Writing Characters of Lead

A character of lead is one who is yet to be affected by the energy of your story. They might be a peasant, or the son of a blacksmith, or the daughter of any random family. In principle, such a character could be practically anything as long as they are not in any way enlightened.

Lead is a metaphor for the base condition of man. In this sense, the lead represents the lowest possible spiritual level. A character at this level is yet to hear the call to adventure, and has no concept of it. They will not believe in God, or in anything spiritual (although they might claim to). They will be a human being in their natural, material state.

Going back to the metaphor of light, a character of lead could be considered entirely unilluminated. There is no higher order in them; their daily lives are characterised by fear. Lead is sometimes represented by the planet Saturn, this being the furthest from the light of the Sun. As such, it is sometimes represented by an old man with a wooden leg and a scythe, all three components suggesting death.

A character of lead has no higher calling, or even any idea of what that would feel like. They have no great battle to win, whether external or internal. Their lives tend to be a string of battles against whichever adversary appears in the moment. This is usually whoever is preventing them from gratifying whichever impulse is currently gripping them.

Three of the most salient features of lead are that it is soft, dark and dense.

Characters of lead are soft because they are passive. This softness is not physical but spiritual. Lead is extremely easy to bend, and this is also true of characters of lead. Men and women of lead are not the ones that will stand up and lead a rebellion against a tyrannical king. Instead, they yield.

This softness doesn’t prevent passive aggression. Characters of lead are capable of all kinds of passive aggression, but they lack a conception of honour. Therefore, they are not hard enough for direct assaults, and must slink about in the shadows looking for the backstab.

Characters of lead are dark in the sense that they are of the soil and live close to it. It’s likely that such a character will be dressed in blacks and browns, perhaps of sackcloth. Their facial expressions are commonly “leaden-faced”, and their manner of walking can be described as “leaden-footed”.

In many cases, the emotions of characters of lead will also be dark. Because of the absence of spiritual enlightenment, characters of lead take offence easily and hold bitter grudges for a long time. Sometimes their low frequency will make them stand out in a room of people. They regularly appear sinister to characters of higher frequencies.

Lead is also dense. This reflects the way that characters of lead are often described as not very intelligent. A character of lead is one that has extreme difficulty learning from adversity or changing their behaviour to avoid future suffering, at least in the long term.

On a metaphorical level, this density means that they are not easily affected by light. A character of lead might find themselves in the presence of a highly spiritual individual and not appreciate it. Spiritual insight is to characters of lead as pearls before swine.

Characters of lead might be noteworthy for an advanced sense of smell. Being of lead, they tend to be very close to nature, and to the soil. This can give them certain advantages. Whereas the more refined characters might be precious on occasion, the characters of lead are perfectly happy wallowing in the mud.

A character of lead can be motivated by anything, usually whatever instinct happens to flow through their veins at any moment. Typically this is fear – having no spiritual sense, the character of lead has no reason to be brave about anything. A fear of death is perhaps the most salient feature of their mentality.

Despite being passive, a character of lead can provide an impetus to your story. Their fear of death may cause them to take a cowardly action that sets off a chain of reactions. Someone else may have entrusted them with the responsibility of standing firm, only to have them yield.

Characters of lead tend to be young, because lead represents the earliest stage in development. A callow youth who is yet to learn any major life lessons, and as such does not respect his betters, is archetypal. A middle-aged character of lead might be pitifully immature, having failed to learn from their mistakes. An elderly character of lead might be on death’s door, life’s spirit leaving them.

Characters of lead tend to cause a lot of strife. Although they don’t have the outright fondness for violence that marks out characters of iron, their lack of spiritual refinement makes them unforgiving. As such, they are prone to petty feuds and grievances. The tendency is for them to leave destruction in their wake.

Because characters of lead don’t tend to have any spiritual sense at all, it’s very rare for them to think about life after death, or even further ahead than the next winter. If another character tries to speak to them about spiritual subjects, they’ll probably get a shrug. They don’t share the contempt for the spiritual possessed by the characters of iron and silver – they’re simply indifferent.

Piss and fart jokes, on the other hand, are greatly amusing to characters of lead. In fact, the more crass and vulgar the better, because that will more vigorously stick it to the snotty characters of silver and mercury. Toilet humour is the perfect accompaniment to characters of lead.

It’s common for characters of lead to serve as thieves or rogues. This is because they have very little in the way of moral compunctions – at least not when it comes to other people’s suffering. When it comes to their own suffering, on the other hand, they can be just as precious as anyone else.

