Elements in Myth-Making

I regard every endeavor to communicate ideas as the building of myth.  Making a movie, composing a song, writing a science text, performing a magic act, building a diorama for a museum... all of these acts are conveying a story.  Below I list what I think are the four essential keys in making a myth regardless of what "mode" one is working in.

Key 1:  Put the audience in a place that’s unfamiliar, even if only in a small way.

• Objective:  Neutralize biases and prejudices in order to open the mind to new ideas.
• Note:  Whether or not the audience knows this is a device that is being deliberately employed is not relevant as long as it’s cleverly done.  Those “in the know” will simply (rightly) think they are in on the game and will willingly suspend disbelief as a gratuitous response to your ingenuity.  This is the area where those who work in non-fiction and/or realism can really get creative.
• Tool:  Irony (the driver of existential angst, the foundation of Humor and Paradox, the substance of comedy AND tragedy, the element that makes magic and illusion possible, the invoker of the laugh/cry/awe response.)
• Irony Scale:

Absurd-----------------------------------------Satirical-----------------------------------------Hyper -Logical

“Absurd” environments are ironic in that the more utterly bizarre, whimsical, foreign, and chaotic they are the more like real life they seem.

“Satirical” environments are ironic in that certain elements are expanded to the unreal extreme in order to reveal flaws that those same elements possess even in their actual proportions in the real world.

“Hyper-Logical” environments are ironic in that they are full of unreal objects that nevertheless follow the rules and logic of the real world.  All non-fiction literature fits into this category, as even non-fiction literature consists of idealized objects (especially science texts).  Magic tricks fit in this category as well, since it’s known that ordinary science and logic are at work even though the eyes insist otherwise.  Realistic sculpture also fits into this category, as the joy in viewing such sculpture is partly in how one’s brain struggles to let go of the notion that what it is looking at IS real.

Key 2:  Introduce relatable characters.

• Objective:  Help each listener place her or himself within the unfamiliar environment.
• Note:  Variations on themes, composite characters, and ambiguous characters can be very effective if used with care.  For historical and/or scientific narratives the characters are given, but the listener still relies on the narrator to give those characters life.  (Thankfully, truth actually is stranger than fiction!)  For performance artists (like magicians), this is where one’s stage mystique comes in.
• Tool:  Archetypes
• (See Archetype List)

Key 3:  Invoke a compelling cause.

• Objective:  Implant motivation to listen.
• Note:  This becomes the plot, with all twists, surprises, and subtexts (which you’ll need in order to keep the audience guessing).  The cause can be given life by way of monsters that most reflect the spirit of the cause, i.e. the cause is restoring wealth to a village, so a dragon that hoards wealth (and threatens enslavement to poverty) is the object of the quest.  Keep in mind, though, that sometimes the cause is just the sharing of factual knowledge (in which case the monster is simply ignorance that threatens slavery to lies).  “Factual myths” are those that attempt to explain natural phenomena (such as a science text).  In such narratives, reminding the listener of the importance of gaining knowledge (and the dire consequences of willful ignorance) will often increase interest in the narrative.  For performance artists, the monster to be defeated is the trick or feat that nobody has accomplished before.
• Tool:  Existential Threats
• Existential Threat Types:  Exile, Bondage, Torment, Oblivion
• Monster -- that which possesses human-like intelligence and/or desires but is nevertheless not human, where this state of affairs predisposes said intelligence to initiate various kinds of destruction upon human beings:

The cursed:

Vampire – any being that is highly intelligent and physically powerful but must feed on the spirits of others in order to survive.  That is, the being is mentally and physically alive, but spiritually dead.  The stealing of blood is typically the manner by which spiritual power is transferred from the victim to the vampire.  It is usually important that vampires can turn others into vampires and that vampires can assume other shapes.  A vampire might also be portrayed, however, as an extremely negative (and probably verbally abusive) person.

Therianthrope – a being that is part human and part beast.  The human element might simply be human-like intelligence or desires within a recognizable beast (such as the dragon in our example above… other fantastical creatures can be called upon, including creatures from other planets), but it can also be physical features that are human-looking combined with animal features (such as the body of a man but the head of a bull).  When these beings are portrayed as monsters, it is typically in order to highlight a beastly appetite for flesh coupled with human-level cunning.  In fact, these creatures are usually exceptionally intelligent and physically powerful, but they are also consumed with rage and an unstoppable desire to slaughter and rape.  The ability of this creature to sometimes appear as a normal human being is often important, as is the ability of some versions of the creature to turn victims into one of its kind (especially werewolves).  Such a creature might also be portrayed as a human who is mentally abusive, possibly even a serial violent abuser (killer/rapist).

