Categories: Public
Flash of Light
Good points raised by DPG and Richiev.
The character flaw in many fantasy movies is normally a cliche and waters down the impact of the journey. I think that both DPG and Richiev's suggestions put together are the better option only after she learns her lesson and completes her inner journey is she able to save her brother.
Karel Segeres mentioned the order of the inner and outer goal achievements needing to be that only after the MC achieves the inner goal and completes their arc are they allowed to achieve the outer goal as a reward.
Basically what this means is that achieving the outer journey's goal is a feat and raises its significants, significantly.
Impulsiveness is always a handy character trait to create new problems, but,as Richiev observed, the story seems to have a visual motif of light and darkness. How would impulsiveness fit into that motif? Or do you have another motif in mind?
Impulsiveness is always a handy character trait to create new problems, but,as Richiev observed, the story seems to have a visual motif of light and darkness. How would impulsiveness fit into that motif? Or do you have another motif in mind?
Maybe even more than just 'afraid of the dark' but absolutely terrified of it.
At night she lights her whole house with candles so there is no darkness anywhere in the house and since she was a child she has been told stories about the 'dark realm'; she was told if she was a bad girl monsters from the dark realm would get her.
(It would help if there was some traumatic experience that happened to her when she was just a child, maybe her parents were killed by a creature from the dark real, they enter our world when the shadows are dark enough)
I'm glad we're discussing character flaws. Working out the flaw for the candle maker has been a bit of a challenge for me. My initial idea was that she is impulsive, always rushing into things without thinking them through. Over the course of the story, she would have to be less reckless with her decisions, especially since lives are now on the line. But I like Richiev's idea of a fear of the dark, too.
Richiev,
I like your take, too.
In that scenario, the last thing she would ever want to do must also be the last thing she (finally) MUST do after all other options have been exhausted. Consequently, that ultimate confrontation with darkness would happen around the end of Act 2 -- it would not occur early on or anywhere in the 1st half of Act 2.
And the physical darkness could imply a corresponding subjective internal "heart of darkness" in herself that she must also confront. (Say, akin to Luke Skywalker confronting his Darth Vader shadow-self in "Return of the Jedi".)
The premise has interesting choices.
