In this installment I provide a brief peek at a character who figures “highly” in the history of the Lands, but whose personal history goes much deeper.
Yula is a Dwarven warrior and one of the mainstay fighters in the adventuring band known as the Candidates. He began life in the wrong city and as far from fortune as anyone ever born. Yula never shirked danger, never let down his comrades, and wound up on the highest throne in the Lands. Who says you can’t come home again?
In the fewest possible words– do not get me started.
It’s not just that Yula is the Emperor of Argens, it’s how he got there. And how little, how microscopically tiny is the portion of his tale that’s leaked out so far. He’s a great hero, in what was arguably the greatest band of adventurers the Lands of Hope ever saw. The tale of his struggle, the redemption of his hopes and how an empire had to fall rather than his friends, is simply too big for me. At least right now.
So what? So this– Yula and the Candidates are a perfect example of the kind of depth writing can use. What percentage of your raw notes makes it into the finished product? Doesn’t matter who you are, what genre of fiction you write these days, I can answer the question definitively.
On the first draft, when it’s still so cool and you can’t stand it, out comes reams of background and detail and fab world-building. And of course, it has to go. But where?
In thirty years of Hope-watching I saw Yula practically from the start, followed him all the way to the throne. I’m still not sure it’s a tale I can tell.
He and his band got their start in 1995 ADR (you will see the Candidates briefly near the start of The Eye of Kog, upcoming sequel to Judgement’s Tale). All through the latter days of other adventuring bands, the Restorants and Tributarians, plus the storied solo careers of men like Trekelny and Judgement, the Candidates were the ones making the headlines. But you see just a peek here and there.
Simple really. When I thought about trying to write Yula’s saga my fingers froze. But when I wrote about the REST of the Lands, in which Yula and his companions were such a major part– then it all came out like water from a sluice-gate. He’s in the background, part of the tons of pressure making these current tales come spiking out as if shot from a cannon. You hear soldiers singing derisively about the “stubby little carker” in The Ring and the Flag; Hansen interviews Justin at the start, Morinack is referenced as the puppeteer behind the scenes. And Kama, the healer of the Candidates, is a supporting figure in Fencing Reputation. I’ve been privileged to learn about these marvelous characters, and to see so much about this world over their shoulders.
Yula slew Viridian XXVII, the demon unmasked, in personal combat, probably one of the most puissant feats of battle seen since the days of the heroes.
Yula has surely dispatched more of the Greater Demons than any being alive. He banned the drug trade, freed slaves all over his dominions, sent out brave souls to recolonize the Far Mark; it’s only been two years, give him time. So many things going on in the Southlands are ripples from actions the Candidates took. But he’s just the usurper they love to hate, a distant figure on a throne in the capital, surrounded by his sorcerous northern allies and brewing yet more trouble for right-thinking folk. They don’t know him, not like I do.
My Nokia Refocus lens has on-board edit functions that help prep the photos before sending. I think this is the first time I used afternoon light for my session, and a standing lamp near the table which also helped. The close-up shots of faces still lack some focus (other shots, the focus is off on purpose, like here).
Let me know how I’m doing! Rooting around for these figs made me honestly nostalgic for painting again. I have SO many unpainted ones in the basement… but it would take at least $100 to restock the paint supplies alone.
It’s been awhile and I’m ashamed to say, my obligations to the Alleged Real World impelled me to return to this series. But any shot that goes in, as my basketball coach used to say. Especially when I took a shot that went in. Return with me now to take a closer look at a tale that you immediately know, but in all likelihood never turned a page of. What can we see as authors to help us in our craft?
Which tale? Of course it’s the classic that takes you deep inside, RL Stevenson’s seminal Strange Case of Dr. Jekyll and Mr. Hyde.
Why not before now? Because I have always felt such a deep reluctance around this tale. I know, in the end, it’s about all of us. It’s about me.
Sizing a Monster
Let me back up and start with the way the tale is usually portrayed nowadays in remakes. Mr. Hyde, most say, is the side of us we feel tempted to cut loose; and if even Dr. Jekyll couldn’t resist, we can’t expect better of Hollywood. So of course the result of drinking Jekyll’s potion is a misshapen, enormous leviathan, and it doesn’t get much bigger than the big-screen’s most recent version in The League of Extraordinary Gentlemen. It’s enormous fun in the most literal sense. We’ll come back to the movie but note for now the first, most important missed turning the remakes commit. They create a Hyde who’s bigger than Jekyll. In the story, RLS makes it quite clear that Hyde is smaller: wizened and a bit hunching, yes, but nothing near the upright, straight-backed good doctor he seems to have his hooks into. It’s a Christian point, if I may say so- the evil part that comes out of us is not only wicked, it’s puny. Lethal, yes, especially to our souls, but we shouldn’t indulge our ego to believe that it’s large in the scheme of things. We should simply be ashamed.
