A Writers' Call To Arms - Bring Back Real Men!

Today, I'm here to protest. No wishy-washy protesting today, no sir. However, I will nonetheless try to be as fair as possible. I have a problem - so do you - so does everyone in this world! The US especially has partaken in this horrid trend. What is it? Making men into monsters. The only reason so many horrific immoralities take place nowadays is because men aren't men. Women can do a lot, yes, but what about when we too have become debased? And even if we weren't, we're still only half the battle.
When jokingly speaking with my friend, Lucy Agnes, we got into a kind-of agreeing debate. She remarked that women had no high standards, but really ought to. And I said in agreement this: if Juliet has no balcony for Romeo to climb, then how does she know he loves her enough to climb it if she did? And at the time, I didn't think much about it. But now, as I ponder the subject more, I think how terribly true it is. We don't have any balconies. We don't even have any garden steps. Some of us have even sunk so low as to not even have a door in the way. And it's so sad. See, really, my protest here is about men, but I have to begin with someone else. The ones allowing it to happen - women. Everywhere I look in the world, women are debasing themselves for no reason. What happened to the days where a romance wen like this:
Lady is high above gentleman. He loves her and wants to make her know. So he tries. And fails. And tries again. And again. And again. And again. He does everything in his power to make her come down to him. But then he realizes that he must not let her stoop down - he must come up. So he climbs, and climbs, and climbs - up to her. And finally, he is admitted.

Now, some may think this sounds stuffy, but it's a whole lot better than this:

Lady is high above gentleman. He just says "Hey, get down here, I don't deserve having to climb all that way, and you don't deserve being up there". She comes down to him... only for him to then run away to a different girl's balcony.  
It's very sad. I hope in this comparison I have made my case concerning the part of women. Now to tackle the main subject.
Writers, ask yourself this: have I ever described men in a debasing way in my stories? Made a supposed to be sympathetic male character with no backbone, or who is effeminate? Made my leading man whiny, unintelligent, angry, or unsteady, while my villain was masculine and clever? Have I ever made my leading lady throw herself away in the hope of getting said leading man without ever regretting it? Have I viewed or described a childish leading man in my story as a good or ideal man?
If you answer yes to any of these questions without good reason, then I'm afraid you too may have fallen to the trend. What is it with us writers, then? Why is it that in the movies and books we get heroes like Harry Potter, Captain Jack Sparrow, and Iron Man? People who could care less about anyone other than themselves, even though they (with the exception of Captain Sparrow) make pretense of being heroic? They care about nothing  but their own acclaimed heroism, glory, and good name (and sometimes not even that). If somebody despises them, they don't just get over it. They despise the person back; insulting them and tricking them in whatever way possible (examples: Harry Potter always making fun of his unpleasant cousin Dudley; Captain Jack trying to double-cross Barbossa, Will, and Elizabeth constantly; Iron Man making crude jokes about whatever villain he's facing, not to mention Cap as well).

And not only that, but if they ever 'reform', it's only half way. And the writer sticks with them. Rowling often supports Harry in his poking fun at Dudley by agreeing that Dudley is fat, not so good-looking, and not incredibly clever. And what do we see in Jack's friends but people who not only deserve to be tricked, but also would backstab Jack as well on the turn of a dime? And how many Marvel fans and even Marvel makers out there are saying that Cap just needs to 'loosen up' about Iron Man? Loosen up on what? Loosen up on being a hero, on being a real man? The type that would give his life for even the random, villainous henchman who most heroes would say doesn't deserve to live? The type that would put his all into even the smallest acts, and never let go of what he believed if he knew it was good, true, or beautiful? The type that never disrespected boundaries that other people set unless said boundaries endangered someone? The type that could possibly want to remain true to the same girl for 70 years, and even afterwards, when she's dead, take her over anyone else were she still there?
And then there's Iron Man. The only heroism in him is the instinct to take glory and save lives because it makes him look like a hero. The only manhood in him is the cold definition of manhood - simply being an adult male. Iron Man doesn't even make pretense of giving up his life for people who have hurt him. He would be the one saying that the villain doesn't deserve to live. Iron Man even fights to save the world haphazardly, without plan and on whatever impulse or clever notion he thinks he has. And Iron Man only sticks to his beliefs (what beliefs he has) when they involve his oh-so precious ego. Not even to mention his habits of being a terribly unfaithful jerk.

