#bildungsroman

[whereshadowslive]

Because the sunset, like survival, exists only on the verge of its own disappearing. To be gorgeous, you must first be seen, but to be seen allows you to be hunted.

― Ocean Vuong, On Earth We're Briefly Gorgeous

[literaryvein-reblogs]

Hi, how to write a Bildungsroman?

Like in the course of a single book, say, Jane Eyre, or in the course of a series, say, Harry Potter.

(Does it have to be linear storytelling for it to be one? Or can I go back and forth with flashbacks, still covering all the important years of a human life, say childhood, adolescence, teen, new adult, adult, etc.?)

Asking anonymously because it feels like I should be knowing this already. 😭

Writing Notes: Bildungsroman

A novel dealing with one person's formative years or spiritual education.

The German word Bildungsroman means “novel of education” or “novel of formation.”

A literary genre that focuses on the psychological and moral growth of a protagonist from youth to adulthood.

This genre is a favorite among writers who enjoy delving deep into character development, tracing the emotional and intellectual journey of their protagonists.

A specific type of coming-of-age story in which the character gains knowledge and experience, even as innocence is lost.

The bildungsroman traditionally ends on a positive note, though its action may be tempered by resignation and nostalgia.

If the grandiose dreams of the hero’s youth are over, so are many foolish mistakes and painful disappointments, and, especially in 19th-century novels, a life of usefulness lies ahead.

In the 20th century and beyond, however, the bildungsroman more often ends in resignation or death.

EXAMPLES

J.D. Salinger’s “The Catcher in the Rye”

Charles Dickens’ “Great Expectations”

Typical Structure of a Bildungsroman

A typical 3-part structure:

The set-up, which introduces the protagonist, most often during his or her childhood.

Experiences that shape the protagonist's character, often culminating in some sort of spiritual crisis or loss of faith.

The protagonist reaches maturity, which usually involves them finding a sense of peace with themselves, or of belonging in the world.

Though this structure is not always used by writers of Bildungsromans exactly as described here, it is extraordinarily common for Bildungsromans.

Another Structure of a Bildungsroman

A Bildungsroman centers on the main character’s transformation to reach maturity. Here’s how the plot may unfold:

Loss: The protagonist experiences a profound emotional loss at the beginning of the story, typically during their childhood or adolescent formative years.

Journey: Inspired by their loss, the protagonist sets out on a journey, either physical or metaphorical, to find the answer to a big question and gain life experience that will help them better understand the world.

Conflict and personal growth: The protagonist’s path toward maturity is not an easy one. They make mistakes and are usually at odds with society. But as the story continues, the protagonist slowly accepts the ideals of society and society accepts them back.

Maturity: The protagonist demonstrates immense psychological growth, change, and maturity by the end of the novel. The story sometimes ends with them giving back and helping someone else on the path to maturity.

Common Features of a Bildungsroman

There are a slew of common characters, themes, and plot devices that authors historically have used when writing novels in the Bildungsroman genre. While no Bildungsroman has all of these features, a true Bildungsroman is likely to have at least one of them.

Common Supporting Characters in Bildungsromans

The Wicked Authority Figure

The Enchanting Same-Sex Friend

The Unrequited Love

The Kindly Teacher

Common Themes in Bildungsromans

God and the Sublime

Class Struggle

Sexual Frustration

The Supernatural

Common Plot Devices in Bildungsromans

Being "sent off" to boarding school, jail, hard labor, or a distant relative's house

Alienation from one's immediate family

Financial crises and/or "rags-to-riches"

Physical punishment and/or harsh living conditions

Fleeing, running away, and travel to an exotic land

Spiritual crises and encounters

Common Protagonists in Bildungsromans

The Orphan

The Misfit

The Runaway

The Artist

Variations of Bildungsroman

Within the genre of Bildungsroman, there are several more specific terms (all of which come from the German language) that have been used to sub-categorize books in the Bildungsroman genre. While these terms aren't used commonly anymore, they do underscore the importance of the themes of growth and formation at the center of every Bildungsroman.

