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Myth-Writing 101
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Myth-Writing 101
#1Good day, class.
Welcome to Myth-Writing 101. I will be your teacher, Professor Penguin. You may call me Cap.
If you're looking at this, I will presume that you have the desire and potential to write good, ancient-sounding myths. I will also presume that you have taken some sort of writing or language arts class in the past, and thus have some sort of ability to write. Those of you who lack the above-mentioned skills, abilities, and interests, I would suggest that you transfer to another class very quickly, and spare your more intellectual classmates, and me, the trouble of dealing with your laziness.
The first thing I want you to do, class, is to forget anything you might have learned about writing speeches, essays, or paragraphs, et cetera, et cetera. Myth writing is not at all like writing an essay, speech, or paragraph of a conventional language arts class. The language patterns involved in writing a myth are much, much different than those found in conventional writing.
You'd like an example, of course, but true examples of myth language patterns are few and far between. Most myths, when translated, are reconfigured into a simpler language pattern so that even those of sublunary intellect can understand them. This is not true of all translated myths, but it's true of the majority.
The best example I can give you is the Bible.
Go get a Bible, and check out the language pattern. Whoa. Odd, aye?
Regular Language Pattern Example:
He went to the store.
Biblical Language Pattern Example:
And to the store didst he go.
See? Let's get on with it, then. -
Lesson 1: Ye Olde English
#2Attention, class, attention.
For today's lesson, we'll talk about Old English.
Old English is the simplest, easiest way to write a myth.
Sprinkle in a few thee's and thou's, and you have instant mythical-ness.
Regular English Example:
You are my favorite person in the whole world.
Ye Olde English Example:
Thou art mine favorite person in the world entire.
See what I mean? There's mythical-ness for you.
But!
There are consequences!
Don't use Old English as a crutch!
Some people write myths basically by writing normally, but replacing "you" with "thou" and "are" with "art".
It's a very good way to write a myth, but it isn't the best way.
Final note of the lesson: Don't replace "the" with "ye". That is the one Old English term that doesn't work for myths. It just sounds stupid, and can cause you to give the myth a "Ye Olde English Overloade". -
Lesson 2: He Said, She Said
#3Today, class, we will address interpersonal relations in myths.
As you may have noticed if you did your assigned reading in the Bible and whatever other books you may have found, conversation patterns in myths are very different than normal.
Example of Mythical Conversation: (Pay attention to underlined portions)
Said he "I am the Wizard of the Tower! Who bids entrance?"
"I am Sandor, son of Varedor, son of Rolke." Sandor proclaimed.
Replied the Wizard "Thou hast come for thine revenge, hast thou not?"
Namely, the subject-selective phrase ("he replied/replied he") is reversed in position and word order.
Also, you should forget all the nice terms your language teacher taught you for subject-selectives ("Exclaimed" "Sobbed" "Shouted"), and limit yourself to only a few special subject-selectives, namely:
"Said", "Proclaimed", "Cried", "Issued", and maybe a few more if need be, but limit yourself.
So....
"Where did you put my skateboard?" said Dave.
"I threw it in the closet." replied Sam
...Would become....
"Where put thou mine skateboard?" cried Dave.
Replied Sam "Into the closet didst throw it I." -
Question from the back of the lecture theatre...
#4Professor Penguin, what is your opinion on the use of technical devices such as rhyme? Most of the ancient myths that I know were originally from an oral tradition and therefore in verse rather than prose. For instance, Beowulf uses an Anglo-Saxon alliterative technique dividing each line into halves with a pattern of stress and with alliteration on particular syllables to give the line a feeling of unity. For instance:
Oft Scyld Scéfing : sceathena thréatum (alliteration on the "sc")
monegum maégthum : meodosetla oftéah (and on the "m")
In Homer's Odyssey and Iliad people are given epithets and things are imbued with qualities and these descriptions run through the whole text: "the wine-dark sea", "Pallas Athena". This sort of repeated imagery seeks to fix ideas in the reader/listener's mind.
Do you think that these sort of techniques could be used in the creation of roleplaying myths?
ephe! -
Myth-Writing 101
#5Excellent question, Eph.
In my opinion, a well-crafted myth can only be made better by poetic techniques such as rhyme and alliteration. Because of the very song-like qualities of many myths, it is almost always a good idea to make poems or songs out of one's constructed myths.
However, like Old English, verse can become a crutch for lazy mythwriters if they aren't careful.
