Figuring It Outline

If I approach this the same way I would a drawing, I would close my eyes and visualise what would fill the page. With the scope of story I wish to tell it is not as easy for me. To imagine what would fill one sheet of paper is quite different from imagining what would fill 300. But, if I compare them in a different way, it starts to make a bit more sense... mentally.

I imagine what the completed product will look like - I imagine what the completed story will feel like.

When I can get the mental image, I can work towards it. Years of trial and error with my drawings have taught me about anatomy, perspective, and utilizing space. I do not have that same experience with writing. So then I sought out assistance.

I have always been attracted to, what I like to call, hero stories - one man overcoming seemingly impossible odds to achieve his goal. All this I have mentioned earlier. So then, the Epic Poems have been selected as the manner in which I want to write. There a couple to hurdles to overcome and some others which have increased my understanding of how my story will play out.

Each of these shall be detailed below following and included within an outline of Epic Poems I discovered from The Victorian Web

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Primary or Folk Epic

• No single author (each is a product of the oral tradition)
• Written down after centuries of oral transmission — e. g., Beowulf and the Iliad

Secondary or Literary Epic

• A single, gifted poet such as Virgil or Milton composes a work that imitates a folk epic. The Æneid and Paradise Lost, for example, involved considerable research and have the style of earlier epics (particularly in setting, dignified speeches, and extended similes.

For obvious reasons, my story will be a Secondary or Literary Epic (and perhaps the first Graphic Epic).

General Characteristics

1. Primary epics were originally intended to be sung or recited to music: "Sing, Muse . . . ."
2. In primary epics, deities and other supernatural agencies are often involved in human affairs: "What god was it . . . ?" asks Homer in the famous epic question that opens the Iliad. While not a Primary Epic, mine still deals with much supernatural involvement.
3. The poem often has national interest and has a national bias: "and brought low the souls of so many Acheans" (Iliad, Book I). The primary struggle will be akin to a secret war but one that has far-reaching effects.
4. Primary epics seem generated by periods of upheaval, of struggle and adventure, such as the Trojan War for Homer's epics and the Moslem invasion of Europe in the Song of Roland. An underlying plot point will be the coincidental embodiment of each of the primordial entities in the time frame of the story causing some to choose sides.
5. Often, the principal characters are larger-than-life demigods (descendants of deities) or heroes of immense stature and strength. They represent such cultural ideals are endurance and cunning (Odysseus), all-round virtue or arte (Achilles), fair play and selflessness (Beowulf), chivalric self-sacrifice (Roland), or Christian love (Adam). Venge is, more than anything, driven. All other things are secondary to him doing what he must to be reunited with his one true love.
6. In both kinds of epic, single combat is a common plot device; if the warriors are equals, such as Achilles and Hector, they fight with sword and spear; if the adversaries are not equally heroic, as in the case of Odysseus and the suitors, the protagonist may use lesser weapons such as a bow. The hero often has a special weapon (e. g., Achilles' Pelian ash spear) or quality (e. g., Odysseus's ability to adopt disguises). No good comic book is without it's physical confrontations. I must make note that if Venge encounters a foe or foes with lesser abilities then he should use lesser means of confronting them.
7. The subject of the poem is announced in the opening lines, in an invocation (in which the poet calls for divine assistance to tell his tale) and epic question in classical epics. I planned to have Gregor the Observate narrate the tale. In doing so I think I will have him do an ancestral prayers as he will be know to come from a hereditary line of Observate members.
8. As opposed to the epyllion (such as the 892-line "Sohrab and Rustum" and Paradise Regained), the true epic is long (the Iliad and the Odyssey each contain 24 books) and dignified (courtly address and epithet are common). The fact that I chose to have the story compose an entire years worth of 'mainstream' publications boasts this meshing of ideas.
9. Geographical and temporal settings are wide: the action of the Odyssey, for example, occurs across all of the known world of the Greeks over a twenty-year period. However, the action may be compressed into a matter of days (as in the case of the Iliad) or even hours (as in the case of the Song of Roland). The Odyssey takes roughly forty days. Never exactly planned the story within a set amount of time. But, with this information, I wrote in a 15 year 'self realisation' arc.
10. Such great issues as the founding of the Roman race and the state (the AEneid) are at stake. It mat seem cliche, but it will most likely be a 'fate of all mankind' type of story.

