is forced to renew their acquaintance. In the following passage, we can see her making judgments on Jane—both positive and negative. We can also see her coming to conclusions about Jane being in love with Mr. Dixon, who happens to be the husband of Jane’s best friend. The evidence provided throughout the novel supports that conclusion—because it is filtered through Emma’s perspective. Yet Emma is completely wrong in this judgment, and this interpretation of events is used by Emma to cause harm to Jane later. Here’s a passage describing part of Emma and Jane’s first visit after Jane’s return:

In short, [Emma] sat, during the first visit, looking at Jane Fairfax with twofold complacency; the sense of pleasure and the sense of rendering justice, and was determining that she would dislike her no longer. When she took in her history, indeed, her situation, as well as her beauty; when she considered what all this elegance was destined to, what she was going to sink from, how she was going to live, it seemed impossible to feel any thing but compassion and respect; especially, if to every well-known particular entitling her to interest, were added the highly probable circumstance of an attachment to Mr. Dixon, which she had so naturally started to herself. In that case, nothing could be more pitiable or more honourable than the sacrifices she had resolved on. Emma was very willing now to acquit her of having seduced Mr. Dixon’s actions from his wife, or of any thing mischievous which her imagination had suggested at first. If it were love, it might be simple, single, successless love on her side alone. She might have been unconsciously sucking in the sad poison, while a sharer of his conversation with her friend….

An unreliable narrator is powerful because it invites us to embrace the perspectives—we cannot help doing it, at least to an extent—and yet we gradually realize, as we read, that the narrator is unreliable, which can lead us question the validity of their perspectives.

Gif of Emma looking at the audience from the 2020 film

3. Incorporate a voice that disagrees

If a character has an objectionable perspective, there should always be another character that disagrees with them. Sometimes this disagreeing character takes on the perspective of the author; at other times, this disagreeing character provides other viewpoints which may not represent the author’s perspective, yet still oppose that of the main character.

No matter what time period, no matter what group of people, in real life there has always been someone who has disagreed with objectionable perspectives, even when those perspectives seem almost universal.

In the novel Emma, because Emma is in a place of power and privilege in her community, almost no one will voice any opposition to her. This includes people that could or should oppose some of her viewpoints or behaviors, people like Emma’s father, or her former governess, who did not voice disagreement or objection even when acting as a governess.

Yet despite Emma’s power, there is still a character willing to criticize Emma and point out the flaws in her perspective: Mr. Knightley.

After Emma convinces Harriet to turn down Mr. Martin’s proposal, Emma has a discussion with Mr. Knightley.

Mr. Knightley confides in Emma that Harriet may soon be receiving an offer of marriage, and Emma explains that the offer has already happened, and that Harriet declined via a letter.

Mr. Knightley is shocked:

“You saw her answer!—you wrote her answer too. Emma, this is your doing. You persuaded her to refuse him.”

“And if I did, (which, however, I am far from allowing) I should not feel that I had done wrong. Mr. Martin is a very respectable young man, but I cannot admit him to be Harriet’s equal; and am rather surprized indeed that he should have ventured to address her. By your account, he does seem to have had some scruples. It is a pity that they were ever got over.”

“Not Harriet’s equal!” exclaimed Mr. Knightley loudly and warmly; and with calmer asperity, added, a few moments afterwards, “No, he is not her equal indeed, for he is as much her superior in sense as in situation. Emma, your infatuation about that girl blinds you.”

Mr. Knightley then continues with another 298 words of criticism. Emma presents counterarguments and Mr. Knightley returns in kind.

Emma is not convinced by Mr. Knightley’s arguments—she does not really listen to them, and it does not change her perspective or behavior. Yet despite that, it is a key part of Mr. Knightley’s character to oppose her, and it is essential for Emma to know that her perspective is not universally shared and that others may see it as flawed.

Having an alternative perspective invites the reader to see the flaws in the objectionable perspective. It also sets up the main character for either growth or tragedy.

Emma and Mr. Knightley arguing in Emma 2020

Emma and Mr. Knightley arguing in the 2020 film Emma.