Hyde also appears to be younger than Jekyll, whereas in most of the remakes I’ve seen age is a non-factor. He’s got a spring in his step, you could say, a sign of the freedom he feels. Jekyll theorizes that since Hyde’s been so little used he hasn’t aged as far. It’s a window on the Victorian society where this tale is set and about which Stevenson was no doubt commenting. After all Jekyll feels buttoned-up and straitjacketed by his position and obligations to society. Contrary to the movies, he’s not originally trying to resolve the question of evil in man, or attempting to rid himself of it. He wants to sever his halves, enjoy two unimpeded lives; the sin is original to him. I can’t force my fingers to type much more down this line, I feel the cut too keenly. I’ll say this- every once in a while my lovely wife and I play the Powerball lottery (the prize is always scores of millions of dollars) and I love to dream of all the wonderful, charitable things I’d do with the money. Like I’d be the same person. Like I could be trusted.
But I think I know, there’s a reason I don’t get to win it.
It’s the Thought That Counts
While lots of features impressed me about the original story– no female characters, lots of news-by-letter and an interesting feature that the tale ends with a written flashback– I must say the thing that really jumped out was the simple, almost pristine horror Stevenson managed to conjure in the opening act of Hyde’s evil. The narrator, Jekyll’s good friend and lawyer Utterson, is apprised by a mutual acquaintance of this ugly fellow’s first outrage and begins to investigate. Can you guess what the crime must have been? Murder surely, that was my thought before I first read the book. In movies and television, Hyde is usually a city-wrecker, committing loud and brazen assaults, destroying stone cornices with his bare hands and strewing a wrack of police and prostitutes in his wake.
In the story itself? He’s trampled a little girl.
It took a moment for the image to settle in on me. Imagine being out for a walk (it was ALWAYS a foggy night, this is Victorian London after all). Hyde was seen by multiple witnesses, as a little girl runs from a side-street into his path. And. He. Just. Keeps. Walking. You show me any scene with guns or knives, and the opponent a grown-up however helpless, and I won’t flinch. But think– a child runs in your path a moment, and you don’t have the one drop of human sympathy required to turn, or even pause. You don’t shout or rebuke the child or her mother– those things would show you care. Hyde just stomps her underfoot like a weed, same pace, same stride, a machine. And when Utterson’s friend runs him down and the gathered folk scream their outrage, Hyde is slightly amused, as if puzzled what the fuss is all about.
You’d never do it. You’d rather lick a car battery than feel the body of a girl writhing under your shoes. From the story itself, Hyde seemed genuinely unaware of what had happened. Pay a hundred pounds to the girl’s family? Fine, no matter to me, let me get my checkbook… well, actually it’s my friend’s book. That single act has never ceased to haunt me. Can you imagine what strangulation of every good instinct would have to happen before you would act that way? Give me a rampaging, angry, lustful beast– far better than this unruffled, self-interested golem. I think I hit on it when I realized,
Hyde is comfortable with himself.
And he’s the same man as the good doctor. Rather, he’s a smaller part of him.
Who Writes This Stuff?
Stevenson composed this tale in a fit of inspiration– the idea came to him in a nightmare, and he dashed out the first draft in just a few days, then burned his manuscript in a passion, and redrafted it in only three weeks. Perhaps you’ve had such an experience. For me, the aftermath is marked by a kind of delight that I usually feel when reading someone else’s work, liking it and wishing I had been
the author. Except that I am the author! Don’t shrink into false modesty on me, fellow writer, I wager you know this feeling. You wrote it so quickly, and it seems to need little polish. It just… came out of you when you weren’t there. So with Stevenson and Jekyll and Hyde.
“Louis came downstairs in a fever; read nearly half the book aloud; and then, while we were still gasping, he was away again, and busy writing. I doubt if the first draft took so long as three days.”
-Lloyd Osbourne, family friend
Yet it’s the things he refuses to describe that get you about this tale. Hyde is ugly, but no one can say how. People want him dead, but can’t explain why. And folks who have long kept their noses out of other people’s business, given every chance to keep doing so, can’t stay away. Utterson HAS to investigate– the signature of his good friend on Hyde’s cheque, the will naming this monster Dr. Jekyll’s heir, hearsay and conjecture whose only virtue is how perfectly it aligns with his intuition. Step by tiny step, Utterson is drawn in– and we only see the horror second-hand, in letters and accounts, like a glance at the mirrored Medusa. Dr. Lanyon once saw Mr. Hyde transform, and is already dead when we read his letter– struck down by a sight not yet ours.
My life is shaken to its roots; sleep has left me; the deadliest terror sits by me at all hours of the day and night; and I feel that my days are numbered, and that I must die; and yet I shall die incredulous.
So, What’s In It, For Me?
As short as it is, the story spends its final third in post-mortem. Much like Invisible Man, the narrator spends a lot longer than you do trying to figure out what happened. Give that a shot with your current tale if you’re feeling brave!
But it fits uniquely well in this case, because when Utterson the dependable,
sane, reserved lawyer doesn’t want to look, you know the reader feels the same way. Not about Hyde, we can’t wait to watch this happen to somebody else. But sooner or later it comes back to that mirror. I think Perseus, when he dared to use it once at an angle, saw a part of himself.
