Charisma and Statues

For the first time, it finally feels like Montiere exists.

I am writing Chapter Thirteen in sections. It feels like half will be dedicated to Mabel's adventures (of course) and that the other half will be given to the history of a minor villain that Mabel faces off against at the end of the chapter. But the chapter is not about the minor villain. It's not even about Mabel.

It's about Montiere.

And I'm completely terrified. Have I mentioned my love of villains, and consequently, my fear of failing at creating them? Writing Montiere up to this point has been like trying to make a rope out of sand. I knew all about Montiere in the abstract sense: what he believed, his creed, his followers. But whenever I had to actually write a scene with him in it doing things or speaking, my brain just shut down and I would end up staring at a wall for thirty minutes before I wrote some rather half-baked paragraph.

It was a friend who finally hit upon my problem with Montiere. For a man who is obsessed with the human form, I had yet to give him a real description. And his appearance had never fully congealed in my brain either. This was a break-through of sorts. But what would he look like?

Once again, a great example of how a great thinker/reader can help. It was a simple email exchange, and this line triggered something for me. It triggered something because although Salieri wants to be Montiere, there's a core difference that Salieri will never be able to bridge. Something in this detail made me realize a way to convey that.


...like Salieri versus a beautiful statue that's a little weather worn but I know it's eyes have seen way more than I'll ever see.  Like that.  
Which prompted me to point this out to my friend. Then she wrote back.


(If Montiere's the weather worn statue, I just imagined the copy of Michelangelo's David that's in the plaza coming to life.  It's beautiful and eerie, and I wouldn't want those great stone eyes landing on me!)


This week while working on Montiere, I googled dozens of different statues. Famous generals, gods, and heroes. Ancient mostly. And oddly enough, it was Michelangelo's David that I settled on. I left the image open on my computer and looked at it while I wrote Montiere, as if it was a lifeline. I always image Montiere being older than the David looks, but there's something in his gaze and stance, a sense of justice and confidence that just... works. 


We'll have to wait and see about the writing.