Elements of the Epic Style

1. Repetition: directions and reports are repeated, later incidents seem to echo earlier incidents; stock epithets are constantly applied to certain proper nouns such as "rosy-fingered Dawn" and "horse-taming Hector." Names are symbolic: e. g., Odysseus = "Man of Woe," for he both gives and receives suffering. This element will be excluded as the visual medium will eliminate the necessity for it. These tools were incorporated in the original, orally recited tales to facilitate memorisation.
2. The Epic or Homeric Simile is a protracted comparison beginning with "like" or "as"; the figure, loaded with description, often holds up the action at a crucial point to produce suspense. There is a general absence of this device in Beowulf, but later English writers such as Milton and Arnold have deliberately incorporated such protracted comparisons into their works to give them weight and dignity. Once again, this will be excluded as it was a tool used by the orators to increase listener imagery.
3. Long, formal speeches such as challenges, inset narratives, flashbacks, and points of debate occur within the midst of the action; characters are commonly revealed in dialogue. No good comic is without the quips and banter of the duel. Must make a note to possibly extend them and have more villainous monologuing.
4. Speeches are often followed by such phrases as "thus he spoke" to emphasize that the words are those of a character and not of the narrator. Word balloons eliminate this need also.
5. Elevated, literary language is the norm-even servants speak in dignified verse. A difficult thing to write effectively. I think I just might have narrations for minor characters to maintain the suspended beliefs of the readers. This may work against me to clue the reader into discovery who the significant characters are. Then again it may work in my favor... "Why did that street bum have dialogue? I'll have to keep an eye on him..."
6. The manner of address between characters is circumlocutious and courtly; characters often address one another in patronymics such as "Son of Peleus" (Achilles). As comic book characters often go by code names to hide their identity, then will have to addressed in a different way. Likewise, my characters tend to have multiple names by which they are known. Definitely something I will use to show personification.
7. The pace is stately, the rhythm ceremonious. Catalogues (lengthy lists, particularly of leaders and their military contingents) create a sense of grandeur. Here is where I have fought the most. I think it would be rather enthralling to write it poetically and with a particular pace in what is actually written on the pages. But, I fear that I am not that skilled in oration to pull it off successfully.
8. Epic machinery includes bardic recapitulations (e. g., the Phaeacian poet Demodocus in the Odyssey recounts the story of the Trojan Horse), a chief god's balancing the scales of fate, a long and arduous journey for the hero, weapons of supernatural origin (such as Achilles' shield, fashioned by Hephaestus, smith of the gods), a descent into the Underworld, and nephelistic rescues (from "nephele" [Greek, "mist"] in Greek). While there were plenty of instances where the godly figures intervened on the heroes behalf, I do not think this a requirement. Although, there will be much supernatural meddling in mine.
9. The opening of the epic will involve an invocation and an epic question. The poet opens in the midst of the action ("in medias res") rather than at the beginning. (See #7 in General section)
10. Epic conventions include the simile, the in-medias-res opening, the invocation, the epic question, the epithet, the climactic confrontation between mighty adversaries, and hand-to-hand combat; these were established by Homer and emulated by Virgil. (See Above)
11. Since epics were composed to honour the deeds of heroic ancestors, such poems often have an aristocratic bias: peasants and servants (unless of aristocratic birth) are insignificant. For example, the churl who discovers the Firedrake's cave in Beowulf is unnamed and is given no dialogue. Noted and anticipated.
12. The action occurs in an heroic past, generations earlier, when deities freely interacted with humans. The events of the poem permeate the national consciousness —everyone in the audience already knows most of the details of the story. I don't have this luxury as I am making it up as I go along. Although the incorporation of mythological figures may circumvent this.
13. In the time of Homer, emotions and great natural forces are personified as deities. Not as much today.

Characteristics of the Epic Hero

The form of the poem suggests that the material dealt with should be "events which have a certain grandeur and importance, and come from a life of action, especially of violent action such as war" (see C. M. Bowra, From Virgil to Milton, p. 1).

I will elude to the fact that Venge was someone who possessed a high degree of natural agility being a dancer, martial artist, and gymnast. He was an admirer of the physical perfects of the human body and worked to hone his own.

