6 Major Writing Problems in Avengers: Age of Ultron – Part 3

Avengers Age of UltronBy Marcy Kennedy (@MarcyKennedy)

Today’s post is the final installment in the three-part mini-series I’ve been doing on what writing lessons we can learn from the mistakes made in Avengers: Age of Ultron. If you missed Part One and Part Two, I recommend you read them first.

Mistake #5 – A Villain Who Is Melodramatic, Not Scary, and Inconsistent

In the trailers for Age of Ultron, Ultron seems dark and frightening. In the movie, however, he’s over the top and almost goofy. He lacks the depth and complexity of character and dark heart of Loki. I suspect this disappointed me because it didn’t match up with how the trailer portrayed things and because how he developed didn’t match up with how it seemed he would develop when he first entered the movie. The more over-the-top he became, the less I felt like he was going to be a real challenge for the Avengers to defeat. He stopped feeling like a real threat.

In The Avengers, Loki was definitely insane, but two things kept him from going so far over the top that he became laughable. The first was that he was smart enough to realize the Avengers could be a threat to him, and he came up with a plan to tear them apart. The second was his motivation was consistent. He felt he should be the one ruling Asgard instead of Thor. So, in revenge, he decides to rule over Earth, the planet Thor loves. Even though it’s a plan to take over a planet, it’s really a story about jealousy between brothers.

Ultron’s motivations came across as inconsistent. He was originally created to protect humanity, and so a well-developed villain would have taken that good intention into a misguided direction. This could have been taken in many believable ways–a police-type state for one. Annihilating the elements of society he saw as a threat to peace might have been another. Instead, he decides to…wait for it…create an extinction event. That’s right. He’s going to wipe out humanity and leave the world for robots. Try to figure out the logical progression on that one. If you do, let me know. Because it also begs the question of why he wanted a more human body if he was planning to create a robot world. When you throw on top of that all his strange Biblical references it becomes even more unbalanced.


Don’t misrepresent anything just to hook a reader.

Your villain needs to be as well-developed as your main character, including giving them a consistent motivation. For more on creating villains, you might want to read my post “How to Create a Truly Frightening Villain.”

Mistake #6 – A Half-Baked Romance

Although I don’t read a lot of straight romance, I love a good romance subplot. For me, it always makes a story feel richer and more real. But the keyword there is good.

In Avengers: Age of Ultron, we’re dropped into the story and asked to believe that a romance has already been blossoming between Black Widow and the Hulk. It’s too big a leap because there wasn’t even a hint of it in the first movie, and we don’t get to see it develop. In the first movie, he turned into the Hulk and almost killed her. Now, suddenly, she’s the only one who can help him change from green monster back into a man by stroking his arm. The only reason given for why they’re even a good match is that neither of them can have biological children.

Because of the other mistakes made with this movie, there wasn’t room to develop their relationship fully, but the problem could have also been solved if the scriptwriters would have slowed the relationship down a bit. They could have easily had this Avengers movie show their attraction starting to develop rather than jumping in when it’s already fully formed. They could also have shown how Black Widow and the Hulk figured out the “lullaby” trick that brings him back into human form.


It’s not enough to say two characters are attracted to each other. The audience either needs to be able to watch the relationship believably grow or be shown why these two characters are a perfect match. Preferably both.

Also, don’t be afraid to take it slow. The longer you build the sexual tension between two characters, the bigger the payoff when you finally fulfill it.

I know these posts made it sound like I hated the movie. I didn’t. But that brings me to the overall writing takeaway I got from it as a writer.

If we’re writing a series, we’re making promises to our reader with the first installment. It’s important for us to understand the promises we’ve made to them and to continue to fulfill on those promises. If we don’t, we’ll end up with a disappointed or angry audience.

What do you think? If you think I’m off-base about Avengers: Age of Ultron, I’d love to hear your reasons. If you think I’m right, did you enjoy the movie anyway and will you watch a third one?