So what is it with writers then? Why do we write these things? Well, it's a simple answer. It's because that's how things really are in real life. So we write what we see. It's another symptom of modern times - that realisticism in writing that is obsessed with making things out right down to the speck of dust realistic. No goodness, no beauty, just the singled-out dirtiest and most horrific facts. No art to writing anymore is there because of this. However, while I do have quite the bone to pick with realisticist writers (and I know 'realisticist' is not a real word, ironically enough), I shall deal with them another day. But they have helped cause this problem. The problem in society is caused by the fact that we don't want it to change. Obviously we don't, because we just write about what we see and think that's totally okay. We write these anti-heroes who never really change, these playboys who never really reform, and these male feminist wimps we would like to call men. We need to write not as things are - for that is a terrible, mottled thing in these days - but as things should be. A problem will never be solved if we are willing to just live with it.

So today, I have a challenge - a call to arms for all courageous writers out there. Today, just write one hero - a real hero. A man who knows himself, and - even despite struggles - can win over his dark side. A man who is true, good, and beautiful in the truest sense of those words. A man who is willing to climb those balconies and mount those obstacles. A man who is willing to stand strong like a mountain in the midst of a raging blizzard. A man who protects those he loves, and even those who don't love him, without credit or reward or glory. A man who does not give way to women in strength. A man who doesn't speak words of poison. A man who doesn't pitch temper-tantrums or whine or brood. A man who is not some macho braggart either. A man who takes full responsibility, uncomplaining, for all his actions, even when he knows he was wrong. A man who is just doing the right thing. Don't write the Duke of Mantua. Don't write Iron Man. Write instead Nemerino, or Captain America. A hero. Today, writers, write a man who is really a man.
What do you think? Will you respond to my call to arms? Please, take up your pen and respond to this call, much needed in these times! Every hero, no matter how small, will help in this quest. Just remember that, in artfully writing virtue - though the world is against you - you are never alone. Stand with me, writers.

The All-Time Best Writing Music Ever

Hi! I'm here today to share a list of my favorite songs to write to. I will warn you, there are very few strictly modern songs on this list, because writing music is generally supposed to inspire thought or emotion, and modern music inspires no thought and little emotion besides anger or irritation (at least In my own case), and I personally just don't like it. I have rare heard a modern song that I liked unless it was of a more classic genre (such as Il Divo!). But, anyways, that being said, I do intend to list ones that not only obscurity-fans like me will enjoy. So here you are, the best writing songs of all time not listed in any particular order (ones with an * are instrumental, and I noted the ones I use as character themes):
1. Once Upon a Time. Best version(s) by: Andy Williams (Echo Torriven from The Pain of a Memory's theme).
2. My Heart Will Go On, also known as Il Mio Cuore Va, or the theme of Titanic. Best version(s) by: Il Divo; Sarah Brightman (if you prefer it wholly in English, Celine Dion's original is not my personal favorite, but it's not bad).
3. I Will Always Love You. Best version(s) by: Il Divo; Katherine Jenkins (and Whitney Houston's isn't bad).
4. Sempre Sempre, translated as Always, Always. Best version(s) by: Il Divo (just so you know, they have the best version of most songs). ;)
5. What Now, My Love?. Best version(s) by: Vic Damone; Andy Williams.
6. My Own True Love, also known as the theme of Gone With The Wind. Best version(s) by: Original movie soundtrack*; Jose Carreras (his is the only good one with lyrics I've heard).
7. The Stag. Best version(s) by: Patrick Doyle*.
8. Adagio, also known as Anytime, Anywhere. Best version(s) by: Il Divo; Sarah Brightman.
9. Wishing You Were Somehow Here Again (from Phantom of the Opera). Best version(s) by: Sarah Brightman.
10. Anthem (from Chess). Best version(s) by: Josh Groban.