In summary, characters of lead occupy the bottom rung of spiritual development. As such, they represent humans in their unrefined state. Characters of lead are not necessarily evil, although they are certainly capable of evil acts. This level is often where the protagonist of your story will start, and will only transform once the magic of your story begins.

This is an excerpt from The Alchemy of Character Development by Viktor Hellman, the sixth book in the Writing With Psychology series.

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Zomblique’s Philosopher

"The mind is like a cellar,” Zomblique's philosopher Mr. Boggs opined in a hollow voice which seemed to ring out from inside a tin can.

"The mind is like a cellar," he repeated with self-assured gusto after a long pause.

Zomblique's right hand shuddered as it hovered above the blank paper pad, the great plume of the quill wavering like a strutting peacock.

"The mind is like a cellar," Zomblique repeated deflatedly and set his pen back in the inkpot, drumming his fingers on the desk in frustration. "Boggs by name, Boggs by nature," he muttered through his teeth.

The mechanical philosopher was not working out. He could never afford another, for there would never be sufficient coin. Not so long as the only thing the wretched clockwork theorist was spouting was precisely such nonsense as this.

Truism after truism, empty beatitude after beatitude, triteness, passing conjecture, idle wonder.

Sellard's Philosopher, a dedicated aphorist belonging to his neighbour, had run like a top since it had first come into his possession. Dourf owned a verifiable man of letters, a clockwork vintage of one hundred and fifty years in age, still putting forward no less than three sweeping theories per week, publications in major journals at least once per month. His wife and children did not go hungry. Creech had a model that was a patent Fool, not even a Philosopher and it still managed to successfully produce biting satire of a somewhat dark although entertaining tone.

Zomblique bit into the lace sleeve that covered his hand and attempted to stifle the misery that clutched at his throat. A lone tear escaped. The swine rustled impatiently in the sty, the baby cried plaintively.

Fitting on his leather gloves to avoid the philosopher's sharp edges, Zomblique set his chest of pauper's tools next to the chair in which the automaton was seated.

Tuning the fickle machines was more art than science, or so he had been told, and each model was unique. No more than one was ever produced by any one craftsman. Which combination hadn't he tried? Dourf had suggested alternately tightening and loosening the brace that held the mandible in place, to no avail. His grandfather who had been the original owner of the philosopher suggested setting the misericord beneath its left shoulder deep enough so that it was pressing upon, but not puncturing, the diaphragm corresponding to the human heart.

It made no difference. He had measured the cranium and expanded and contracted the skull with drift punch and tongs – nothing. Although walking models were said to fare better, the sitting and reclining models also had their strong suits. Zomblique's philosopher had not responded favorably to any variation in positioning. He had tried setting him as if gazing aloofly out of a window, as though aspiring to grasp the heavens. He had tried posing the thumb and forefinger to thoughtfully cradle the chin.

"Hungry dogs will eat dirty pudding," Mr. Boggs mumbled.

Dourf climbed down the ladder, followed by his lanky companion, the artifice known as Vesselius. Brass bones encased in handsomely-grained walnut, studded with small levers and dials, emblazoned with esoteric glyphs and almost perfectly silent but for the quiet whirring of gears. A darkly shining monocle regarded the limp philosopher with what appeared to be sympathy.

"Vesselius, something inspiring please," Dourf requested in his unusually soft tone.

The mechanical thinker stood in silence for some moments before adopting a theatrical stance and looking to the skies as though there were no ceiling, he spoke:

"It is only the deepest motivation which inspires each and every human action, and it is the vain fear of vulgarity which lies the deepest and closest to man's heart."

Zomblique slapped his face with both palms and began to weep.

There was a long silence. The animatron maintained its pose as gears whirred, quietly contriving another profound aphorism.

"A little cynical," Dourf offered by way of consolation.

"I would cut off my thumbs for cynicism," moaned Zomblique. “Please leave us be."

Dourf and his machine crept back up the ladder to the sunlight above, a realm where Zomblique would perhaps occasionally visit, but never dwell.

To his surprise, Mr. Boggs suddenly stood up. Zomblique's jaw nearly dropped. With clacking wooden feet he made his way to the ladder and followed after Dourf and Vesselius.

"Yes, that's right you wretch. Go with them, you're of no use to me."

Mr. Boggs awkwardly clambered up the ladder. Before his head went through the trapdoor he turned to Zomblique with his typical empty expression and issued his parting words.

"The mind is like a cellar."

The mechanism left, never to return.