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6 Major Writing Problems with Avengers: Age of Ultron – Part 2

Avengers Age of Ultron

Image Credit: Svilen Milev

By Marcy Kennedy (@MarcyKennedy)

Welcome back to my mini-series where I’m looking at what we, as writers, can learn from the mistakes made in Avengers: Age of Ultron. If you missed the first installment in this series, I recommend you read it first.

Mistake #3 – Too Many Easy Answers and Short Cuts

We need to briefly talk a bit of plot structure here. Early on in a story, the villain/antagonist should be much stronger than the hero. Reaching their goal wouldn’t be a challenge for the main character if the antagonist wasn’t stronger than them at the start. The main character (or characters) grow and learn over the course of the story until, at the end, they’re able to defeat the antagonist.

Your main character needs to defeat the antagonist/villain based on their own skills. You can’t bring in the cavalry to solve their problem for them, especially not at the last minute. The solution can’t magically arrive. The solution needs to come from inside the main character (or characters). This is what happened in The Avengers.

It didn’t happen in Avengers: Age of Ultron.

Prior to the final battle, Ultron had kicked the Avengers’ butts, with the help of his allies. So what should have happened is that the Avengers should have grown and learned something to make them stronger as a team, enabling them to overcome Ultron. Instead, in comes the cavalry. Vision (who I’ll talk about more in a minute) comes to life, and Ultron’s former allies switch sides, without ever dealing with their personal problems with Tony Stark, which were what drove them to side with Ultron to begin with. Not only is that an outside solution where the main characters never need to grow or improve, but it’s a gaping plot hole. We hated you before, but now we’re okay working with you even though you haven’t changed at all (as proven by the creation of Vision).

The easy answers and solutions didn’t stop there though. I don’t have the time to go through them all, but I will mention another huge one–the creation of Vision.

Ultron wants to create a better body for himself. He takes the same material that made Captain America’s indestructible shield (Vibranium) and the infinity stone that powered Loki’s staff, and together with the help of a bio-engineer who can grow flesh, he puts it all together with the intent of downloading his consciousness into the finished product.

The Avengers highjack the body and get into a fight over whether or not to bring that body to “life” apart from Ultron, using Stark’s artificial intelligence program JARVIS. This is an absolutely fantastic moral dilemma. Should they or shouldn’t they create life? It should have been a major stepping stone in Stark’s character arc (the truncated one we talked about earlier).

But nope. Just as the other Avengers are fighting over what to do, Thor arrives and unilaterally brings Vision to life. “Why?” you might ask. Because he took a trip to the water spirits (which we’d never heard of before) and decided it was a good idea. And everyone is just supposed to go along with what these hitherto fore unheard of water spirits told him.

In my opinion, that was a pat and easy solution that stripped all the great moral conflict from the situation. Having Vision be able to lift Thor’s special hammer later didn’t fix the fact because he was already alive by that point. In other words, the hammer was an ad hoc justification (something added to a theory after the fact to save it). Oh, look, it’s okay they brought him to life because lifting Thor’s hammer proves he’s a good guy. (Sarcasm very much intended.)


The solution that allows your hero to defeat the villain that they weren’t previously strong enough to defeat should come from within themselves and from things they’ve learned, not from outside sources. And the solution should never be easy.

We also need to watch out for taking the easy way out. This can come in two forms. We write ourselves into a corner, putting our characters into a situation that we can’t now find a way to get them out. So we save the day with a solution we haven’t laid the foundation for earlier or we bring in the cavalry. I’ve talked about this before in my post on “Four Fiction Felonies that Make Your Story Unbelievable” so please check that out for more. The other form is when we’re tired and our creative and emotional juices are dry. In this case, we don’t write a scene to its full potential, wringing every ounce of conflict from it, simply because we’re burnt out. The solution to that is to move on and come back to the scene during editing.

Mistake #4 – Too Many Rabbit Trails and a General Lack of Focus

Somewhere along the line, the powers-that-be forgot that this movie is supposed to be about telling the story in this movie rather than setting up for other movies or other Marvel franchises.