Entwicklungsroman: A novel of development; differs from bildungsroman in that it does not necessarily involve the process of growing up.

Erziehungsroman: (“novel of upbringing”) A novel of education; emphasis on schooling and knowledge, whether academic or otherwise.

Kunstlerroman: A novel about the development of an artist.

Zeitroman: A novel that considers the evolution of the protagonist's socio-cultural atmosphere and era along with his own personal development.

Sources: 1 2 3 4 5 ⚜ More: Writing Notes & References

Nothing to be ashamed about asking this! You can definitely use flashbacks in this genre. Hope this helps with your writing <3

[facts-i-just-made-up]

where is my blood

Yours I can't say for sure, but I remember when I had to find my own.

I sought it on the slopes of the mountain where I was born. I sought it in the streets as a young boy, on the playgrounds where I met my friends, in the classrooms where I learned what it was at all. I looked across the world for my blood, asking in every language and land. I never found what I was looking for, not anywhere no matter how far I'd go. Finally I came home so tired and defeated and so ill from my ventures that I ended up in the hospital, ready to die, never knowing where my blood was.

The doctor asked why I'd gone so far, pushed myself to such stresses, what I wanted to find. I told him I was looking for my own blood and he told me the truth: My blood was within me all along.

He then ordered a lot of psych evaluations because he insisted most people know this, because it's blood, that's where it goes. Apparently it's mostly in some sort of "circulatory system." Weird shit.

[mostlysignssomeportents]

Robin Sloan’s “Moonbound”

On June 20, I'm keynoting the LOCUS AWARDS in OAKLAND.

Robin Sloan has a well-deserved reputation as a sparkly, fizzy writer, the kind of person who can tell a smart/smartass story infused with fantasy-genre whimsy but grounded in high-tech, contemporary settings (think here of Charlie Jane Anders' gorgeous All the Birds In the Sky):

https://memex.craphound.com/2016/01/26/charlie-jane-anderss-all-the-birds-in-the-sky-smartass-soulful-novel/

In Moonbound, a new, wildly ambitious solarpunk novel published today by Farrar, Strauss and Giroux, Sloan moves out of his usual, daffy, high-tech/high-weird Bay Area milieu and catapults us 11,000 years into the future, to a world utterly transformed and utterly fascinating:

https://us.macmillan.com/books/9780374610609/moonbound

Moonbound's protagonist is a "chronicler," a symbiotic fungus engineered to nestle in a human's nervous system, where it serves as a kind of recording angel, storing up the memories, experiences and personalities of its host. When we meet the chronicler, it has just made a successful leap from its old host – a 10,000-years-dead warrior who had been preserved in an anaerobic crashpod ever since her ship was shot out of the sky – into the body of Ariel, a 12-year-old boy who had just invaded the long-lost tomb.

This is quite a move. This long-dormant, intelligent fungus originates a thousand years into our own future, long after the climate emergency had been (miraculously, joyously) averted and has arrived in a world ten millennia years even further down the line. It must orient itself from its position inside the nervous system of a 12-year-old, and we have to orient ourselves to having an 11,000-year-distant future explained by an intelligent fungus from 1,000 years into our own future.

This is doing fiction in hard mode, and Sloan nails it. The unraveling strangeness of Ariel's world is counterpointed with the amazing tale of the world the chronicler hails from, even as the chonicler consults with the preserved personalities of the heroes and warriors it had previous resided in and recorded.

And in this curious way, we learn of the history of the chronicler's world, and of the strange world so far into the future that Ariel lives in – and becomes incredible consequential to.

Start with the chronicler's world: on the way to solving the climate emergency, the human race figured out how to cooperate on unimaginably massive projects (for example, addressing the world's runaway carbon problem). This pays huge dividends, ushering in a period of thrilling innovation, as humans and the nonhuman intelligences they have constructed collaborate to explore out planet, our solar system, and – thanks to a faster-than-light breakthrough – our galaxy.

A crew of seven are dispatched to the ends of space with great fanfare – but when they return, they are terrified and full of grim purpose. Something they met out there in the galaxy has convinced them that humanity must never look to the stars again. They blanket the planet in a cloak of dust and establish a garrison on the moon from which they destroy any attempts to leave the Earth.

