Beasts, Alphas, Doms, and the BDSM Line

First, I’d like to thank my anonymous reviewer for their compliment, in saying that my story was well-written. But second, I would like to address some concerns that this reviewer brought up.

For those of you who haven’t read the review, the subject is the mentality behind alphas and dominants, and what that tendency actually says about the person in question. This begs the question of whether an alpha can ever be considered a well-rounded character. Since one of my two main characters is a beast character, and he is the focal point, this tension makes up the crux of my story.

“I have always found over-the-top ‘alphas’ or ‘doms’ to be more than a little repugnant…”

Alphas and dominants certainly cater to a particular taste. The stories that revolve around them often center around the issue of control. This is because being an alpha means being at the top of the food chain, and therefore usually at the top of a societal structure. Think “natural leader” who’s got the fate of his clan or community or business in his hands. (Note that when most fantasy or paranormal readers see the word “alpha,” they typically think “werewolf pack leader.”)

Control for an alpha is a double-edged sword. On the one edge, he has to keep control of his pack—settling squabbles, administering justice, appeasing offended parties, protecting against outside forces. He’s the politician and the ranking military commander at the same time. On the other edge, he has to keep control of himself; he’s the most powerful member of his community, and he’s accountable for how he handles that power. Theoretically, he has the ability to bring down the whole pack with him. Not to mention every life he is responsible for is on his conscience.

Now, let’s move on to beasts. If you’ve snooped around Beauty and the Beast stories and TV shows, you’ve probably noticed that there are two types of beast characters that writers present: the man who is beastly on the outside, and the man who is beastly on the inside. Often beastly characters end up ugly on the outside as a reflection of being ugly on the inside (i.e., by a curse or a spell). But there are exceptions where a kindly man is unfortunate enough to end up with a repulsive appearance by no fault of his own. The woman who can see through that guise is richly rewarded—either by the amazing character of the man underneath it all, or by a more material peeling back of the ugliness to grant the heroine a physical representation of the beautiful man she knew him to be all along.

Now let’s look at my alpha beast character specifically.

My reviewer is right: Rome is incomplete, and he is damaged. His parents were murdered when he was a child, leaving him orphaned, and he didn’t cope well. Then he got a beast persona shoved into his already-existing personality. And then his best friend and crush dumped him, and he doesn’t know the whole story of why. He’s been abandoned most of his life, he’s in a constant psychological battle for his sanity, and he doesn’t understand love.

What he does understand is that he has issues—the kind that make him unsafe for people to be around. He feels a very strong connection to Labriella, but he doesn’t know what to do about it. He doesn’t trust himself to do the right thing, but he can’t bring himself to stay away from her either.

Labriella, for her part, does not stick around for the pain and pleasure of the experience. She sticks around because she feels the deep connection too. She sticks around because she wants Rome himself—even if that is impossible for him to comprehend. And she’s willing to demonstrate that by putting up with a lot.

If you think Labriella is the type to just “roll over” once she’s comfortable, though, you’re greatly mistaken. Rome has a way of bringing out the adventurous side of her. You’ve only had snippets of it so far. Remember, she’s used to that spark inside her being extinguished by the temple. Once she learns that Rome’s baiting her (rather than just trying to push her buttons)…well, let’s just say things’ll get a little steamy. Just give the tables time to turn.

What kind of relationship does that make this? Is it BDSM?
Well, Rome’s an alpha beast, so we’ve already got the “D” for “Dominance.” I did consider putting some light bondage into the story—the handcuffed or tied-wrists kind, not much beyond that. I’m still undecided as to whether that’s a good idea, though, because that might give you the idea that Rome has to tie her down to make her stay. And while he may think that, it doesn’t make it true. As for SM…well, the only pain between the main characters in this story should be incidental. Hurting one another isn’t going to make them happy or satisfied. In fact, Rome is deathly afraid of hurting her. Only a few love-bites might be on purpose.

The idea is that letting one person in can change everything. (…Well, that’s one of the ideas, anyway.) So, you’re right: Aggressive posturing is not the way. But my intent is not to glorify Rome’s aggressive posturing. The intent is to introduce a new element to soften it, and bring balance to the equation. And that element is Labriella.

So I would ask you this about Rome: Is he immature because he is an alpha? Or is he an immature alpha?

Because I would say that an alpha is supposed to take care of others. He shows his maturity by fulfilling this responsibility. But living alone does not facilitate relating to people. An alpha without at least one person to depend on him…How can he possibly learn how to be a good leader? How to be a good husband? How to be a good friend?

As for the kinds of women who are attracted to this kind of male character…

I theorize that there are 4 common draws to fictional alpha characters:

  1. the quest for power
  2. the desire to not be responsible for once
  3. sympathy for the emotional plight
  4. curiosity

Quest for Power. I’m talking about that man or woman who always has to be in control, be the best there is, or come out on top. They don’t care who they have to step on to get there. In fact, stepping on certain people might make them feel more powerful. And that’s good, because it’s all about them. They want to be that alpha. They’re jealous of him, so they’re studying him. One day, they’ll have more; they’ll be better. Or one day, they’ll have someone like him, to love and control. He’s the top dog, so they’ll make him submit, to prove that they are the only one who can do it.