If you’ve never heard the term “rabbit trail” before, it refers to a digression in a story that doesn’t contribute anything to the main storyline or to any subplot of that story. It might be kind of fun in and of itself, but it makes the story feel slow or scattered because it doesn’t matter to that story. It steals time away from the real story.

One major example of this is the hallucinations the Avengers experience when they encounter the Scarlett Witch. Large chunks of time were given to showing Black Widow as a child learning ballet, Captain America dancing with Agent Peggy Carter, and Thor at some weird party. Captain America’s flashback felt very much like it was intended to drum up interest for Marvel’s TV series Agent Carter.

These scenes did not need to be there. They’d already shown the dark hallucination Scarlett Witch gave to Tony Stark. That one was necessary. It kicked off his (never completed) character arc, served as the inciting incident for the creation of Ultron, and showed her powers. But then all they needed for the other characters was to show her shooting her red mist at their heads and them dropping to their knees looking tormented. We would have figured out that she’d given them horrible visions too. Because the only plot purpose of those hallucinations was to show that Ultron and his allies could bring the Avengers to their knees. (In other words, to show that the villains were stronger than the heroes at that point.)

A second example–what was the point of Ultron kidnapping Black Widow? What purpose did it serve for Ultron–why not just kill her? What larger purpose did it serve in the plot? None, none, and none. Rabbit trail.

Here’s another example. Midway into the movie, Thor decides he needs to take a side trip to meet up with his professor friend (the one Loki enslaved in the first Avengers movie) so they could go to a cave where Thor would talk to water spirits. Thor makes a point of telling us this will be dangerous (probably because they wouldn’t show any of that danger and they were trying to trick the audience into worrying–it didn’t work because they were TELLING rather than SHOWING). Thor’s trip didn’t need to be in this movie. It’s whole purpose was to set up the Infinity War movies that Marvel plans to release in a few years. (I read somewhere that Joss Whedon fought to have this scene cut, and he lost the battle.)

And let’s not forget the brief introduction of Ulysses Klaw, the arms dealer with the special Vibranium metal that Ultron wanted to use to build his body. Not only did Tony Stark conveniently know about this illegal arms dealer, but he also knew that Klaw had Vibranium even though all the Vibranium in the world had supposedly been used to build Captain America’s shield. No real explanation is given except that Stark met Klaw at a conference. Am I the only one who doubts a grimly-looking illegal arms dealer goes to legitimate conferences? But introducing Klaw and his collection of Vibraium sets up the Black Panther movie Marvel is planning. Though they don’t show it in any current Marvel movie, Klaw killed Black Panther’s father to get the Vibranium.

So much of the plot of Avengers: Age of Ultron was focused on preparing for or pitching other series and movies that it’s no wonder they didn’t have time to develop the plot or characters for this movie itself.


Everything we put into our stories needs to matter for that story by itself. This is true even if we’re setting up for future elements in a series. We need to find ways to introduce those elements that still work within the present story. We also need to be careful that we don’t include a character in our main series just to “introduce” them to our readers so we can try to convince them to read about that character in a different series. If a character or plot event doesn’t serve a purpose in this story, it doesn’t belong there.

Do you have full-blown flashbacks in your book? If so, you need to ask yourself what they contribute to the story. Do you really need them?

Check your book for rabbit trails. They might be great writing in and of themselves, but if they don’t move the plot forward, they need to go.

What do you think? If you think I’m off-base about Avengers: Age of Ultron, I’d love to hear your reasons. If you think I’m right, did you enjoy the movie anyway and will you watch a third one?

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6 Major Writing Problems with Avengers: Age of Ultron – Part 1

Avengers Age of UltronBy Marcy Kennedy (@MarcyKennedy)

When Avengers first came out, I saw it twice in theaters and brought the DVD as soon as it was available. Very few movies rate highly enough with me to be watched a second time in theater or to be purchased afterward for repeated home viewing.