1. The hero is introduced in the midst of turmoil, at a point well into the story; antecedent action will be recounted in flashbacks. While my story was going to possess flashbacks similar the The Crow, I did not think of writing it from the middle. I kind of laugh at this, as I was having a hard enough time finding the ending let alone some point in the middle. I eventually did find a point at which I could work both directions from. A point in which he becomes mortally wounded and believes himself dead and ready to pass on.
2. The hero is not only a warrior and a leader, but also a polished speaker who can address councils of chieftains or elders with eloquence and confidence. He will possess a commanding presence in both intimidation and aspiration. If I can write it effectively that way.
3. The hero, often a demi-god, possesses distinctive weapons of great size and power, often heirlooms or presents from the gods. He utilises the Scythe of the Reapers given to him by Death itself. That, as well as the Reapers Cloak will play a part in the story dynamics.
4. The hero must undertake a long, perilous journey, often involving a descent into the Underworld (Greek, "Neukeia"), which tests his endurance, courage, and cunning. I hope to be able to tell a compelling struggle with his own sanity as well the physical burdens he must overcome.
5. Although his fellows may be great warriors (like Achilles and Beowulf, he may have a commitatus, or group of noble followers with whom he grew up), he undertakes a task that no one else dare attempt. Perhaps the brightest moment for any hero tale and one that I almost have figured out.
6. Whatever virtues his race most prizes, these the epic hero as a cultural exemplar possesses in abundance. His key quality is often emphasized by his stock epithet: "Resourceful Odysseus," "swift-footed Achilles," "pious AEneas." At the core of Venge's being will be his love. And, attached firmly to the love will be his determination.
7. The concept of arete (Greek for "bringing virtue to perfection") is crucial to understanding the epic protagonist. I will have to research this more as I am not sure that I have captured it yet, within my story.
8. The hero establishes his aristeia (nobility) through single combat in superari a superiore, honour coming from being vanquished by a superior foe. That is, a hero gains little honour by slaying a lesser mortal, but only by challenging heroes like himself or adversaries of superhuman power. This will build on itself throughout the story as he defeats increasingly powerful adversaries and 'earns' the title of Venge.
9. The two great epic adversaries, the hero and his antagonist, meet at the climax, which must be delayed as long as possible to sustain maximum interest. One such device for delaying this confrontation is the nephelistic rescue (utilized by Homer to rescue Paris from almost certain death and defeat at the hands of Menelaus in the Iliad). I have not yet decided on the primary antagonist of the story, but I have narrowed it to 3.
10. The hero's epic adversary is often a "god-despiser," one who has more respect for his own mental and physical abilities than for the power of the gods. The adversary might also be a good man sponsored by lesser deities, or one whom the gods desert at a crucial moment. Each of the three I have in mind all possess the qualities, so this will not be an issue.
11. The hero may encounter a numinous phenomenon (a place or person having a divine or supernatural force) such as a haunted wood or enchanting sorceress that he most use strength, cunning, and divine assistance to overcome. In fact, rare will the encounter which will not be.

Notes on Epic Poetry

An epic or heroic poem falls into one of two patterns, both established by Homer: the structure (and allegory to life) may be either war or journey, and the hero may be on a quest (as Odysseus is) or pursuing conquest (as Achilles is). Features of legend building evident in epic include the following:

I'm not sure my story falls clearly into just one of these. But, as Venge is not doing it to control a kingdom or claim any of it as his own, then the majority of the story falls under the journey/quest.

1. the hero's near-invulnerability (Achilles' heel, the spot on Seigfried's back); Spirit healing and agility will create doubts about his mortality.
2. the hero's fighting without conventional weapons (as in Beowulf's wrestling Grendel); Venge will utilise martial fighting styles and improvised weaponry when dealing with 'lesser' adversaries.
3. the hero's inglorious youth (again, Beowulf affords an example); Not really an issue within the story.
4. the hero's auspicious birth (for example, Christ's or Buddha's), an attempt at the reconstruction of the early life of a notable adult (ex., stories of Jesus' childhood); It will be stated that his youth/birth was insignificant compared to the present. This will not be a messianic tale as much as it will be a rejoice of the glory of man.
5. transference of the deeds and events associated with one hero to another of similar name (for example, Saint Patrick and Sir Gawain). Such events would include the gods' arming a hero (a metaphor for wondrous strength so great it must have seemed to have divine origins) and the hero's descending to the Underworld (a metaphor for facing and overcoming death); More research needed.
6. historical inclusiveness: the poem presents a whole culture in microcosm —although the action is localized (for example, Troy and its environs in Homer's Iliad), flashbacks and inset narratives widen the epic's geographical and chronological scope to include the whole of that race's world and culture heroes; If anything the scope of the story will encompass the amount of time more that amount of geography covered.
7. the hero is a dramatic protagonist in each scene of a play (notice the emphasis on dialogue and set speeches) that is too big for any stage. Venge will be far more animated when he is 'on the scent' of one of his targets.

My Thoughts

The are two more points that I noticed present within most heroic stories.

• The Protagonist usually gains Followers. Whether it be an army of loyal subjects or companions. In the case of companions they may possess abilities greater that the protagonist, but not in the area that the protagonist has gained notoriety for: Strider.
• There is typically a turncoat/traitor. They may either be a member of the protagonist's party who leaks information to the antagonist (usually this traitor learns the error of their ways and rejoins the Protagonist's cause: Lando Calrissian), or it may even be an antagonist whom joins the protagonists cause (sometimes not gaining the full respect of the rest of the party until later in the quest: Lancelot).