Desire Not to be Responsible. Some people just plain get tired of being in control. They have to make all the hard decisions all day, every day. They always have to look out for themself, because nobody else will. They have to take care of their entire family, and they want to know who’s going to take care of them. Or they realize that they’re reserved or reclusive or socially awkward, or will always say “maybe later” to the person they’re actually dying to be with. To these people, an alpha male looks like the perfect solution. Maybe they’d push back in real life. But in the safety of their own head? He brings out their repressed wild side. And maybe, just maybe, they can trust him.

Sympathy for the Emotional Plight. It’s not about control at all; it’s about the person on the other end of it. The alpha has the weight of the world on his shoulders, and he may or may not know how to handle it. Who’s going to help him? Who’s going to care for his heart, when everyone else just cares about what he is or isn’t doing for them? Who’s going to hold him when he comes home exhausted and broken at the end of a long day? Who’s going to be his sidekick when nobody wants to follow his lead, or when he doesn’t believe in himself, or when the problem’s too big for him to face alone? “I’LL DO IT!” scream ten million fangirls. Because it’s not just about where he has the power and the prowess and the bravado; it’s about where he doesn’t. (Otherwise, he would be a hatable character.)

Or maybe they look at the alpha male, and say, “Hey, that reminds me weirdly of me…or how accomplished I wish I was. Where’s my sidekick love-interest?”

Curiosity. These are the outsiders looking in. They’re not really sure what’s going on, or how they feel about it, but they’re interested to see a new-to-them concept play out. “To each his/her own” is their motto. They’re just wondering what some people’s “own” looks like. They want to see something new and exciting. They can’t wait to see what happens next, because it doesn’t play according to the usual rules of engagement. They want to dip their toe into the forbidden pool. Or they just want to slake their curiosity so they can stop wondering what all the fuss is about.

Feel free to chime in with another reason to add to my theory. Or if you’re thinking, ‘Heeeey, that’s not right!’, feel free to correct. What good is a theory, if it’s not perfected?

I will end by saying that I by no means think alpha males should appeal to everyone. I myself am rather on-the-fence about it. I don’t like a character to be too strong, but I don’t like them to be too weak either. For me, it comes down to what that character does with what is given to them—them learning how to use it, what they learn from having it, and watching them grow from it.

New Adult Resources Wanted

There are sooooo many people posting writing tips on the internet. So how is it that I cannot find the advice that I actually need?

How to get an idea for a story is not my problem; I have plenty of ideas that pop into my head all the time.

Struggling to reach a 50,000-word count is not my problem. The first book in my current series is at 200,000 words! PLEASE don’t encourage me to multiply my words or tell me how to lengthen my story! I want to know what to condense, what to cut, and what to move to the next book.

“There are plenty of online resources.”

WHERE IS THE NEW ADULT COMMUNITY?!?!?! Seriously, Young Adult is everywhere. But when it comes to New Adult, all a Google search does is turn up lists of NA books, or YA writing resources. Can somebody please point me to where I can research the NA Romance and Fantasy genres specifically? Or where I can find an NA forum community? Or an NA critique partner? Everyone is promoting publishing for NA. Great! But I’m not there yet! I want stuff to help me get there! I want people to point out what I don’t already see. So where are those people?! The writing community is so big, I don’t understand why this is a problem! There is only one book I have been able to find about writing New Adult fiction, by Deborah Halverson, and I own it, and it’s uber helpful. Am I to believe that this is the only book marketed on the subject?

Alright, I’m done ranting. But this isn’t just a rant; it’s a cry for help. I’m mostly past the my-story-is-my-baby-please-don’t-slaughter-it sentiment; now whenever someone offers constructive criticism on my story I’m ecstatic, because it’s so rare. So if you know of a writing community, or a conference, or a workshop, or something that can help me with writing New Adult Paranormal Romance set in a fantasy world, I would LOVE for you to comment. Blog recommendations, book recommendations, forums…anything.

Flowcharts are Useful

Flow charts are really useful. No, really, they are. You don’t even have to draw all the little boxes (though I suppose you can, if you really like shapes; who knows, maybe drawing will stimulate the creative side of your brain!). Or maybe it’s technically called a “web” if you just have ideas and lines. But I don’t like the spider insinuations, so I’m going with “flow chart.”

“But WHY should I care about flow charts?” you’re probably asking. “What does this have to do with actual story progress?”

Everything. It has EVERYTHING to do with story progress.