11. If I Loved You (from Carousel). Best version(s) by: Josh Groban and Audra Macdonald.
12. Time To Say Goodbye, also known as Con Te Partiro. Best version(s) by: Il Divo; Il Divo and Lea Salonga; David and Sarah Joy Miller; Katherine Jenkins (I personally don't care for the rather overrated original by Andrea Bocelli and Sarah Brightman, but if you like it, then it's plenty good for writing as well. It's just that I don't like Bocelli).
13. Hooked On A Feeling. Best version(s) by: Blue Swede.
14. Remember When It Rained. Best version(s) by: Josh Groban. (Percy and Celeise from Alomina's theme).
15. La Traviata Prelude/Overture. Best version(s): Any version true to the original music is good*.
16. What I Did For Love (from A Chorus Line). Best version(s) by: Josh Groban.
17. An Old-Fashioned Walk. Best version(s) by: Doris Day and Frank Sinatra.
18.A Time For Us, also known as Un Giorno Per Noi, or the theme to Romeo and Juliet. Best version(s) by: Andy Williams; Vic Damone; Josh Groban.
19. If I Can't Love Her (from Beauty and the Beast). Best version(s) by: Thomas Hampson!!!; Josh Groban.
20. Bring Him Home (from Les Miserables). Best version(s) by: David Miller (I regret to say that his version is even better than Il Divo's, actually); Il Divo; Thomas Hampson.
21. Old-Fashioned Wedding (from Annie get Your Gun). Best version(s) by: 1992 Revival Cast; Thomas Hampson and Kathleen Battle; (warning - this song has a high comedy content!). :)
22. Ten Minutes Ago (from Rodgers and Hammerstein's Cinderella). Best version(s) by: Santino Fontana and Laura Osnes.
23. All I Ask of You (from Phantom of the Opera). Best version(s) by: Il Divo and Kristen Chenoweth; Michael Ball and Sarah Brightman.
24. Who Can I Turn To?. Best version(s) by: Il Divo; Andy Williams.
25. Can't Help Falling In Love. Best version(s) by: Il Divo; Chris Isaac; Elvis Presley; Andy Williams.
26. The World Will Know (from Newsies). Best version(s) by: Original movie soundtrack; Original Broadway cast.
27. La Valse L'Amour, translated as The Waltz of Love. Best version(s) by: Patrick Doyle*.
28. She'll Never Know. Best version(s) by: Andy Williams (you're going to see a lot of Andy Williams, because - while Il Divo has the best music of all time - Andy Williams has the best writing music of all time).
29. When I Look In Your Eyes. Best version(s) by: Andy Williams (surprisingly dramatic considering both the cheesy title and the fact that it came from the movie Doctor Doolittle).
30. Solitaire. Best version(s) by: Andy Williams (oh man, I listened to that song like a dozen times a day - actually... I don't think that's an exaggeration, sadly - during Camp NaNoWriMo. Captain Orlando Rogan from The Pain of a Memory's unofficial theme).

31. Just Show Me How To Love You. Best version(s) by: Jose Cura and Sarah Brightman (Charles and Mina from Alomina's theme).
32. The Flower Duet (from the opera Lakme). Best version(s) by: Anybody that can sing it. The only specific version that comes to mind presently is Anna Netrebko's, which is very good (trust me, this song is so good, even a non-opera lover won't be disappointed, and might even still recognize it - it's one of the best known duets in the opera world).
33. I Won't Dance. Best version(s) by: Frank Sinatra; Fred Astaire (make sure it's Fred Astaire alone! - the duet with Ginger Rogers is terrible).
34. When The Band Goes By (from Sweethearts... which you really must check out). Best version(s) by: Nelson Eddy.
35. Sweet Surrender. Best version(s) by: Thomas Hampson.
36. Alone, also known as Solo. Best version(s) by: Il Divo (the still quite enjoyable original is by Heart, but if you don't like 80's music, then that's okay).
37. What a Wonderful World. Best version(s) by: David Miller (ha! I bet you thought I was going to list the Louis Armstrong original, didn't you? Well I threw ya for a loop. I wasn't ever a fan of that song - especially not that version - until I heard Mr. Miller's rendition. Now... I LOVE THAT SONG!).
38. Empty Chairs at Empty Tables (from Les Miserables). Best version(s) by: Michael Ball; Josh Groban; Carlos Marin (just warning you so you won't have a shock attack when you look up Mr. Marin's version; it has some of the best voice inflection and voice-acting I've ever heard in any version, but it is in Spanish, because it's from the Madrid performance).
39. Red Roses For a Blue Lady. Best version(s) by: Andy Williams (I have never heard anyone else sing it, though).
40. Without You. Best version(s) by: Il Divo; Andy Williams.