Who is that, in there inside ourselves? Is it simply “evil”? Is it the animal side, or anger and rage like you see with The Hulk? You can’t have more fun than to curl up with an hour of William Shatner gloriously over-acting as two sides of himself in “The Enemy Within”: here’s four quick minutes capturing all the epic-ness.
The writers of ST took a view of active/impulsive versus contemplative/rational. The good-guy Kirk is just the one that can get along– he won’t attack Yeoman Rand, he can hear you without getting angry, but he can’t decide what to do. The other guy is a beast, but he can make decisions– keeps outwitting the crew, covers his scars. He starts the fights, but only his calmer twin shows courage.
What if it’s like that? Is this a better deal than what Stevenson proposed? I always loved Bill Bixby’s version of The Incredible Hulk– he NEVER let go on purpose, spent his last ounce of energy trying to avoid all trouble while seeking his cure. And whenever “the beast within him” got out, he always seemed pointed in the direction of the bad guys. Was that just luck? I thought it was kind of karmic– David Banner reaped a small reward for so resolutely trying to avoid temptation, and I found it very uplifting.
Maybe an echo of this, in the cool turn of events from that FX-romp mentioned above, The League of Extraordinary Gentlemen. When Hyde is first captured by Quartermain and the gang, he’s classic evil/animal/ “id” and Jekyll is barely containing his desires (for women, mostly). In the movie, you can see Hyde in any mirror Jekyll passes. But when the Nautilus nearly sinks, it is Hyde who not only saves them all, but urges Jekyll to trust him with the attempt. I loved it, a real step toward superhero-dom for a truly interesting character. “Bravo, Edward”
Go As Far In as You Like, or Dare
You can maybe write autobiography and talk only about yourself; there might not be any more consequence and interest than the words themselves and the one person they tell the reader about. But in genre fiction, we can’t stop there. When we explore character, and inner conflict, we innately put on display our own philosophy of what people are like. We can use omniscient third person, or flashbacks, or magic spells or potions to peel back the layers, but we can’t try to pretend this is an exception. Our world, our rules, our consequences. Because if this isn’t about everyone, then who cares?
Do we believe there’s inner evil? Is life a long struggle spent holding back this animal side? Are heroes just furiously trying to distract everyone including themselves from lust, or greed, or the will to harm others? Did the villains ever really have a chance to be good; could one selfish choice have doomed them for all time? What do we as writers really believe about the human being?
In Jekyll’s posthumous confession, he cries foul on his own world as I think Stevenson did. Jekyll claims his worst fault was just “a certain gaity of disposition”, which his education and high position forbade him to indulge.
Hence it came about that I concealed my pleasures; and that when I reached years of reflection… I stood already committed to a profound duplicity of me… It was thus rather the exacting nature of my aspirations than any particular degradation in my faults, that made me what I was, and, with even a deeper trench than in the majority of men, severed in me those provinces of good and ill which divide and compound man’s dual nature.
Wait. He means, his good side was responsible for making him evil? We must be in Victorian times. But do the times make enough of a difference to excuse us? These are the questions we must answer. And it makes me pause a bit before I do, because while I’m busy dissecting the lives and habits of the heroes of the Lands of Hope, I can’t shake the notion that the speck in their eyes doesn’t quite measure up to the plank in mine. I wonder if it would even take the Powerball jackpot to let the ugly loose in me. Remember, the day before the evil queen ordered the huntsman to cut out Snow White’s heart, her mirror had told her she was the fairest in the land.
Of course, the young ladies I courted in my youth seemed to think my ugly was already loose. Maybe I could just blame them! Or maybe I’ll hold it together another few decades, see if I can work out some accommodation with that part of me that is willful and selfish, intemperate and mean. If you really want the craziness, I’ll give it. I believe that writing about the Lands of Hope, of heroism and evil in that incredible world, is my version of polishing a mirror. I know somewhat of what’s inside me: I pray it’s still smaller and younger, and if I time my glances just right, I’ll learn how to behead the thing and bring it under my control. There are times you need it– strong, almost angry willpower to persevere, to resist criticism, to stay on track in your story or your life. By herself and still free, the Medusa would never have slain the Kraken. Jekyll never learned to let the goddess of wisdom keep it for him.
In Stevenson’s tale, the narrator Utterson kept away as far and as long as he could. Maybe I’ve already said too much on the subject.
“I am ashamed of my long tongue. Let us make a bargain never to refer to this again.” “With all my heart,” said the lawyer. “I shake hands on that”
For us writers, that won’t do. I have faith that God will help me to train this inner fire, so I can forge interesting tales and keep learning about the Lands, and myself. There’s something inside your heroes and your villains– inside you. Writing about it will bring it closer to the surface, where it’s dangerous (and also useful). You can’t let it out to run the show, because then it becomes what evil really is in the end. A habit.
But you can’t do nothing, and you can’t wait forever.