On May 20, 2019, Katie W. wrote, Any tips on writing a political conspiracy? In (one of) my WIPs, the queen is a commoner from the poorest part of the country, and the nobles want to get rid of her so the king will remarry. They try enlisting a dragon to steal the crown princess (creating a Rumpelstiltskin retelling), and eventually they poison the king and drive out the king and princess, but I have no idea what goes in the middle.
Christie V Powell had questions and suggestions: Hmm… what’s the POV? Is it the queen? Your explanation here focuses more on the nobles, so is the main character(s) a noble? If so, you can list out the steps that they will have to take to reach the queen (step 1: find dragon. Step 2: convince dragon to help… etc.). If it’s the queen, you can use the same list, but then brainstorm how she finds out about it, how much she finds out about it, and how this impacts her character. What does she want? Is she happy being queen, or does she find herself missing a simpler life? That will impact how she reacts to the conspiracy.
Here’s an example of how you might plot it out using a list: Step 1: find dragon. What queen knows: some people don’t like her, but not what they plan to do about it. How that affects queen: frustrated because she’s doing her best to be a good ruler. Step 2: convince dragon to help. What queen knows: glimpses a dragon in the distance but assumes it is wild. How that affects queen: annoyed that yet another (apparently separate) problem has emerged…
Katie W. answered, Actually, it’s from Rumpelstiltskin’s perspective. I wrote a short story of the kidnapping attempt alternating between his perspective and the dragon’s. So I have a pretty good idea how that part is going to play out. What I’m stuck on is what happens after the attempt fails. The nobles don’t give up, but what do they try next? Something happens during the fifteen years between the kidnapping attempt and the king’s death, but I have no idea what it should be.
I agree with Christie V Powell that POV is important here and whenever we’re dealing with a conspiracy, because conspiracy means secrets, and how does the POV character find out what’s going on? (Of course, POV is important in every story.)
Conspiracy is wonderful, because it brings in an obstacle for our MC and the characters the reader is rooting for. So we don’t want to make the secrets easy for Rumpelstiltskin or the royals to penetrate, and we don’t want to make them impossible. We need to start thinking about Rumpelstiltskin’s powers and also the kinds of access to information that the royals have, like their spy network, and who’s loyal and who isn’t. We’ll have to work out a lot about the royals, too. How vulnerable is the king? The queen? The princess? What are their strengths and weaknesses?
In my opinion, it’s nice to give our villains, in this case the conspiring nobles, complexity. What’s their side of the story? Is there one particular noble who leads the pack, someone we can focus on? Is there anything in the king’s rule that’s genuinely problematic? Does the queen have a role in the kingdom’s woes? And what’s good about their rule? What positive contributions have they made? How is the queen a good monarch? How can we reveal all this? Is there a council? A parliament? Does the king have advisers? Does he hear from his subjects? Is Rumpelstiltskin himself at court, so it’s easy for him to observe?
Obviously, I’ve learned a lot about the expulsion of the Jews from Spain lately. My sympathies, of course, are with the Jews, but I’ve made discoveries about the monarchs, too, and the reasons they believed the expulsion was right. For example, the Jews, by their presence and because of popular opinion against them (made worse by some clerics), caused unrest among the majority Christian population. Another example: the monarchs thought that almost all the Jews would convert (roughly half actually did), and they believed their souls would be saved.
Political upheavals don’t come out of nowhere. Maybe the nobles believe that commoners are inferior by nature and unfit to rule. If the queen wears a gown that to them seems unsuitable, for instance, they regard her fashion choice as emblematic of the wrongness of a commoner in such an elevated position. If the king issues a decree they disagree with, they regard it as an example of her bad influence. We want to show all this.
So what else will fill in Katie W.’s middle? Here are two strategies, and both can be used in the same story.
The first is along the lines suggested by Christie V Powell: What’s the desired outcome, and what are the steps to achieving it and the obstacles along the way?
The second concerns the characters. Who is Rumpelstiltskin? Why does he care about the kingdom, the monarchs, the nobility? Does he have another story that dovetails with this one? His story will fill in the middle and carry the story to the end.
Fifteen years are a lot. Maybe Rumpelstiltskin is a young gnome at the beginning and he has to grow up a bit before he can take on this challenge. Some of the middle can go to his growth: the challenges he faces, the conclusions he draws, and how both make him the right–or wrong–gnome for this job.
Let’s assume that he’s an outcast, as the fairy tale suggests, but he craves acceptance and understanding. In his eagerness to help, he makes mistakes, which reinforce the reasons that he’s ostracized. Also, his attempts to help, even when he does nothing wrong, are misinterpreted. If the reader cares about him, his progress toward acceptance will be the most important thread, and his success or failure will determine whether the ending is happy or sad.
Say he makes the safety of the king and queen his top priority. Then he’s spending a lot of the fifteen years infiltrating the nobles, finding out what they’re up to, foiling their attempts. Might he find himself at one point sympathizing with them? And then shifting back. Does he want the dragon to succeed, or does he want to save the family himself, unaided? How does he feel about dragons?
Say he meets the princess and she’s kind to him. What are the consequences of that? Or she might be cruel, and he’s still trying to save her miserable life.
Or the king is cruel.
Or just by watching these humans, he forms opinions of all of them, from the royal family to the nobles to the people in the queen’s hometown to the dragon. How does all that influence his actions?
The same goes for the other characters. What do they want? How do their goals intersect with Rumpelstiltskin’s?
Going back to what I said before, that fifteen years is a big chunk of time to cover–it’s hard to make so much time tight. If we can’t shorten the time span, we can use telling to get the reader through. In a paragraph or a page or two, we can summarize the years, stopping now and then to show the most important moments. When we’re up to date, we return to showing and start the play-by-play action again.
Here are three prompts:
∙ Rumpelstiltskin, held in contempt by everyone, knows he’s a good gnome. His goal is to be one of the king’s councilors in the Kingdom of the Peaceful Valley, where there are more disputes than there are water droplets in the River of Harmony, which runs through the kingdom. Write his first attempt to interest the king in his qualifications and his virtues. If you like, keep going to write the whole story.
∙ The dragon, who happens to be a genius at playing parties against one another, attends a castle ball and mingles (he’s quite a dancer!), sowing resentment and mistrust among the nobility. Write the scene.
∙ The princess, who cares most about her mom and who recently heard about the circumstances of mom’s marriage to daddy, the king ( the whole turn-straw-into-gold-or-be-executed thing). The princess loves her father, too, but thinks he needs a lesson in empathy. Write how she delivers the lesson and how it goes.
Have fun, and save what you write!