41. As Time Goes By, also known as the theme of Casablanca. Best version(s) by: Andy Williams.
42. Stranger on the Shore. Best version(s) by: Andy Williams.
43. Roses and Roses. Best version(s) by: Andy Williams.
44. Sway, also known as Quien Sera. Best version(s) by: Il Divo; Rosemary Clooney.
45. Fly By Night. Best version(s) by: Andy Williams.
46. Senza Parole. Best version(s) by: Il Divo.
47. Caruso (a song dedicated to the great tenor, Caruso, but the lyrics would work for a character as well, seeing as they don't mention Caruso by name specifically in it). Best version(s) by: Il Divo; Katherine Jenkins; Josh Groban.
48. More. Best version(s) by: Andy Williams (Blakely from Alagna's official theme).
49. It's Impossible. Best version(s) by: Andy Williams; Vic Damone (Blakely from Alagna's original but unofficial theme, as I love the song but rather disagree with one particular line of lyrics from it).
50. Beautiful Dreamer. Best version(s) by: Thomas Hampson.
51. The Grande Hall. Best version(s) by: Nox Arcana*.
52. Belladonna. Best version(s) by: Nox Arcana*.
53. Music Box. Best version(s) by: Nox Arcana* (these three Nox Arcana songs are good for really sad or scary writing, because they are very haunting and even come from an album of music meant to be a soundtrack to a haunted house).
54. Shenendoah. Best version(s) by: Thomas Hampson.
55. Don't Cry For Me Argentina (from Evita). Best version(s) by: Il Divo; Sarah Brightman.
And that about wraps it up! There were many others I could have mentioned, but I think that fifty-five is quite enough. ;)
What did you think? Are you interested in any of the above songs? Will you check them out? Any questions concerning their genre, where to find them, or how I found them? I would love to chat! :D Also, I am back to blogging now!... hopefully! ;)

Bio Of Princess Celeise I Of Tresinta

Hello! Today I am here to continue (finally) the long-abandoned feature that maybe one or two audience members may remember - character interviews. As we stood with the last interview, the vote for this next one fell to Celeise from Alomina. So here is her bio. Put any questions for her in the comments, and I will ask her them in the next character interview post. :)

Name: Crown Princess Celeise Anatria De-Vistrina Ellette I of Tresinta (what a mouthful!). Age: 18. Nationality: Tresintan. Height: Roughly five seven. Hair Color: Goldeny blond. Eye Color: Bright blue. Title(s): Princess; Crown Princess. Family: Her father, King Edarian; her mother, Queen Constantia; four younger siblings.

Bio:
Princess Celeise was born crown heir to Tresinta, being the firstborn to King Edarian. She has been mentored by her father all her life, and is deeply devoted to him and what he's taught her. She has been prepared even more than most royalty, though, because not only will she be queen one day, but has been betrothed to the younger prince of Vellethia, Lothaire, for two years at the beginning of the story. Two years before the story, the older prince of Vellethia, Lucellus, was finally crowned king, and immediately upon gaining the throne expressed a desire to Edarian to have an alliance with Tresinta. Thus, because Lucellus's younger brother, Lothaire, was unmarried and Celeise was similarly so, the alliance was decided to be a marital one.

Celeise has nothing against her training or this arrangement - she has always been so devoted to her father that she never even thought a second time about the decision except to desire that she carried it out as well as her father wished. And Edarian - lest any dumb readers eager to hate mentoring parent characters come along - has never ordered Celeise to do anything. Anything she does on his advice is completely by her own choice - Edarian even asked her when he first made the betrothal arrangement. Really, King Edarian is the only real friend Celeise has ever had - she's never desired any other. She had gained however, before the beginning of the story, a reputation in the court for being cold and haughty, because this was her way of' shooing away' gentlemen who sought her already-taken hand. This is one behavior of hers that her father does not approve of, but he has never said anything very large on the matter to Celeise. So she has gone along treating any man who tries to get close to her this way. Perhaps it is because of this reputation that no one has ever really sought out her friendship to any great degree. So at the beginning of the story, Celeise is just fine being left alone to do her duties, until a ball one night...

Anyways, that about covers Celeise. Her bio isn't incredibly interesting, but her life before the story is really very easily summed up, so that's why this is so short. She's had a very calm, peaceful life (well.. that it, until I came along to take over her life upon paper. Mwahahahaha!). ;) Anyways, though, just leave any and all questions you can think of for her in the comments, and she'll answer every one of them when I post her interview.
What do you think of her? I know she may seem boring, but there's more to her than meets the eye, though she herself doesn't know it. Also, I have a surprise after her interview! :D This time, instead of characters strictly from Alomina in the voting polls for the next interview subject, I am going to put three different characters up for vote in a completely different story, just to shake things up (plus, I don't know about you guys, but I'm terribly bored of the characters in this story taking the spotlight!). :P Anways, though, for now, just ask plenty of questions! I look forward to seeing all the lovely questions you guys always dream up. :) Also, sometimes this month, my regular blogging will return, including the comeback of Catholicism Explained, more regular character interviews, possibly book/movie/show reviews, Beautiful People, and Meet The Books!.