This triggers a savage war against these seven "dragons" and their moonbase. The chronicler's warrior – the one who was entombed for 10,000 years before being discovered by Ariel – was shot down on a last-ditch attempt to destroy the dragons and their base on the moon.

Flash forward 10,000 years. Ariel lives in a weird, medieval-type village, albeit one in which the peasant-types all wear high-tech performance all-weather gear…and the animals all talk. It's a very strange place – there's a sword in a stone, a wizard in a tower…and an airstrip.

Even as the chronicler is trying to make sense of this anachronistic muddle, Ariel is marching towards his destiny. In short order, he finds himself in fear for his life, and then – for the first time in his life or the life of any other villager – Ariel leaves the village.

This kicks off the road-trip part of the novel, a real bildungsroman that sees Ariel, the chronicler, and a whole Wizard-of-Oz's worth of road pals (including a rusty tin-man type robot who is part of a hive mind of thousands of other robots all over the world; oh and a talking beaver) (oh, and a dead guy) (and there's an elk with a symbiotic beehive in its antlers that dribbles a stead stream of honey down its muzzle).

My editor Patrick Nielsen Hayden once articulated a theory of how science fiction works: you have the world, which is a kind of grand thought experiment, and you have a protagonist, who is a kind of microcosm of that world. Think of the world as this big, heavy gear, and the character as a much-faster-spinning gear that meshes with the world, spinning and spinning, pushing the world inchingly around a full revolution:

https://pluralistic.net/2022/07/26/aislands/#dead-ringers

The chronicler is a perfect microcosm of this strange world, where dozens of great civilizations have arisen and fallen – the ruins of a great society of hyperintelligent rats turns out to be very useful on one part of Ariel's quest – and where the dragons brood overall, a menace in the sky that the Earth's inhabitants have all but forgotten, but whom the chronicler can't ignore.

Sloan is really having a lot of fun with his talking animals; his transdimensional gods; his space-maddened, murderous lunar AIs. On the way, he's doing all kinds of really cool tricks – like asking us to really sit with the idea of giving moral consideration to the nonhuman world, including "beings" we currently think of as inanimate objects. This is a great riff:

https://pluralistic.net/2022/06/07/more-than-human/#umwelt

Sloan's debut novel, Mr Penumbra's 24-Hour Bookstore, mixed the tropes and sensibilities of tech culture with a beautiful, escapist fantasy, a "curious little magic shop" tale that was absolutely delightful:

https://memex.craphound.com/2012/11/16/mr-penumbras-24-hour-bookstore-the-perfect-nerdish-fantasy/

And with Sourdough, Sloan's second book, he took that same fascination with the numinous (and with nerdy, obsessive hobbies) to the microscopic plane, with a tale of microorganisms and mystery:

https://memex.craphound.com/2017/09/05/sourdough-a-delicious-story-about-nerdism-and-the-flesh-by-robin-mr-penumbra-sloan/

Moonbound delivers Sloan's third – and best! – fusion of fantasy and science fiction, delving deep into the meaning of personhood, language and moral agency with a road-trip story that visits a dazzling collection of wildly imaginative settings and societies in an epic quest to slay the dragons on the moon.

If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:

https://pluralistic.net/2024/06/11/penumbraverse/#middle-anth

[courseyoulovemeyoudontknowme]

The Half of It (2020, Alice Wu)

10/11/2023

The Half of It is a 2020 American film directed by Alice Wu. The film is loosely based on Cyrano de Bergerac by Edmond Rostand.

The film was released on Netflix on May 1, 2020.

[headinthecloudssss]

— Harper Lee, from To kill a mockingbird

[haveyoureadthisbook-poll]

[abybweisse]

Why is it that Sebastian seems to somehow be in control when dealing with Our Ciel, but appears to be dumbfounded when dealing with BD Real Ciel? Has something changed within this demon butler? Where is Sebastian's sneakiness, and underhanded cleverness?

