The Ring of Gyges

Wouldn’t it be amazing if you could make yourself invisible at will? Do you wish you could just disappear and reappear when you wanted to? If you had the Ring of Gyges, you could.

The philosopher Plato discusses the Ring of Gyges in The Republic. He uses the ring as an allegory, similar to his use of Atlantis and his famous allegory of the cave.

In Plato’s ring allegory, Gyges is a shepherd in the country of Lydia. An earthquake uncovers the opening of a cave, which Gyges discovers while tending his flock of sheep. He goes into the cave and finds a bronze horse statue with its torso opened up. Within it is a man’s corpse with a golden ring on one of its fingers. Gyges takes the ring. He finds that if he turns the ring’s collet (the part that secures the stone in place) so its stone points toward the base of his finger, he disappears. If he turns the collet 180 degrees so the stone points to his fingertip, he reappears. He goes to the palace of Lydia, seduces the Queen, kills the King, and becomes King himself.

Why am I telling you about the Ring of Gyges? It’s because I make use of that ring in my upcoming story, RippersRing72dpi“Ripper’s Ring,” which will be launched in early May. In my story, a troubled character in East London comes across the ring in the summer of 1888, and starts killing prostitutes. He becomes the murderer we know as Jack the Ripper. Now you understand why they never caught the Ripper. When you read “Ripper’s Ring” you’ll also learn how the Ring of Gyges works, and why Gyges found it on a corpse inside a horse statue in a cave.

Some of you are thinking, “A magic ring? Hasn’t that been overdone? Does the literary world really need another magic ring?” You’re recalling Aladdin’s ring in Arabian Nights, the Ring of Solomon, J.R.R. Tolkien’s One Ring, Wagner’s Ring Cycle, the rings in C.S. Lewis’ The Chronicles of Narnia, and Marvolo Gaunt’s Ring in the Harry Potter books by J. K. Rowling.

Enough with the magic rings already, you’re saying. Well, my ring is different. Not only does it turn its bearer invisible, but it also provides the bearer some mental visions of all the ring’s previous owners. When my troubled character comes across the Ring of Gyges, he learns its history and what it can do.

Now back to Plato. What was that ancient Greek philosopher doing discussing a ring of invisibility? He stated that the ring separated actions from consequences; that is, an invisible man could commit an immoral act (as Gyges did by killing the King) without fear of retribution, since no one could connect him with the crime. Further, Plato believed that if a person had such a ring, his eventual commission of immoral acts was inevitable. In other words, no one can resist the temptation of invisibility and the power it conveys.

No one? Well, in The Republic, Socrates doubts the temptation is as inevitable as Plato thinks.

My scientifically minded readers are laughing at the whole idea of human invisibility. After all, the human eye only works because light interacts with the rod and cone cells in the retina at the back of the eyeball. If the eyeball is invisible, light passes through without interacting. In other words, an invisible person is also blind. You could get around that with partial invisibility, allowing only the retinas to remain opaque. It would be a bit creepy—two partial eyeballs seeming to float around, but at least you could see.

How did I resolve that problem in my story? I didn’t. Sorry. I chose the course most writers do and ignored the problem. At least I’m admitting that here.

If you come into possession of the Ring of Gyges, just keep it. Better yet, destroy it. Whatever you do, don’t bring it to—

Poseidon’s Scribe

Writing for Young Adults

Want to write stories for Young Adults?  Hard to blame you.  It’s a large market, and some authors have become successful in aiming for it.  If you, like J. K. Rowling, happen to write a YA story that also appeals to adults, then your story’s market is that much bigger.

Perhaps your purpose in writing YA stories is more complex than a direct desire for money or fame.  One web commenter has suggested writer Robert Heinlein wrote YA (then called ‘juvenile’) novels to shape a young audience, to prepare readers for later buying his brand of adult novels.  If true…wow!  That’s thinking ahead!

Whatever your reason for wanting to write for it, the YA market is an interesting one.  It took until about 1900, several hundred years after the first printed books, for the following confluence of events to make a YA market possible:  (1) the price of books dropped to be within a teen’s budget, (2) teen buying power rose so they could afford books, and (3) teens weren’t working so long and had available time to read.  Once the market emerged, authors began aiming for it.

What are YA stories like, and how do they differ from other genres?  Young adults, as an audience, are leaving the comfortable world of childhood and ready to experience adulthood.  They’re curious about it, anxious to try things.  Fiction gives them a safe opportunity to “try” things in a vicarious way.  They’ve grown beyond simple, moralistic tales.  They crave stories with identifiable, strong but vulnerable characters–complex characters who aren’t all good or all bad.  A good, solid plot-line is more important to them now than it was in the children’s books they no longer read.

In short, YA stories are very similar to those written for adults.  I thought I’d read once where Robert Heinlein had said writing for juveniles (the old term for YA) was just like writing for adults except you take out all the sex and swearing.  I can’t find that quote now, but it would need amending anyway.  Notice Heinlein had no problem with violence in YA stories, and that remains true.  As for sex, it’s probably best to leave out graphic descriptions, but don’t pretend the act doesn’t exist.  As for swearing, it’s my guess that mild swearing is acceptable in YA literature these days.

How do you write for the YA market?  I think it’s important to think back to your own teen years and pull what you recall from those experiences.  Remember when the world was new to you, when all your emotions were intense ones, when you longed to be accepted and wondered if there were others like you, wondered if you’d find even one special person for you?  Pick a protagonist who is aged a few years older than your target audience, either in the late teens or early twenties.  Don’t talk down to your readers; they’re old enough to look up words they don’t understand.  Don’t set out to write a moralistic story of instruction; teens are quick to spot a lecture and, frankly, they get enough of those from their parents.  They’re not about to shell out good money and spend their time reading a sermon from you.

My own reading as an early teenager focused on the Tom Swift, Jr. series published between 1954 and 1971.  After that I primarily read Jules Verne and other science fiction authors, mostly those writing hard science fiction.  Now as a writer, I think all my stories should be acceptable for the YA audience, though I haven’t consciously aimed for it.  My tales have very little swearing.  There is a sex scene (of sorts) in my horror story, “Blood in the River,” but nothing too graphic.  However, none of my published stories feature a teen protagonist.

Good luck with the YA story you’re writing.  If this blog post has helped in any way, or if you take issue with what I’ve stated, please leave a comment for–

                                                    Poseidon’s Scribe