Just another damn group blog!
Buffy the Vampire Slayer, the tv. series, dealt with death. It dealt with death in every episode. But it wasn’t until the 5th season where it made Death hit home. Dying, no longer being here on this Earth, is on my mind due to my current WIP, but either way someone passing is on my mind. Also a little tidbit about me, once my mind gets to working everything is somehow connected in the scheme of things.
Back to the fifth season of Buffy…Well, it’s The Body episode that gets me every time. An important character dies and every one is reeling. The death is so normal—in a world where no one dies a natural death. The series is never same afterward. It’s almost a forewarning that no one is off limits. A very important twist, but it’s heart wrenching.
In every sense of the word the old Buffy is dead and a new Buffy will have to come out of the ashes of the old. At some point of every season this HAS to happen. But I don’t think it’s more poignant than in this episode because it’s more than someone dying, it’s someone we all thought was SAFE, someone we all believed, on some level, that harm would never touch them. When in fact they were not SAFE and everyone can be harmed.
It makes the world Buffy believed in that much scarier. It makes her want to curl and hideaway from it even more. The change Buffy and the viewers can’t see this death makes her hell-bent on protecting those she loves. Even in the midst of all her grief she protects her sister Dawn and kicks some vampy butt.
The connection may seem odd, but this makes me think of turning points in a novel for a character. Those scenes in the story where the heroine or hero changes. Not of their own will. Not of their own choosing. But it’s due to the circumstances they now face. It is in fact a death of the old hero/heroine. It’s a scene where the gloves come off. They are harmed in an irrevocable way, usually it’s a hit to a belief that they will fight to keep no matter what. More importantly it changes the hero/heroine introduced on the first page.
They will never be same.
No matter what they do to recapture their old selves it won’t jive. That death may not come with fanfare or balloons nor any marker they have changed, but it happens nonetheless. They may not have someone make an eloquent speech, but it’s there on the page. The essence of the turning point is to show it. Before that TP it’s happened little by little and when the character gets to “Do Not Pass Go†that next step is inevitable. It’s the part where you see your loved one deceased on the couch and you just act—You call 911, you do CPR—but you make the step because at that point that’s all you know how to do. It never really crosses your mind MY LIFE HAS CHANGED even though it has.
Are turning points still a mystery? If not tell me about your characters turning points. Tell me about your own turning point if you want. Did you see that episode of Buffy? Did you cry buckets? Let me know in the comments.
Raine
October 26th, 2009 at 8:15 am
Ok, you’re just gonna have to think I’m some kind of alien, because I have never seen an episode of Buffy. Yeah, well–work nights and evenings, and there you are.
Turning points? Love ‘em. Love ‘em most when they’re understated (no big speeches, no earthquake, no tearing assunder), but you’ve been hooked on this character and you KNOW the impact it’s having on them.
In the current wip, the heroine’s turning point comes when she realizes that yes, the ‘hero’ may do evil deeds, MAY even be a killer, but in her heart she’s actually come to love him. And she may have to play a part in his downfall.
Melissa Blue
October 26th, 2009 at 8:57 am
Nope, not alien. I didn’t watch Buffy until last year during NaNo when I got stuck. I knew the idea behind it–young girl is powerful and if she doesn’t step up to the plate the world would end–and knew I needed to watch it to see if it would be believable in a contemporary sense. My story had the same kind of theory.
Anyway, I came across this episode and thought “This is a turning point in every sense.” TPs are hard to grasp for some because it’s not really important what happens, it’s how a character is changed from the incident.
In the current wip, the heroine’s turning point comes when she realizes that yes, the ‘hero’ may do evil deeds, MAY even be a killer, but in her heart she’s actually come to love him. And she may have to play a part in his downfall.
Exactly. Everything before is prepping the heroine for that big step and what she decides to do. May not even be something she considered EVER doing when you started the novel. Oh, a TP wrapped in uber goodness.
Dennie ~
October 26th, 2009 at 8:58 am
I like Raine’s take on the subtlty of the turning points. When the reader knows why and it’s not the whole world crashing down around them–just their world.
I have never seen Buffy either… well, the movie sure. “We’re immortal we can do anything.” “Oh yeah? Clap.”
vanessa jaye
October 26th, 2009 at 10:08 am
Hmm, I think… I think of turning points as points of rising escalation in the ms, in which case it could be something very simple/subtle as h deciding to sleep with the H, then she realizes in the middle of it that it’s not just lust she’s feeling, it’s love.
I watched the original Buffy movie, then watched the show from the beginning, but then stopped watching the show somewhere around where Williow switched teams/Buffy hooked up with Ryan.
Melissa Blue
October 26th, 2009 at 9:14 am
Absolutely agree about subtly of TPs, but I still believe a part of the character dies, it’s usually a part that needed to die ages ago.
And, I can’t even remember the original Buffy. I just know I didn’t care for it at all. Hence, why when the series hit t.v. I passed on 6 years after the last show aired.
vanessa jaye
October 26th, 2009 at 10:49 am
*rising escalation* is a redundancy, isn’t?