As for repeated imagery, (metaphor, simile, and epithets of all kinds) use it liberally when writing myths. They make the whole deal much better. -
Myth-Writing 101
#6Prof. Cap,
I need some ways to come up with mythical sounding names. In the past I have been jealous of the way the titles and names in the myths combine seemlessly. How do you do it? Is there a secret or is Jim the God a good name? -
Myth-Writing 101
#7Let's see...
We've covered Old English, verse and poetics, interpersonals...
There must be more to cover...
Let's have some more questions to spark my thought. -
Myth-Writing 101
#8Mr. teacher. I am confused. why cant you just tell a myth the way you think off it. Is it too dificult to exspress yourself? myths are something different to everyperson. Why do they need to be ruined by following a law of english? what is wrong with freeverse? -
Myth-Writing 101
#9Does anybody have questions?
Anybody at all? -
Myth-Writing 101
#10Oh, I see we have a question from Strolen there.
No, there isn't a secret to coming up with names and titles. But you have to be sure that all titles and names fit together.
This is because, generally, myths are created in, or changed to fit, a certain culture in which they are told, all names or titles will be representative of said culture. Unless the myth was based on history and a historical character came into it from a different cultural background, all names will come from the same language.
Therefore, you must make sure that all names come from the same culture. Many amateur myth-writers have made bad mistakes by throwing together names for gods that sound cool. You can still do that, while altering some names to fit in the cultural context that you want. For instance:
Old Pantheon: Zakulio, Snarmius, Ch'charak'to, and Amaterasu.
(The problem here is that all of those names sound like they come from different languages.)
New Pantheon: Zakulio, Senarmion, Charastio, and Amatesol.
(The names have been altered.)
This can also reflect the absorption of foreign gods and heroes into a culture's own mythology.
Titles are as you see fit. -
Myth-Writing 101
#11*Taps his table with the tip of his pencil casually*
Our teacher has gotten quiet! Has he got anything more to teach us?
On the topic of names, names can often carry a similar structure in certain societies, can they not? A particular example is in the french comic 'Asterix', wherein all the gauls have an 'ix' as suffix for their name: Asterix, Obelix, Getafix and so on.
Just as the romans have an 'us' as suffix: Caius Flebitus, Sextilius etc...
So perhaps some cultures can have a prefix, suffix or certain vowel/sound/string which runs common throughout their names. Doing this may make naming far easier, as it runs a basic structure, so it does not have to be pulled out from thin air. -
Myth-Writing 101
#12Teacher! teacher! this doesn't sound right. basically you have to come up with different prefixes and suffixes and other crap to come up with some name? why not just be creative and make something entirely new up? it only makes sense.
Perhaps using different suffixes and prefixes can work when you aren't feeling creative or can't come up with a good name. The best myth names come from the head, not by altering their structure. -
Myth-Writing 101
#13*Coughs*
You do not understand! I don't say you have to use such structures, but I am merely suggesting a possibility.
Also - why not make UP the prefixes/suffixes. The purpose of my suggestion was to provide a way of making names sound consistent, that is all. -
Myth-Writing 101
#14Prof. Cap'n,
For myths, basically all we have to do is use spare words (cried, replied, implied, thou, art, etc), use literary techniques liberally, and make slight modifications to the names? is that all you mostly need to write a piece of mythology, or is there some more lessons that you need to enlighten us on? -
Myth-Writing 101
#15I'm gettin' to it.
Be patient. -
Myth-Writing 101
#16It would also help if you had a myth to write -
Myth-Writing 101
#17In this class, we aren't really writing myths, but giving tips on how to write them. The myth writings are on different threads. -
Myth-Writing 101
#18yeah but you have to have monsters and heros and villins and items and all sorts of things how do you come up with those? -
Myth-Writing 101
#19In mythical writing? well, if you're asking me, I say make them up from your head. If that task is too hard, change the prefixes and suffixes to alter a name and make it funky sounding. If that doesn't work, ask the Cap'n. -
Myth-Writing 101
#20Thanks I was just wonderin. -
Lesson 3: Mythic Archetypes
#21Hey! In the back of the class! Grevenon and PenDragon! Are you about done talking, or will I have to keep you after class?
In today's lesson, we will examine archetypal characters in myths.
The Strong Man
The Strong Man is a character that we all know and love. He is many heroes; he is Hercules, he is Conan the Barbarian, he is every barbarian in every roleplaying game everywhere.
Simply put, the Strong Man hits things. The purpose of the Strong Man in the myth is to get what he wants by beating people down. The Strong Man is usually not very intelligent. Strong Men also tend to be emotional and promiscuous.
In myths in which the teaching of morals is the goal, Strong Men usually teach the moral value of bravery and athleticism, while having their stupidity used to teach that an education is also important. In myths where the reason for a phenomenon or thing is demonstrated, the Strong Man usually causes or creates it by bashing something, killing someone, or rolling a big rock over or something.