The best I can tell is because Sebastian is bound to our earl in that contract, which has some wiggle room for him... and even though there's some novelty about this contract, it's not his first. He knows the loopholes in the contract and can act accordingly. And he knows what makes his young master tick.

But he's still trying to process exactly how real Ciel even functions as well as he does. He ate real Ciel's soul, but that doesn't seem to bond them together. Not like that, anyway. He's honestly confused.

He has no control over anyone who is soulless. I don't think he can comprehend their thought processes and might not be able to anticipate their moves or choices too well, because of that. Hell, he can't even tell a bizarre doll is in the same room, let alone anywhere within the vicinity, without actually seeing them. That's why he couldn't detect Arden and his friends at Weston when he used demon senses to search for them, felt weirded out when he touched Agares' hand, and couldn't locate any of the star lords at Sphere Music Hall -- they were probably simply hiding just out of sight.

This is a major learning experience for the demon. This is completely outside the purview of his knowledge. It's new to him... and kind of scary.

I should think it worries him also because he must now question what he's said in the past about not being able to get back what was lost.

Of course, what has returned isn't quite the real Ciel that our earl once knew and cherished. It's a nightmarish approximation. Merely a physical manifestation, literally without soul. But the physical manifestation still evokes deep emotions.

So, the demon finds himself in the weeds on this one. How do you handle a reanimated corpse that's "chock full of episodes"? Can you just cut it down in front of its loved ones? Our earl doesn't accept this bizarre doll of his brother as "his brother returned", but I don't think he would handle it well if Sebastian just went over and crushed real Ciel's head. He has to let his young master decide how to handle the situation.

I still anticipate their final confrontation to be more emotional than physical, between the twins. Maybe real Ciel will be more physically aggressive than our earl. And for Sebastian to be somehow barred from intervening on his young master's behalf... much like how Lucas didn't want to harm his dead and reanimated older mirror twin, Claus... and how Boney couldn't protect or fight on Lucas' behalf... during the twins' final confrontation in Mother3.

[johbeil]

Sie nannten ihn Vokuhila

Alle in der Grundschule hatten Angst vor ihm. Es hieß, er esse lebende Frösche zum Frühstück, mit einem Glas Wodka und zwei Rothändle-Zigaretten dazu. Selbst im Winter trug er Shorts, so dass die rot-schwarz-grünen Tätowierungen wilder Fratzen an seinen dicken Beinen für die ganze Welt sichtbar waren. Er schritt mit weit ausladenden Armen und wankend wie ein Seemann dahin, dass die langen…

[ascripturientlife]

writing “romantasy” and I’m like, wait. what do you mean the “roman” doesn’t mean Bildungsroman???

[tinyreviews]

Writing Tips: Coming of Age

A Bildungsroman is a literary genre that focuses on the psychological and moral growth of the protagonist from childhood to adulthood (coming of age). This genre is rich with themes of personal growth, self-discovery, and maturity. 

1. Initiation and Emotional Loss: Bildungsromans often begin with a significant emotional loss or a disruptive event that propels the protagonist into their journey of self-discovery. This loss serves as a catalyst for change and marks the end of the character's childhood innocence. 

2. Quest for Answers: The central character in a Bildungsroman is typically a sensitive individual who seeks answers and meaningful experiences. They embark on a quest, whether physical, emotional, or intellectual, to gain a deeper understanding of themselves and the world around them. 

3. Gradual Maturity: The primary goal of the Bildungsroman is the protagonist's maturation, which occurs gradually and is often fraught with challenges and obstacles. This journey towards maturity is a central narrative thread and can encompass a range of experiences, from education and personal relationships to self-discovery and self-acceptance. 

4. Conflict with Society: A common element in Bildungsromans is the conflict between the protagonist and society. Initially, the protagonist may reject or rebel against societal norms and values, leading to tension and conflict. This clash with societal expectations is a crucial part of their growth. 

 5. Acceptance into Society: As the story progresses, the values of society are gradually embraced by the protagonist. They begin to understand and appreciate the norms and expectations of their culture or community. Ultimately, the protagonist is accepted into society as a mature, responsible individual. 