I meant rising/escalating conflict.
Melissa Blue
October 26th, 2009 at 11:04 am
I think of turning points as points of rising escalation in the ms, in which case it could be something very simple/subtle as h deciding to sleep with the H, then she realizes in the middle of it that it’s not just lust she’s feeling, it’s love.
But this also makes me curious about what changed in the heroine prior to her realizing she’s in love. Some little steps had to bring her to that point and it’s more than the h/h sleeping together. What was her previous stance about sleeping with him? Something changed her perception so when she got to the fork–sleep with him or continue on my stance against it–she chose sleep with him and in the process realized the love. Those little steps is what makes her sleeping with him important.
Does that make sense? *And, I’m not saying h/h sleeping with each other isn’t a turning point.* But, I’m curious about the little steps.
Sidenote: Ya’ll should know I’m in plotting mode so I will likely get obnoxious and answer my own questions, because I need to know where I stand in order to know my next step. Lol. Forgive me.
Melissa Blue
October 26th, 2009 at 11:05 am
Snort. You know I totally missed that. I say stuff like that all the time.
Tanya
October 26th, 2009 at 9:36 pm
I saw The Body and I remember distinctly that I didn’t cry. Not one tear. But this was only because I was in shock. I couldn’t believe Joss W had done it. I mean, he was on my S-list as it was, but Buffy’s mom? He actually went there. After that, I remained numb for at least the next couple episodes. I did not trust him AT ALL after that.
As for turning points, my characters usually go kicking and screaming, because they don’t want to change. They’re happy with their present selves and find this new stuff not only scary but damn inconvenient. I think they take a lot after their creator.
Melissa Blue
October 27th, 2009 at 10:26 am
You and me both on not trusting Wheadon. There’s a reason why I stopped at Season 5. I’ve found sites with spoilers of season 6. And I finally watched the very last episode. Great writing, but I don’t have an emotional investment in the story anymore. So it was kind of meh. Though, Spike, I will love forever. For someone who used to be a Monster he is a Champion.
They’re happy with their present selves and find this new stuff not only scary but damn inconvenient.
Lol. I sometimes find that the funniest part of writing, but in real life I act the same way when life goes for a roller coaster ride.
Amie
October 27th, 2009 at 5:06 pm
I think you raise a great point Mel. The turning point isn’t just (always) a 2 x 4 upside the head. I remember when I wrote the second novella for HIttin It (because this is the one that comes to mind first), the heroine tricked the hero, who never lied, into lying, and then felt really bad afterward.
In the current wip, I haven’t hit a turning point yet, but it’s coming and it’ll be when the heroine realizes that everything she knows is a lie (and it is a bit 2 x 4′ish). At the same time the heroine is mistrusting and almost cynical at the beginning of the story (she’s also 16).
In HELLBENT…crap I can’t tell you cuz it’s a major spoiler. The hero hits a turning point when he does something irreversible, but he doesn’t KNOW it…and the reader won’t even find out until the second book (at least the way I have it planned). The heroine, who is an angel, has a HUGE crisis of faith–and of course, for an angel, that’s a pretty big thing
Lynn
October 28th, 2009 at 9:05 am
I admit, I watched one episode of Buffy to see what the big deal was. My opinion would offend every Buffy fan out there, so I’ll keep it to myself (I thought Spike had promise, though.)
One of the most interesting turning points in a movie I’ve seen was in Gladiator, after Maximus discovers his family has been murdered and is enslaved. The evolution/revolution of his character from that point in the story is subtle but riveting.
I like multiple turning points in a story, which is probably why I write so many series. One book never seems to have enough time or room for me to express all the changes I want to explore. Great post, M.
Melissa Blue
October 28th, 2009 at 8:43 pm
Those little steps is what makes the turning point matter. Lol about the 2 x 4 types. Some characters don’t need to get hit with one to change. Some need it over and over…you get the point.
Melissa Blue
October 28th, 2009 at 8:54 pm
Now of course I’m dying to know what you thought of Buffy. I can be honest and say the show appeals to me for the incredible writing. The secondary characters kept me coming back. Now if Buffy was only about Buffy I wouldn’t love it as much. At time she can be so narcissistic it’s sickening to watch.
One of the most interesting turning points in a movie I’ve seen was in Gladiator, after Maximus discovers his family has been murdered and is enslaved.
Haven’t see it in a while, but I love that movie. So anyway it’s kind of fuzzy how he gets rid of the tattoo (?) that shows he used to be a soldier, but that moment is pivotal. His old alliance haunts him because no matter what he’s still a soldier. Sigh. Great, great movie. And thanks.
Lynn
October 28th, 2009 at 10:01 pm
I don’t think I really saw enough of it to have a credible opinion, Mel. What I saw killed any desire on my part to watch more, but I respect the fact that it’s a much-loved show. I felt the same way about the Brady Bunch back in the 70′s — everyone loved that show but me. Me, it creeped out.
Another great movie with multiple character turning points is L.A. Confidential. That was so well-written and smart and grown-up and just *right* from start to finish. I know, I must have a thing for Russell Crowe.