See, sometimes I’ll just see things–almost like a vision. Whole scenarios will play out in my head, like I’m watching a real-life video. And when I write, I just write what I see. If I can’t describe it accurately enough, I draw a picture or create a diagram or make a list of possible alternate words to record the idea until I find the words to describe it.

But sometimes, a story can get bogged down by ideas. If you have too many ideas, and no clue how to organize them, you can hit just as much of a block as if you had no ideas. I might know exactly where I want to go, and what I want to happen before I get there, but how do I actually get there?

And that, my friends, is where Mr. Flow Chart comes in

Writing Style Change

I realized after working on finishing chapter 2, and then jumping back to work on chapter 10, that my writing style has changed again. … Drat. This is a problem. I went from uber broad, to social-centered, and now to super detailed.

Given that the prologue isn’t supposed to fit style-wise with anything…except maybe some future “interludes” to give dramatic insight (foreshadowing) into some not-so-closely-followed characters. Or maybe ultimately I’ll just end up making the prologue read like the rest of the novel. I don’t know at this point.

But the problem I’m having that chapters 1 & 2 don’t read like 4 & 5, and 6 & 7 stand out above the rest like a monument–which is finally being overshadowed by the not-so-eventful chapter 10. And somewhere roundabout the scourge on my writing abilities/conscience that is chapter 8, my writing style tried to mutate once again. So I went back and added more detail to chapters 1 & 2…only to discover that my writing style has mutated AGAIN, and this time it’s so detail-oriented that I either have to scrap what I’ve rewritten and go back to the original, or revert the whole thing (all 10 chapters) to detail.

And, well, sorry to those of you that like a simple or easygoing read, but…I think detail is gonna win out on this one. The story just…READS better with the details; the emotion comes across more vividly. And really, the emotion is what this story is all about. If this story reads in monotone for you, you have every reason to call it trash. So at the risk of sensory overload (which is how my dad reacted when I read him the first couple lines of the dream sequence in chapters 1&2), I will be converting the story.

No worries. Basic plotline stays the same. No new plotline “events,” I think; just more social interactions (aka dialogues), and loads more description where there isn’t dialogue. …We’ll see about how much description ends up framing the dialogue.

Intro to Chapter 10

daggerWith two main maps of Rome’s mansion posted, and a third map underway, my mind is now moving from hidden doors and secret passageways to the puzzles, stereotypes, and inner workings of society. Much to my chagrin, I have been forced to map out a rough sketch of Labriella’s town, thereby adding to the growing number of maps rattling around in my head. Without at least a rough sketch of the town, it is almost impossible to determine where Rome should go next in his quest for information, or what types of people he will meet and the nature of the help he will receive.

Sexism scouts be warned: This story will have all kinds of stereotypes. It is not that I endorse stereotypes. On the contrary: I make stereotypes to break them. It is my personal understanding that, while people hate to be put in a category, because everyone wants to be thought “unique” and “original,” each person either enjoys or overlooks the advantages of having a stereotype forced onto them, to either their advantage or their downfall.

What do I mean?

I mean if you are considered a “jock,” many people may say you are good at sports and nothing else. The jock has the advantage, because people are expecting them to use brawn instead of brains. By using quick wit and intellect, the jock may overpower their unsuspecting opponent in a heartbeat, at the time of their choosing.

I mean if you are considered a “nerd,” many people may assume that your only redeeming quality is your above-average intelligence. The nerd has the advantage, because people expect them to rely on good grades and lengthy explanations full of big words to get them through life. But many nerds are deemed such because they care more for their mind than their appearance, and at the drop of a hat, if they really wanted to, they could show the outward beauty they’ve had all along and stun their opponents into shocked silence.

I mean that nobility, merchants, business owners, bartenders, common people, servants, prostitutes, doctors, and priests, heroes and villains, men and women, major and minor characters, are all expected to act a certain way, and while they may be trapped by the heavy weight of expectations others have put on them due to their station, they are also granted advantages due to their station, borne of the element of surprise and the opportunity for the unexpected.

There is the added bonus that most people label what they are afraid of. For instance, the average high schooler might be afraid of the jock’s physical strength or the nerd’s genius or the artist’s viewpoint. People are afraid of talents and abilities they believe they do not have, skills or experiences they believe will give others the upper hand and make them vulnerable. People persecute what they don’t understand, misinterpreting it as a threat.

Stereotypes are made to be broken. The story of a beauty and a beast is the epitome of that, no matter the writer or their chosen rendition. It is an inescapable contrast borne of other people’s labels induced upon that which they can and cannot understand.

And so I set about to make a society in order to break it, that it might be remade, and then broken again, and so on. Is our society not one which constantly changes? Are stereotypes and tendencies of Rome and Labriella’s world so different from the history (and in many ways, the present) world of our own? Just because we don’t like certain events in our history, doesn’t mean they didn’t happen. Just because we don’t like certain aspects of our society, doesn’t mean they don’t exist, or that we don’t have to deal with them–many times on a daily basis.