Example: Hercules is the typical Strong Man. He is superhumanly mighty and brave. He is also not very bright, and never shows any sort of expedient wit. He is also extremely emotional (For instance, when Hercules' squire gets lost in the woods, he abandons the quest of the Argonauts to find him.), and he is very, very stubborn.
The Trickster
The Trickster is the opposite end of the mythical persons spectrum from the Strong Man. The Trickster is Raven, my own Fiery-Feathered Phembu, any thief in any roleplaying game.
The Trickster's purpose in myths is to get what he or she wants by weaseling his way into it. He is witty, clever, quick, and smart. He does not bash people, but he has a tendency not to stab people like an assassin, either. The Trickster fights with words.
In myths where morals are the purpose, the Trickster shows the value of intelligence and wit by overcoming obstacles through cleverness. In myths demonstrating a phenomenon, the Trickster tricks someone else into it.
Example: Loki transforms himself into a horse, luring away the stallion of a man who is building a new wall for Asgard. When the horse is gone, Thor reveals the man as a giant and hits him with a hammer. Trickster and Strong Man working together.
To be continued... -
Myth-Writing 101
#22Prodigal Son
The Prodigal Son is a tale probably familiar to you all. Son goes away, son comes home. Well, in the mythical sense, the Prodigal Son is, say, a crown prince, believed dead after his father is deposed by, say, his uncle. The boy returns and takes back his rightful throne. Prodigal Sons and Daughers tend to be smart, resourceful, and brave, and have a "sense" that they are the rightful person for whatever it is they are returning to.
In moral stories, Prodigal Sons and Daughers can fulfill a variety of moral places. Bravery, cunning, resourcefulness, all of these. Prodigal Sons and Daughers rarely feature in phenomena myths, but when they do, they are usually the son or daughter of some god.
Example: Oedipus, Hamlet (in his own way).
Tyrant
The Prodigal Son's enemy is the Tyrant, the evil king or queen who has usurped the throne and rules with an iron fist.
There really isn't much to be said of this rule.
Superhero
Ah, the Superhero. The Superhero is perfect in every way. He is brave, strong, witty, intelligent, cunning, and resourceful. The Superhero tends to feature more in myths from Medieval Europe rather than Greek or Asian mythology, because Greeks and Asians, on the overall, tended to make their heroes more human, giving them flaws like the rest of us. The Superhero has none of these. The Superhero's purpose in a myth is to be the ultimate beacon, to make things happen simply because he or she is so splendid.
In morals stories, one almost never sees Superheroes, because they don't make mistakes or have character flaws. In phenomenon stories, Superheroes are big-time players, using their perfection to start the rain, or whatever.
Examples: King Arthur, Superman, Odysseus (for the most part), Theseus (the one and only Superhero of Greek mythology.)
The Wise Counselor
The Wise Counselor is a sort of helper-character who aids the other characters (Usually the Superheroes and Strong Men). The Wise Counselor is wise, intelligent, and well-learned. The Wise Counselor makes things happen by teaching his pupil to do what needs to be done.
In morals stories, the Wise Counselor teaches the hero to teach the moral by giving them the knowledge and morals they need. In phenomenon stories, they are there to help out the Strong Men and Superheroes. Tricksters don't need wise counsel. Generally, the Wise Counselor is a supporting character who does not have a large part to do with the moral or explanation.
Examples: Merlin, Chiron the Centaur -
Myth-Writing 101
#23Hey teacher what if you have a person thats in the middle what would they be? like the strong man and the trickster -
Myth-Writing 101
#24Don't interrupt. -
Myth-Writing 101
#25Traitorous Counselor
The Traitorous Counselor is a rare character in primitive myths, but he shows up very frequently in those of more civilized nations. The Traitorous Counselor, like his Wise counterpart, exists to provide advice and wisdom to the heroic characters.
However, the Traitorous Counselor, like Iago, is usually also an agent of the Enemy (Tyrant, or what-have-you), and will betray the heroic at some point through the tale.
Meddling Witch
The Meddling Witch is a character such as Circe of the Odyssey or Morgana Le Fay of the Arthurian Legends, a strong, confident woman, usually with magical powers, who's purpose in the story is to waylay, destroy, or provide more problems for the heroics to solve.
In myths of morals, Meddling Witches are usually immoral and evil, and provide contrast to the generally good hero. In phenomenon stories, Meddling Witches trick others into causing the phenomenon, much like the Trickster would.
Examples: Circe, Morgana Le Fay -
Myth-Writing 101
#26OOOOOOOOHHHHHHHHH!!!!!!!!!!!!!!