4. Create an opportunity for growth or tragedy

Giving a character an objectionable perspective for growth or change—if the character realizes the problems with their perspective, they have the possibility for a powerful character arc as they transform and become someone better.

If they choose not to transform, then it opens the door for tragedy, in which the readers and the character experience the consequences of not changing.

Throughout the novel, Emma hurts many characters including Mr. Martin, Mr. Elton, Jane Fairfax, Harriet Smith, and Miss Bates. It is when she insults and hurts Mrs. Bates at Box Hill that she begins to feel guilt for her behavior (and Mr. Knightley criticizes Emma’s behavior, not allowing her to brush it off).

The next chapter begins:

The wretchedness of a scheme to Box Hill was in Emma’s thoughts all the evening. How it might be considered by the rest of the party, she could not tell. They, in their different homes, and their different ways, might be looking back on it with pleasure; but in her view it was a morning more completely misspent, more totally bare of rational satisfaction at the time, and more to be abhorred in recollection, than any she had ever passed.

At this point, Emma could continue to act as she has—assuming her perspective is superior and justifying her actions. Yet instead, she goes to visit Miss Bates, and for once she is truly interested in Miss Bates’ conversation and appreciative of Miss Bates’ virtues.

There is still regression for Emma—still opportunities when her harmful perspectives come into play and she risks a tragic ending—but ultimately she begins to transform and heal some of the damage she has done.

Endowing Emma with objectionable perspectives gave her great opportunities throughout the novel. By the end, she’s still a bit classist, still overconfident at times, but some of her core problematic perspectives have shifted.

Note: There are characters who do not grow, and yet do not suffer tragedy, such as Jane Austen’s title character in Lady Susan.

Conclusion

Giving a protagonist an objectionable perspective can be a powerful tool, and you can give them this perspective without condoning it.

In the next lesson I’ll discuss how characters justify their behavior, especially when it’s negative behavior.

Writing Exercises - Jane Austen Writing Lessons

Exercise 1: Write a scene from the perspective of an unreliable narrator, where their viewpoint taints or colors their interpretation of the world around them. Give one or two clues to the reader that this perspective may be unreliable.

Exercise 2: Make a list of characters or protagonists you like (from any storytelling medium) and their viewpoints or perspectives that you disagree with. Consider why you like these characters despite disagreeing with them.

Book unboxing in the snow - The True Confessions of a London Spy

Book Unboxing Video for The True Confessions of a London Spy

November 17, 2021/0 Comments/in Secret Life of Miss Mary Bennet /by Katherine Cowley

I have a confession to make.

I love snow.

Not the “it’s March and it’s been snowing non-stop for five months and my car just slid off the road” snow. But in general, I love snow. Watching it fall, bundling up and walking through a snow-filled forest, making snow angels with my kids, drinking hot cocoa next to a fire with snow falling outside the window.

Mary Bennet doesn’t necessarily feel so positively about snow. In January and February of 1814 London received feet of snow (at one point, there were mounds of snow five feet high). It got so cold that the Thames River froze over and an ice fair was held on it. Which all is part of my book The True Confessions of a London Spy.

My advance copies of The True Confessions of a London Spy arrived, so I just had to unbox them in the snow.

The weather is practically a character in the book. Here’s a short excerpt of the first few chapters which gives a feel for the book and a taste of the snow:

When Miss Mary Bennet agreed to become a spy for the British government, she had not realised how many dead bodies the job would entail. True, since accidentally discovering a corpse on the beach in Worthing she had not seen any additional individuals bereft of life, but now she was headed to London for her first time in an official capacity, and she already had an appointment to call upon a corpse.

The carriage windows fogged with the warmth of their breaths. Despite pressing her feet against a hot rock, Mary’s toes felt frigid. She shifted closer to Fanny, one of her fellow spies, to better share the blanket they held over themselves. The other inhabitant of the carriage, a spy named Mr. Withrow, rubbed his gloved hands together.