*There is increasingly a modern subversion to this, where it is the society that changes and learns to accept the different views of the protagonist. This is a great example of a flat arc.

6. Helping Others: In some Bildungsromans, after achieving maturity, the protagonist may use their newfound wisdom and experiences to help others. This can be a redemptive element, where they seek to right past wrongs or positively influence the lives of those around them. 

7. Resolution and Character Development: Bildungsromans typically conclude with a resolution that highlights the protagonist's personal growth and transformation. They are no longer the same person they were at the beginning of the story, and their journey towards maturity is complete. 

8. Variations and Themes: While the Bildungsroman follows a general pattern, it can take on various themes and settings. Whether it's a classic coming-of-age story in a school setting, a tale of self-discovery in a distant land, or a modern exploration of identity, the genre is adaptable and relevant across cultures and time periods.

One popular example of a coming-of-age story is Are You There God? It’s Me, Margaret(book and movie). I reviewed the movie here.

This is part of my Writing Tips series. Everyday I publish a writing tip to this blog.

[odysseywritings]

Could

@flashfictionfridayofficial

Why not a lawyer, a doctor, or an engineer? Born and raised with all the resources a kid had for a successful education. A plethora of books from physics to history, a school in a decent neighborhood, and swept up in the girlhood zeitgeist of nothing being impossible. So why couldn't Abigail meet those expectations?

Different scenarios played in her head, rewinding to important, or seemingly important, moments that were at crossroads for the future. None of them satisfied her, so she spent half her time in her head and half in menial jobs. Abigail tried to live in the moment with partners, hobbies in clarinet and ceramics, volunteering at shelters. But that shame of not rising above her background sunk its teeth deep in her brain.

Abigail went from an energetic girl to a hopeful teenager to a cautious adult. It seemed hardly feminist to be saddled with lingering issues at home and at life when career and independence were the forefront of anyone who wanted to be a somebody. Yet she wouldn't admit how much dealing with physical and invisible pain affected her sleeping and eating, let alone any kind of ambition. Nor how friends would go separate ways without catching up or being there when her family wasn't around. When her prodigal and dutiful sister was off chasing her dream since childhood.

Her own dreams were a muddled mess of interests bubbling up and down in a stew with no ingredients tasting well together. Some days she wanted to learn how to be an actress, an astronaut, or a famous musician. Other days she wanted to stay in bed like a body in a casket. Too much and too little and time was inching closer to trap her in quicksand.

But she needed the right words as road signs reminding her of unsung accomplishments. Having the will to go on despite hardships. Being helpful and kind to those who need it. Having the intelligence and introspection to change life and self to make sense of it all. Professionals are in no short supply, but somebody like Abigail only arrives in life once, and it could make the difference if anyone made it clear to her.

[galamurphy]

"That's the thing about girls. Every time they do something pretty, even if they're not much to look at, or even if they're sort of stupid, you fall in love with them, and then you never know where the hell you are."

"The Catcher In The Rye" by J. D. Salinger

[symphs-space]

THE BAD KIDS AS CHASE PETRA SONGS BC I CAN!! Part One!

Adaine Abernant - Monet Issues

Fabian Seacaster - Pacific

Figueroth Faeth - Bildungsroman

[simplyonemore]

Solve riddles with Billy Argo, who suddenly finds that he is a thirty-year-old adult! No, it wasn't magic, he just forgot to become an adult. You'll find a viscous path through depression and loneliness. Definitely interesting! I really liked the text stylization with children's riddles, which appear here and there in the novel.

Pinch of retro vibe in my alt-cover.

[betweenthetimeandsound]

Within these walls, I wonder, and I find poppies growing out of the cracks, falling with the leaking of rainwater and crow's feathers. A lark sings its song; while i know I will face God with only one eye-- scarred and crying acidic tears, tearing on softened flesh. But four years on, my feet are covered in frost, the absolute ceiling still open, still unconquered. In cigarette burns, I could mutate into a phoenix, relishing on my pride, and lusting for the sun. Even then, its rays will give out. So I must go, for I know I will face God with only one eye. --Elda Mengisto