You got told by the teacher!!!
*Snickers* -
Myth-Writing 101
#27Shadoweagle hands in his assignment to Captainpenguin:
" http://www.strolen.com/items/viewitem.php?item_id=316&offset=0&order=updated&dir=Desc&index=1 "
Please grade it :P -
Prepare for your grade!
#28*Takes out his bright green grading pen*
Let's see...
Basic Item Theory: A. Good item. I like it. This category is not part of the myth grade.
Mythical Language: A. Good use of sentence inversion and strategic Old English. The progression of sentences needs work (see the way mythic sentences progress in Boots Too Fine for the Earth)
Myth in General: A-. A little short, but good nonetheless. The item is mythically magical; that is, it was not created by some petty mage. In this case, it was just so excellent that it was magical. That's a good touch.
Myth Length/Myth Progression: B+. Just a little short. Maybe you could have provided more examples of the healing power of Colourshade's works, and not just that one old woman. The way that you provided one example and then left the rest of it to "And so, throughout his life, people came to Colourshade for peace of mind", which makes the myth feel like it has been cut short, somehow.
So...
Overall Item Grade - 4/5.
Overall Myth Grade - A-. Good work. Let's see the rest of you do some myths, yeah? -
Myth-Writing 101
#29Mmmm...
*Hangs his paper on the refrigerator*
An A- isnt bad. -
Allrighty then, folks...
#30Shadow's done it.
C'mon.
I challenge you to make me a myth.
Consider it your first assignment in my class.
Let's go people!
I know you haven't learned much, but you've learned enough to make at least a decent myth!
Ria, Agar, Manfred, Strolen, Araith! Let's get with it! -
Myth-Writing 101
#31Here's my first attempt, ProfessorPenguin...
http://www.strolen.com/npc/viewnpc.php?npc_id=219
ephe! -
Let the grades begin!
#32Fantastic!
Basic Character Theory: A. Enjoyable. Well-written and I like the idea. The only complaint is that I see little of Celdea's personality.
Mythical Language: A. Not much sentence inversion and all that, but you don't strictly need that stuff to write a myth. You have made it seem mythical without the usual language.
Myth in General: A. A little fairy-tale-like. I enjoyed the tale, and it does seem somewhat like a very bloody Greek myth. The mortal raised by animals and mortal-god marriage aspects are a very good touch. My only complaint is that the all names were very similar, except for Skuundath.
Myth Length/Myth Progression: A. Very good. The progression is fitting. This particular myth does not need to be long. The intervening years are replaced with action at the end of the tale.
Overall Character Grade - 4/5.
Overall Myth Grade - A. I enjoy! -
Myth-Writing 101
#33I copied off his paper during the test ^_^ -
Myth-Writing 101
#34I have mine written, I just have to put it through the mythalyzer to make it sound better. Can I get a short extension? -
Myth-Writing 101
#35While we are waiting on class reports, do you have any thoughts upon this article?
http://www.gamegrene.com/game_material/the_zen_of_campaign_design.shtml -
Myth-Writing 101
#36Extension granted, Milord Strolen. -
Myth-Writing 101
#37Found this on my desktop. Still not how I want it but I am certain I am not going to have time to modify it as I wished. So I will take a lowered grade but at least it isn't a F.
-------------------------------------------------------------
The Nightwalker
It is said that he drifts through the night, darker then shadows, searching for those that would defile his homeland.
Tales tell of the aforetime when the land and the people were as pure as the freshly fallen snow, untrampled by the complexities and anxieties of the outside world. The Hulan Tribe of the Ganzid strip lived in harmony with nature, masters of their environment and breeders of the famed race of powerful and beautiful dogs known as Ganzid Pures. It was the time of the awakening when encroachment from outsiders had just began in innocence. Kulanera, Chief of the the Hulans, greeted the first traveler to their land with the respect granted to only those emmisaries of other tribes. Upon them he granted gifts and warmth as a great Chief should do to a new peoples. The traveler spoke of far away places beyond the Gruuz Mountain and of waters that met the horizon. He spoke of the wonders of ships large enough to carry the entire tribe and buildings that arch overhead higher then forty men. His tales mesmorized and entertained but then the traveler began to take advantage of the Tribe. The traveler found the eye of Kulanida, the Chief's daughter, and brought disfavor upon himself by touching her without the authority of Harmonzy, god of life, and brought shame upon himself. The traveler was angered by the tribe's act of rejection and departed taking all the Chief's gifts.