Undead – a being that seems to be dead in spirit and in higher brain functions, but who nevertheless lives physically and is, therefore, fixated upon the “need to feed” (movie zombies are a classic example).  Undead wander around aimlessly searching for those who have the warmth of life.  It’s usually important that the remains of their victims can take life and become undead.  Undead might also be portrayed as intensely co-dependent people who are frequently physically abusive.  Stalkers might fit here as well.

The exiled:

Phantom – being already dead and therefore no longer fearing death, incorporeal spirits are the most inhuman of all.  A phantom is such a spirit who is visible to others, but who, for our purposes, does not engage others.  The frightening aspect of a phantom is in its utter dissociation.  Perhaps we see it as it performs the same task over and over, usually some mundane thing it was attempting to complete before it died.  We are chilled when we experience such a being because we imagine that it suffers from a kind of hellish insanity; we are terrified by the thought of what might happen if we disturb it.  Phantoms represent our deepest regrets.  A phantom might also be portrayed as a person just going through the motions of life, bereft of hope, mostly unnoticed, and utterly alone.

Poltergeist – for our purposes, an angry spirit.  They’re frightening in all the ways that incorporeal spirits normally are, except these in particular are very unpredictable.  While not typically empowered to do harm they are very convincing in threatening it.  This monster can also be portrayed as an otherwise quiet person who has frequent and unpredictable outbursts.

Revenant – for our purposes, a vengeful spirit.  They’re frightening in all the ways that incorporeal spirits normally are, except that these in particular wish someone harm and have the power to deliver it.  (Vengeful mummies, though not strictly ghosts, probably fit more into this category than in the “Undead” category, but it obviously depends upon the perceived intelligence of the mummy.)  This monster can also be portrayed as any person who is obsessed with revenge.

The damned:

Wraith – for our purposes, a sprit whose presence can be “felt” but not heard nor seen.  They’re frightening in all the ways that incorporeal spirits normally are, except that these in particular induce paranoia.  You know it’s there, but you don’t know what it wants or what it’s doing.  As a result of its absolute isolation it may desperately take to using its only subtle influence to drive people mad.  Recently, this monster has taken the form of shadow governments or corporations.  It might also be portrayed as an “invisible” person who nobody notices but who copes with their loneliness by keeping a secret hand in everyone’s lives.

Golem – a living and usually sentient thing constructed out of non-living material (including dead tissue, such as Frankenstein’s monster).  Usually the frightening thing about such a creature is that it has no sympathy for humankind (not really being human itself) and therefore has no compunction about destroying it.  Robots are a classic version of the golem.  When the golem is a human character, it’s typically someone whose psyche has been shattered somehow and then poorly reconstructed.  The result is a period of normalcy or even exceptional calm that lulls others into a false sense of security until the person “snaps” and sets out on a rampage of destruction.

Demon – for our purposes, a hateful spirit.  They’re frightening in all of the ways that incorporeal spirits normally are, except that these in particular are bent on the torture of all they meet and they have the power to deliver it.  The motive for this behavior is not revenge and the demon is not murderous, per se.  The demon simply enjoys seeing others suffer as painfully and for as long as possible.  Particularly distasteful are its methods:  the possession of one’s mind and/or body.  If human, this monster can only be portrayed as a person of exceptional skill in manipulation and possessing a talent for heartless cruelty.

Key 4:  Utilize the proper medium for the message.

• Objective:  Select the most appropriate manner in which the story will be conveyed and/or disseminated.
• Note:  The medium shapes the message.  Will the story be told most potently in a poem? In a novel? Is it a story that is best served in the intimate confines of a playhouse? Should it employ puppets? Will it only work as a comic book or a high-budget film?  Utilizing the proper medium is very important.  In fact, many times the medium is selected before any other key to the story is fleshed out.
• Tool: Narrative Type
• Narrative Type Scale:

Authentic---------------------------------------Intimate-----------------------------------------High Fidelity

“Authentic” narratives use stylized and/or impressionistic expressions.  They are poetic and lyrical.  What makes them authentic is that each listener can experience the narrative in the most unique way.  (Music, songs, poetry, abstract art.)

“Intimate” narratives are less stylized than authentic ones, giving the listener less latitude in how the narrative is interpreted and a greater glimpse into the mind of the narrator.  (Certain kinds of literature, plays, art that is not realistic but has a realistic element or quality.)

“High Fidelity” narratives use strong, unambiguous symbols that suggest or even insist upon a very specific interpretation, conveying very faithfully the precise vision of the narrator.  (Realistic cinema, realist painting or sculpting, non-fiction literature.)

There is something to be learned, a lesson, within every myth.  If these keys are executed properly, then the lesson can be taught in a manner such that the listeners might not even realize they’re being taught.  The listeners won’t have to be coaxed into hearing the lesson, but will beg to hear it over and over again.  This is the goal of myth, to open hearts and minds so that they might receive the lesson, whatever it may be.