Through the swinging doors, the sullen Zomblique returned to the stink of the underground sty, and the croaking and barking of angry swine.

All that remained was the empty cellar, a fine chair and writing desk. Finally without either the consternations of Zomblique nor the dubious adages of Mr. Boggs there was a beautiful silence - a silence that belonged there.

Simon P Murphy is a Nelson occult philosopher and the author of His Master's Wretched Organ.

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Writing Autism Spectrum Disorder

Autism has gone from being a little-known condition to being a condition that everyone is accused of having, autistic or not. However, just because everyone is aware of autism doesn’t mean that everything they think they know about the condition is accurate. This article looks at how to write believable and realistic characters with autism.

The most characteristic feature of autism is a pronounced difficulty with social interaction, usually coupled with an obsession with certain repeated actions. This difficulty with social interaction is enough to cause immense difficulty in the lives of some autists and the people around them. This goes beyond mere awkwardness, to a point where fundamental communication becomes difficult.

From the perspective of a person with autism, much of the difficulty about living with the conditions comes from an inability to make the intuitive understandings about other people, and their behaviour, that is usually taken for granted. A person without autism (a “neurotypical”) seems to have an almost psychic understanding of how other people think and behave. Social interaction just seems so effortless for such people.

Your protagonist might have difficulty getting along with someone who has autism, on account of that the autistic character doesn’t seem to understand what the protagonist believes to be the rules of social interaction. The protagonist might make jokes that don’t get laughed at, and come to think that the autistic character doesn’t like them, when the problem is a low level of communication.

Then again, your protagonist might get along with an autistic character just fine. Autists can make a lot of sense, in their own way. Often, a person with autism will be capable of observing human interaction without all the pretense and brainwashing, and can arrive at objective, if odd and unconventional, conclusions. These can sometimes be valuable wisdom (and they can sometimes be juvenile truisms).

Viewed from the outside, an autistic character might appear as excessively orderly, to the point of dysfunction. Autists often like to ritualise certain behaviours (much like Obsessive-Compulsive Disorder), to the point where not being able to perform the ritual sometimes creates unbearable anxiety. Their speech can be likewise regimented and repetitive. It’s common for them to compulsively stack objects or line them up.

Moreover, autists often feel solidarity with other neurodiverse people, and vice-versa. Autism is entirely different to, say, schizophrenia, but much of the lived experience of autism is similar to other mental conditions. The social rejection and the anxiety about more rejection, the anxiety, the shame, the frustration, the despair: these are all emotions that mentally ill people tend to experience more than others. An autist might relate strongly to someone who also feel them, even if that person is not autistic.

If your protagonist has autism themselves, you will have to be very careful about how you render their internal dialogue, should you write about them in the first person. A lot of fiction is poorly written because the characters in it have an unrealistically high level of understanding the behaviour of other people. An autistic protagonist will frequently be baffled by the behaviour they encounter. Much of their behaviour will be a complete mystery.

One of the most dramatic things about autism is the emotional consequences of the social difficulties that arise from having the condition. The awkwardness of autism is often mistaken by other people for malice, psychopathy, pedophilia, terrorist intent and all manner of other things. This makes life extremely difficult and can make for a harrowing story (unless your protagonist turns out to be a pedophile or terrorist).

It ought to be easy to engender sympathy from your reader here, because most people are sympathetic to the sense of injustice that comes from undeserved social rejection. Despite that, the other characters might feel like they have good reasons to reject the autistic character. After all, it is hard to tell the difference between social clumsiness and malice sometimes.

Because autism is a spectrum, there are many subclinical versions of it. A character with a subclinical level of autism will be relatable for many – after all, there is no person who has perfectly smooth social interactions all day every day. For them, their autism might be something that just makes life more colourful or interesting.

Autism can increase in severity all the way up to the point where a character with it will just about live in their own world, divorced from the concerns of most of the others. Realistically, a character with severe autism will have a hard time being a major character in your story because their degree of communication impairment will be so severe that no-one else will understand them. More moderate forms could involve a degree of social impairment that can be more or less overcome.

There is reason to believe that small amounts of autism can be helpful in certain occupational fields, especially those that pertain to the imposition of order upon chaos. Therefore, an autist need not be presented as conspicuously mentally ill. They might have found a niche that suits them perfectly, in some job that requires order to be imposed upon chaos. Mechanics and computer engineers are favourites.

This article is an excerpt from Writing With The DSM-V (Writing With Psychology Book 5), edited by Vince McLeod and due for release by VJM Publishing in the summer of 2018/19.