Snow continued to fall outside the carriage, adding to the piles already on the London streets. A man stood on a roof, pushing at the two or three feet of accumulated snow. It fell heavily onto the walk and road below, to the anger of a couple who had walked into the snow shower.

The book comes out on March 1, 2022, but it is now available for preorder–links are on the main page on my website for The True Confessions of a London Spy. Preordering helps show initial support for the book and makes sure that the publisher prints enough copies.

And now, I should get back to editing book 3 in the series, which comes out late next year.

#45: How to Write Perspectives You Don’t Agree With in Fiction (And How to Write Objectionable Perspectives)

November 10, 2021/0 Comments/in Jane Austen Writing Lessons /by Katherine Cowley

One of the powers of writing fiction is that you are able to write characters who are not like you—they can have different backgrounds, different skills, different desires, different circumstances.

But sometimes, for the purposes of plot or character or theme, you need to write fictional perspectives that you don’t agree with.

Sometimes these might be perspectives that take a different philosophy on life—in Sense and Sensibility, Mrs. Jennings attempts to pry into Elinor’s life to discover who Elinor favors, despite the subject making Elinor uncomfortable:

When Mrs. Jennings attacked [Elinor’s sister Margaret] one evening at the park, to give the name of the young man who was Elinor’s particular favourite, which had been long a matter of great curiosity to her, Margaret answered by looking at her sister, and saying, “I must not tell, may I, Elinor?”

This of course made every body laugh; and Elinor tried to laugh too. But the effort was painful. She was convinced that Margaret had fixed on a person whose name she could not bear with composure to become a standing joke with Mrs. Jennings.

Mrs. Jennings pushes and pushes until she discovers from Margaret that the name begins with F, and it makes Elinor extremely uncomfortable.

Yet there are also perspectives that Austen represents in her novels that are much more objectionable. As you write your own stories, you may need to write a character who you not only disagree with, but whose views (and resulting actions) you find reprehensible.

How do you write perspectives you don’t agree with in fiction? And how do you write objectionable perspectives?

Understand your character’s views and the reasons for their views and behaviors

In order to write a character, you must understand them. In Sense and Sensibility, Lucy Steele manipulates the protagonist, Elinor, by sharing secrets and extracting promises from her. Lucy causes Elinor much pain.

Yet she is an effective character, because Austen understand her views:

Lucy Steele is a woman grasping for a respectable place in life. The man she loved and made promises to when younger seems to be in love with someone else. If we were in her place, wouldn’t many of us want to try to do something?

When characters have objectionable perspectives on life, they often have reasons for it, things in their past and their present that have influences their views and behavior.

Their motives for these views and their behavior might be inwardly focused, like selfishness, a desire for power, or a disregard for societal mores. Their motives might be outwardly focused, such as spite, revenge, or jealousy. Their motives for these objectionable perspectives might more positive—they might think they are benefiting others by their behavior. And sometimes a character might have an objectionable viewpoint because they believe the ends justify the means or they lack the understanding and knowledge to see the negative implications of their negative viewpoints.

At the beginning of the year I wrote a post about giving antagonists redemptive qualities. In that post I discussed John Willoughby as a character in Sense and Sensibility. He makes choices that cause active harm to the protagonists, yet his motives are clear, and while some of his motives and perspectives are harmful, others are positive. In a poignant and powerful passages that is often cut from film adaptations, John Willoughby is given an entire scene in which to express his viewpoints, his regrets, and his justifications. He knows the harm he has caused, yet refuses to give up some of his objectionable perspectives. But because we see his story, we feel for him, and Elinor feels for him.

Don’t Make an Objectionable Perspective Universal

When you write a character with an objectionable perspective, don’t make that perspective universal, especially within groups or categories to which a character belongs.

As I discussed in the previous post, groups of characters should not be written as monoliths—within any group there is a range of perspectives and opinions. While a character may have a particular objectionable perspective, not everyone within their societal class, religion, race, nationality, or any other sort of group will have that perspective. It can be harmful to people within those groups if you represent an objectionable perspective as universal.