Many moons passed and yet another traveler came, this one with others. They carried all manner of things which were traded for the coveted furs used by the tribes. With them the travelers brought liquids that clouded the mind and judgement. Travelers started coming with regularity and soon the young of the tribe were taken in by the wonders of the items brought in trade. Some started leaving to adventure beyond the Gruuz and brought back similiar tales of what the travelers told of. Soon more young ones departed to search for themselves and fewer yet returned. The young men of the Hulan that would hunters for the tribe slowly dissappeared leaving only the old men who began to see the folly in allowing the travelers to continue to stain their tribe. The travelers had brought dogs with them and through time the interbreeding had created a diluted group of dogs that the Ganzid Pures made look shameful. The Tribe was forced now to depend on trade but the trade was falling because there were no young men to hunt for the furs once coveted. The elders came together and had many deep discussions on what to do. They saw that the travelers only brought the ruin of the Hulan tribe and that the visits of the tribe must stop. But they were only old men and departed from each meeting with hung heads and a sense of a growing storm that will sweep their people away.
A young Hulan named Traguuz returned from his travels around this time with word of the corruption, death, and defilement of nature that the travelers have done to their land. Instead of the greatness others spoke of on their return, he spoke of the destructions of forests for wood, the wounding of the mountains to gain a golden metal, and the corruption and dirt of city life. Through clenched teeth and fisted hands he spoke of the many wrongs he had seen and the elders shook their head in shared pain for they all saw that this was the future of their people if something wasn't done. The elders showed Traguuz what had become of their tribe during his long absence and he was brought even further into anger. When he saw the polluted offspring of the once great Ganzid Pures he flew into a rage and took a club and destroyed any dog that was not a pure bred. The elders stood by and watched, at first scared and unsure, and then soon nodding in agreement as the rage of Traguuz brought a clarity that was before missing. That night it was decided that they must be freed of the influence of the travelers and they must once again regain their heritage and make peace with nature.
Traguuz and those of the elders that were still of sound body took to the hills in search of the inevitable encroachment of the travelers. A lone man came venturing into the territory of the Hulan and Traguuz took him from behind quickly and violently. Traguuz did it with such skill and accuracy that the others believed that he was imbued with the spirits of all those that they had lost to the pull of the travelers. Soon more came and Traguuz was even more successful defeating all with an otherworldly silence. Traguuz started going out alone more and more until he stopped coming back to the tribe. The elders sent searches out to find them but to no avail, he seemed to have vanished. With the dissappearence of Traguuz, the Tribe prospered and found nature once again. They were one with the land and the Ganzid Pures were once again a pride of the tribe. Life went back to how it was. It is said that Traguuz still roams the surrounding countryside making sure the Hulan Tribe will be bothered no longer by outsiders. -
Myth-Writing 101
#38Hmmm....interesting,
I would also like to suggest that my fellow class mates read some of the following tombs that can prehaps get the odd synaps firing
The Belgariad Series (The opening passage of each book gives a fair example of several different style of Myth Writing)
The Silmarillion A little heavy going but is a great help for putting your brain in gear to write Myth Style
The Assassin Series by Robin Hobb
Some great examples of "fragments" of Lore -
Myth-Writing 101
#39i think that the real world needs to be more like myths has anyone read a book called shadow mancer?
not ye olde english but wonderful in its own way -
Lesson 4: Specificity or Vagueness
#40Hey, are we done with the conversation in the back of the room, or can we go on with the lesson?
Strolen, I'll get to grading your incomplete assignment in a little bit.
In making myths sound mythical, specificity or vagueness must be taken into account. Both are important in their own way, and both can be used to make your myth sound real.
Vagueness is the lack of detail, however, in myths it can be said to be the lack of any details besides those relating to the protagonists. Vagueness is common in more primitive myths, especially those of the Native Americans, in which we can see a lack of anything not related to the protagonists and what they do.
Specificity is a focus on one thing. In myths, specificity is a large amount of detail and the inclusion of details which may not be exactly related to the plot. If modern fiction novels can be said to be myths of our age, then they can be said to be very specific myths- they include the hair and eye color of characters who are not the protagonists, non-protagonist characters are presented as actual beings, and other specific things. Specificity becomes more and more common the more modern a myth is. Hyperspecificity is a trait common to some Roman poets- the poet Ovid, in recounting the tale of Procne and Philomela, recites in fifteen long lines how Tereus cut out Philomela's tongue, and how it lay "palpitating" on the ground.
Both can be said to be important to writing myths- vagueness can be used to make your myth sparse, quick, and ancient-sounding. It has a quality of making your myths seem less like stories and more like historical recountings, whereas, specificity can be used to make your myths sound lengthy, flowery, and medieval.