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If you’ve ever endured to obtain up in front of several strangers and speak, you’re acquainted with the fear that you’re likely to embarrass yourself while all eyes take presctiption you.http://www.kopentiffanys.com/ , Worse, everything attention seems to magnify your every quirk, as well as your flubs can feel like they overshadow what you'll get right.http://www.buytiffanysjewelry.com/ ,Even if we’re not on stage, stress causes us to be flounder.http://www.cheapwestwoodonline.com/ , It’s simple to live our way of life based on our values and beliefs when things are going right; it’s a lot harder when we’re under pressure and in the spotlight.http://www.billigechanelzumverkauf.com/ , Carl Jung named the face we give the planet, the general public façade we use to hide things we don’t like about ourselves the persona. The flipside from the persona is the shadow, that is like a three-dimensional version of our physical shadows, packed full of things we’re attempting to hide, often even from ourselves. To become whole, all of us must individuate, or integrate, our archetypal parts into a cohesive whole. That includes the persona and the shadow. In any story, the mark of the good villain is his capability to force your hero in to the proverbial spotlight, where he'll find methods to magnify and criticize the things your hero would probab to cover. The Dark and Light Sides of the Shadow Psychologist Carl Jung thought that in spite of its function as a reservoir for human darkness—or perhaps due to this—the shadow may be the seat of creativity. Author Ralph Keyes argues that most people never publish because they’re reluctant to locate and face their shadows. Instead of acknowledge our fears by what we may find inside ourselves, we project the anxiety onto others and obsess about what they will think. Good writers push beyond the fear, Keyes says, in spite of the repercussions: “One reason a lot of good writers have such tattered personal lives is that they write as if they've no one to protect. Lucky for readers, not so lucky for writers.” Recognizing Your personal Shadow Because the shadow is, by definition, upsetting to acknowledge, we shove our awareness of it into the unconscious. This means that the only way to truly know what’s inside your shadow is to think about the stuff that infuriate you, disgust you, and horrify you above all else. If cruelty just enables you to sick, Jung would state that cruelty is in your shadow. Does that secretly mean you’re a cruel person? No, but it entails you will have an awfully hard time accepting that you really can handle the type of cruelty that makes you so sick. (And before you insist you aren't, read a bit about Phillip Zimbardo's Stanford Prison Experiment.) Many, many people are riveted by true crime and serial killer stories because they give us a method to indulge the cisco kid without actually acknowledging that the shadow is a component of us. If you’re reacting to the latter paragraphs with skepticism or irritation, you’ve found the sensation that means you’ve touched your shadow. Should you can’t face it, Betsy Lerner says, “you[‘ll] think you can’t write, but you you can’t tell. Writing is certainly not if not smashing the silence.” And don't forget: writing about it's not just like doing the work. Finding Your Characters’ Shadows Good characters have shadows, exactly like you do, as well as your characters’ shadows should repel them around yours does you. What which means is the fact that channeling your personal shadow using your characters can help you produce the types of villains that have made writers famous. If Stephen King had hidden from his shadow, The Shining would not have been written. The same thing goes for many other famous stories. Dante’s Inferno. Bret Easton Ellis' American Psycho. The Exorcist. Dr. Jekyll and Mr. Hyde. Frankenstein. Dracula. Exercise: Find Your Hero's Shadow (and Your Villain) Worksheets to help you do the exercises can be found at Archetype Fiction Articles Directions For every part, work as quickly as possible. Do not think an excessive amount of concerning the answers; your unconscious does better work when you’re not wondering if you’re doing the exercise right or criticizing the answers generate. You are able to write as many answers as you like for each part, as there is no right or wrong number. You can probably find, though, that coming up with at least five will help you get more from the exercise. PART 1. List the qualities and values which make your hero quite the hero. Examples: Is he brave? Is she selfless? Does he speak his mind even when it'll get him in trouble? Does she operate when you have no voices that belongs to them?

• For those who have trouble coming up with words for characteristics, try Sandy Tritt’s Personality Components chart (scroll about halfway on the next paragraphs) at http://users.wirefire.com/tritt/tip8.html

PART 2. List the qualities and values that make your villain a villain.

• Don’t worry about your hero, or shadows, or anything else we’ve talked about for now. Remember, it's important to develop at least five qualities or values. Again, you may find Sandy Tritt’s chart helpful.