For example, some of the most objectionable perspectives on life in Sense and Sensibility are held by Fanny Dashwood and her mother, Mrs. Ferrars. Fanny is selfish and more than willing to deprive Mrs. Dashwood and her daughters of any support. Mrs. Ferrars is very classist, as she is also controlling, vindictive, and cruel. Yet one of their other family members, Edward Ferrars, is shown in a completely different light. While his choices sometimes cause Elinor pain, he does not want to cause her pain and he spends the story trying to be good and honorable to everyone.

(Note: sometimes in Austen novels, you have only one character from a group, for example, Mr. Collins is the only clergyman character in Pride and Prejudice. Yet his views are not universalized as representative of all clergymen.)

Assign the Objectionable Perspective to an Antagonist

When representing an objectionable perspective, the goal as a writer is likely not to condone that viewpoint. This is the reason why, in many novels, the truly objectionable perspectives are given to antagonists.

Because an antagonist interferes with the main character, it is often made clear that their behavior and the viewpoints that lead to this behavior are not advocated by the narrator or the writer.

Let’s consider, once again, the selfish perspective of Fanny Dashwood:

Mrs. John Dashwood did not at all approve of what her husband intended to do for his sisters. To take three thousand pounds from the fortune of their dear little boy would be impoverishing him to the most dreadful degree. She begged him to think again on the subject. How could he answer it to himself to rob his child, and his only child too, of so large a sum? And what possible claim could the Miss Dashwoods, who were related to him only by half blood, which she considered as no relationship at all, have on his generosity to so large an amount. It was very well known that no affection was ever supposed to exist between the children of any man by different marriages; and why was he to ruin himself, and their poor little Harry, by giving away all his money to his half sisters?

Through use of free indirect speech and a summary of Fanny’s arguments, we are given Fanny’s perspective, and it is an objectionable one.

Yet Austen’s narrator does not moralize or directly condemn. Austen does not take a heavy, didactic approach, which would lessen the beauty and effectiveness of her novels. Rather, she allows Fanny to show her perspective, and throughout the novel she explores the impact of this perspectives on the main characters as they are, in essence, cast out of their home.

Next Lesson: How to Give an Objectionable Perspective to a Protagonist

While it’s easier to write an objectionable perspective in an antagonist, it can be extremely effective to write an objectionable perspective in a protagonist. That will be the subject of the next lesson.

Exercise 1: Think of a modern perspective that you find objectionable. This could be something political, something social, or something you’ve read about in the news. Read several blog posts or articles from people who have this perspective. Then write a scene in which a character holds this perspective. Try to write them in a way that is fair to their motives and the reasons for their behavior.

Exercise 2: Who is your favorite villain or antagonist? Write a paragraph about the objectionable viewpoint or viewpoints that they hold, and how these are represented in the text.

Exercise 3: Analyze a draft that you have written. Do you have any characters with objectionable perspective? What is working well about the representation of this character and this perspective? How could this representation be improved? If you don’t have any objectionable perspectives, would it be useful to add one?

The Best Mystery Books on Hoopla

November 3, 2021/1 Comment/in Book Recommendations /by Katherine Cowley

I listen to a lot of audiobooks and read a lot of ebooks, and mystery is one of my favorite genres, so today I’m going to share ten of the best mystery books on Hoopla. Hoopla is my go-to for listening to audiobooks or reading ebooks—it’s free to access through many libraries across the country, and it makes it so you can listen to an audiobook or read an ebook on your phone, your tablet, or your computer.

In no particular order, here are

10 of the Best Mystery Books on Hoopla (in audiobook and/or ebook):

Part 1: Mysteries available as Audiobooks

Lives Laid Away by Stephen Mack Jones

This novel features an ex-cop living in Mexicantown in Detroit, who takes it on himself to right wrongs in his community. It’s a thrilling, pulse-racing novel, filled with action and gritty intensity.

Listen to Lives Laid Away on Hoopla

Saving Grace by Debbie Babitt

This suspense novel features the first female sheriff in a small town, and a disappearance that brings up decades-old crimes and threatens to fracture the community.

