DRAFTEE OR VOLUNTEER, Part 2, CONSCIENTIOUSLY OBJECTING
So, last time, I talked about my own “investment” in war and peace in a family that disputed the ethics around these issues constantly and noisily.
The characters in One Way In are a blend of service-minded and relatively well-behaved citizens who become soldiers out of a particular sense of idealism, and opposing them? A rather militant pacifist.
It took months filed with serious emotional research to come up with a character who could take the stage with the same compelling stature as these admirable, personable female citizen-soldiers and conscientiously object to their choice.
This person had to be and remain their friend.
This person had to have a compelling backstory that could create a persuasive point of view.
MOST OF ALL, THIS PERSON HAD TO BE A MALE.
As a said in my last post, while the war that defined a particular sensibility and easily held point of view was opposition to the Vietnam War. Yet, as I also said, by the time I was ready to embrace a particular cause, the war was winding down, it was no threat to me in terms of a draft, and I found my own cause to be feminism.
As a result, finding strong heroines was instinctive and relatively easy.
Making them soldiers out of conviction was also easy.
Creating strong, collaborative, equally endearing, yet oppositional male figures was really difficult.
My first males were straw men, weak, dubious, basically doormats on the stage I’d made.
The stories that have always appealed the most to me, whether movies, tv shows, or yes, War and Peace, are narratives that have idealists of differing temperaments.
When I found and drafted suitably strong and idealistic males, and, as a result, had the coed cast the production required, the show could go on.
NEXT TIME: THE SOUNDS OF SILENCE.
Lars lost his battle with