Examples: Vengeful, dishonest, power hungry PART 3. Next to each quality or value you’ve written for the hero, write the precise opposite quality. Examples: Let’s say that some of your character’s heroic traits are charm, intelligence, confidence, along with a sense of humor. Ex 1. Quality: Charm - Depending on precisely what you imagine your character’s charm to become like, opposing traits may be things like rudeness, pushiness, abrasiveness, clumsiness, or crudity. So based on which “opposite” feels right to you, you may put 'rudeness' or 'pushiness.' Ex 2. Quality: Confidence - Opposing trait possibilities might include insecurity, narcissism, fearfulness, embarrassment, or shame, which leaves you with: Heroic Trait....................Opposite Quality Confidence..........................Shame or Confidence.......................Insecurity Ex 3. Value: Honesty - This time around we’ll use a value rather than a personality characteristic or quality. Values that are in opposition to honesty might include deceitfulness or dishonesty Heroic Trait......................Opposite Quality Honesty..............................Deceitfulness or Honesty...............................Dishonesty PART 4. Add a Behavior Near the positive qualities and values you’ve written for your hero, to the right of the listing of the precise opposite qualities you wrote in Part 3, write an example of a behavior (not a thought or feeling) that demonstrates the opposite (non-heroic) quality or value . Ex 1. (Note: The examples are simple with regard to space, but you can write around you prefer, or give types of several “opposite” or “behavior.” Heroic Trait................Opposite................Behavior Charm................Rudeness..............Telling crude jokes Confidence..........Insecurity.......'Fishing' for compliments Honesty............Deceitfulness......Burning instructions that 'tells on' your character PART 5. Compare Your Hero's Shadow (the alternative column) for your Villain's Characteristics Look into the second list you made, the one in which you wrote down the qualities which make your villain a villain, and find out if them match you’re hero’s Opposite traits, values, or behaviors. Since the Opposite qualities and behaviors are the Hero’s shadow, they must be personified because of your villain. Should you don’t visit a lot of overlap, it’s time for you to start considering how you can incorporate the “dark sides” of the hero’s qualities to your villain. In most cases, that means you need to think of ways your villain can manipulate or force your hero to express or embrace the shadow qualities you’ve listed under “Opposite.” Villains Should Personify Heroes’ Shadows A great villain is always the dark side of your hero; the best danger your hero faces ought to be that under the right pressures and because of the right circumstances, your hero could embrace the qualities which make the villain a villain—and at some point in the story, she should start to do just that, even when she will it by accident. If your villain’s qualities are actually the things your hero hates most—particularly if they scare him—he’ll do anything to bring the villain down, even if which means becoming the villain. Remember, shadow qualities are the things that infuriate you the most, which make you the sickest. We’re attracted to fight the things we hate, which means that your villain can become your hero’s nemesis only if the villain’s character and behavior really arouse an obsessive drive in your hero. The Line Between Hero and Villain is Thinner than You Think. What makes the hero different from the villain, ultimately, is choice: the hero chooses not to become his shadow, and instead acknowledges and incorporates his shadow qualities into the remainder of his personality. Oftentimes the villain is a fallen hero, someone who would have been just like the hero if he’d been able to resist the draw of evil. Even in actual life, the more we hate someone or something like that, the more likely we're to become the thing that people hate. Think about the irony of killing anyone to stop murder, as with the instances of fanatics who kill doctors who perform abortion. There’s irony, too, in the venom of these Christian anti-gay-rights activists who insist that “God hates gays.”(So much for “Jesus loves me, this I know, for that Bible tells me so…”) Martin Luther King, Jr. was one of those rare heroes who never swayed from practicing what he preached. He believed so strongly in peace he refused to hurt others in the quest for it. Consider the words of J. Robert Oppenheimer, the “father of the atomic bomb” and the scientific director of the Manhattan Project responsible for the bombs dropped on Hiroshima and Nagasakai, when he saw what his creations tried: “I'm become death, the destroyer of worlds.” Though some think that the “Little Boy” and “Big Man” bombs dropped in Japan ended WWII, even Oppenheimer viewed the deaths as unconscionable as all of the others. For years after, he was a vocal opponent from the development of more nuclear weapons. Examples Fiction is stuffed with types of heroes and their personified shadows, some more obvious than the others. Star Wars In the Star Wars saga, both Anakin (episodes 1-III) and Luke Skywalker (episodes IV-VI) are seduced through the Negative side of the Force. Anakin succumbs and embraces his Shadow to becomes Darth Vader; he later attempts to talk Luke into doing exactly the same thing. Though Luke is tempted, ultimately he not just resists but has the capacity to redeem Anakin too. Lord of the Rings In the Lord from the Rings trilogy, the Ring essentially draws each character’s Shadow to the fore; Gollum is consumed by his and also the evil within the Ring, so when Frodo carries the Ring, he nearly falls prey as well. The Matrix Within the Matrix trilogy, Neo needs to become Agent Smith and acknowledge, embrace, and overcome his own shadow to defeat the equipment world. Se7en In the film Se7en, Mills not becomes wrath, in that way he becomes the killer he’s pursued, thus falling prey to their own shadow. The Prestige Within the Prestige, Angier turns into a murderer to avenge the accidental murder his wife.(You’ll notice he has to kill off his own moral side to get it done.) The Wizard of Oz Within the Wizard of Oz, the Wicked Witch is Wicked because she wants revenge on Dorothy for killing her sister; instead, Dorothy becomes a killer by killing the Witch Fairy Tales Fairy tales are in fact sociopolitical propaganda (see Bettelheim’s classic book The Uses of Enchantment), so Cinderella and White epitomize the “good girl’s” moral path while the villainesses epitomize the “bad girl’s” path.

• White: If White embraced the type of vanity the Queen did (her shadow), she could become just like the Queen * Cinderella: If Cinderella indulged herself in self-pity and a sense of entitlement (her shadow), she could easily become like her wicked stepsisters and stepmother

How Heroes Fall When Villains Push The secret to moving your hero from the side of excellent into the gray area between good and evil would be to have your villain push your hero’s proverbial buttons. Marriage is an essential part of the planet to your hero, and the very idea of divorce outrages him? The villain will attempt to locate a method to damage the relationship by introducing temptation or doubt into that relationship. The hero’s most obvious reaction is going to be rage, and probably not only in the villain, but also at herself and her spouse to be affected. The more the relationship is damaged, the more hurt and anger will be involved and also the less likely the couple would be to repair that relationship, which causes the probability of divorce to skyrocket. When the divorce happens, part of the building blocks on which the hero bases her lifetime and identity has been destroyed, and unless she’s in a position to acknowledge and incorporate the brand new, uglier parts of herself, she’s in route to being a villain herself. Works Cited: Jung, Carl. The Archetypes and The Collective Unconscious (Collected Works of C.G. Jung Vol.9 Part 1)