Listen to Saving Grace on Hoopla

The Secret Life of Miss Mary Bennet by Katherine Cowley

This mystery novel features Mary Bennet, the dull, plain, overlooked sister of Jane Austen’s Pride and Prejudice… but there is more in store for Mary, and when there is a murder at Castle Durrington, she becomes a spy, intent on unravelling the mystery.

(Disclaimer: I’m the author of this book. I’m including it because the narrator is an incredible British comedian who has narrated the entire works of Jane Austen, and she brings the characters and the story to life.)

Listen to The Secret Life of Miss Mary Bennet on Hoopla

When No One is Watching by Alyssa Cole

This is an intense Edgar award-winning thriller novel that gives up Hitchcock Rear Window vibes. Neighbors are moving and the neighborhood is becoming gentrified, but the reasons may be sinister…

Listen to When No One is Watching on Hoopla

The Haunting of Tram Car 015 by P Djeli Clark

The Haunting of Tram Car 015 by P. Djèlí Clark

This fantastic mystery novella is only three hours long, and is perfect if you’re in need of a short listen. It’s also perfect for those who like a little fantasy mixed in with their mystery—it features detectives in an alternate history Egypt dealing with djinn and trying to resolve a high-profile tram haunting.

Listen to The Haunting of Tram Car 015 on Hoopla

Part 2: Mysteries available as both Audiobooks and Ebooks

The Lost Apothecary by Sarah Penner

This is a compelling dual-timeline mystery, in which a modern-day woman runs to London—away from her cheating husband—and discovers a clue in the River Thames to a centuries-old mystery. It’s available in ebook and audiobook—I listened to the audiobook, and I loved the three narrators, one for each of the three main characters.

Listen to The Lost Apothecary on Hoopla

Read The Lost Apothecary on Hoopla

Mango, Mambo, and Murder by Raquel V. Reyes

Culinary mysteries hold a special place in my heart—food and murder, both things that must be shared, right? This is a Caribbean Kitchen mystery, with a dead body at a luncheon…the mystery of which must be solved by our food anthropologist heroine.

Listen to Mango, Mambo, and Murder on Hoopla

Read Mango, Mambo, and Murder on Hoopla

The Stranger Diaries by Elly Griffiths

This is a modern Gothic mystery book featuring a high school teacher, Clare Cassidy. Someone is found dead, and on the body is a line from one of Clare’s favorite Gothic stories. The boundaries between reality and fiction become blurred as Clare is drawn into the mystery.

Listen to The Stranger Diaries on Hoopla

Read The Stranger Diaries on Hoopla

The 7 and ½ Deaths of Evelyn Hardcastle by Stuart Turton

This book is Groundhog Day meets an Agatha Christie closed-door whodunnit. The investigator must relive a certain day in different bodies as he tries to discover the solution to an impossible murder.

Listen to The 7 and 1/2 Deaths of Evelyn Hardcastle on Hoopla

Read The 7 and 1/2 Deaths of Evelyn Hardcastle on Hoopla

The Cutting Season by Attica Locke

This is a gripping thriller with two interwoven mysteries—the death of a migrant worker at an antebellum plantation turned tourist attraction, and a missing slave from a hundred years before. Locke is a master storyteller, and the book has been a finalist for a number of awards.

Listen to The Cutting Season on Hoopla

Read The Cutting Season on Hoopla

The Best Mysteries on Hoopla: The Classics

You can’t talk about the best mystery books on Hoopla without addressing the classics. A number of classic mystery novels are available, including Elizabeth Peters’ Crocodile on the Sandbank, a huge number of Agatha Christie’s novels, many Sherlock Holmes stories, and the works of Edgar Allan Poe.

Do you have other favorite mystery novels on Hoopla? If so, share in the comments!

Other Mystery Audiobooks

I wrote a new post with my recommendations for full length mystery audiobooks. Some are available on Hoopla; others are available on Libby, Audible, and Libro.fm.

Archive for month: November, 2021