So I went in to Avengers: Age of Ultron with high expectations…that weren’t met. The trailers looked fantastic, but the movie itself didn’t deliver. The more I’ve thought about it, the sadder it makes me. It makes me sad because of all the missed opportunities. It makes me sad because, given all the money this movie is almost guaranteed to make, some writers out there will use it as an example of how they should be able to do the same–flawed and awful–things in their story. It makes me sad because it sets a precedent for more movies in the future where the special effects and fight scenes are valued over the actual story and character development.

I ended up with enough material for more than a single post on this, so this is going to be a two- to three-part series, but I believe there’s a lot we can learn–as writers–from where this movie went wrong. While I normally like to use only positive examples, things that we should be emulating, I’m making an exception this time because this movie has the potential to send future storytelling in a negative direction. So grab a snack, settle in, and at the end of each post, please let me know what you think.

Mistake #1 – No Character Arcs

I respected Joss Whedon’s writing in The Avengers not only because of his snappy dialogue, but also because he found a way to allow the characters to be unique and to grow, despite the large ensemble cast. As a general guideline, the more characters you have in a story, the more difficult it is to bring each of them to life. One of the ways Whedon did this in The Avengers was through the character arcs.

In The Avengers, Tony Stark wasn’t originally considered for the Avengers Initiative because he doesn’t play well with others. He’s not a team player. Early on in The Avengers, Captain America accuses Stark of not being the type of guy who sacrifices himself for others. He says Stark isn’t the one who’ll lay down on the wire and let others crawl over him. Stark, flippantly, replies he’d just cut the wire.

And then, at the end of the movie, when there is no option to “cut the wire,” Stark has grown enough as a team player that he sacrifices himself to take the nuke into the alien realm and blow them up rather than allowing it to destroy New York and everyone there. Everyone thinks that’s a one-way trip and Stark is going to die. Tony even tries to make one last call to his girlfriend to say goodbye. He’s willing to lay himself down on that wire and make the sacrifice.

Stark isn’t the only one with an arc. In The Avengers, Bruce Banner is the tormented genius who believes he’s a monster and who fears himself as much as other people fear him. He doesn’t believe he has anything of value to offer. He hates himself so much he’s tried to commit suicide. He doesn’t know how to properly harness his anger so, when the movie starts, he’s hiding.

Through the course of the plot, he’s put into situations where he has to face what he is and figure out a way to make peace with the Hulk inside him. He has to accept himself and realize that his anger can be used for good. Because he needs to become part of the world, as the Hulk, to save it. (If you want to see my in-depth look at his character arc, check out my post “It’s Okay to Be Angry.”) The pay-off moment in this arc is where the Hulk smashes Loki into the ground as Loki tries to tell him how worthless he is. He won’t listen to those voices anymore.

In Avengers: Age of Ultron, the groundwork is laid for another growth arc for Tony Stark. He’s going to have to face his narcissism this time…And then it’s never fulfilled. It’s worse than never fulfilled. It’s almost like Stark backslides from where he was in the first movie. So does the Hulk.

In fact, none of the characters have a significant, satisfying arc, and I think that’s in part because of Mistake #2.


Your main character needs a character arc because great stories are about growth and change. Your character has a problem/character flaw. The story puts them in situations where they must confront and deal with their flaw no matter how much they don’t want to. They’re forced to change. Seriously, that’s all there is to a character arc, and it’s the core of a memorable story. Even in a large or ensemble cast, make sure you give some of the characters a complete and interesting growth arc.

Mistake #2 – Too Many Characters

The Avengers was already an ensemble cast, which can be tricky, but in the first movie, they managed to find the balance. They had six star characters (Tony Stark, Captain America, Bruce Banner, Black Widow, Hawkeye, and Thor), and they found a way to make us care about each of them. They even found a way to make us care about Phil Coulson, a secondary character. (So much so that his character had to be brought back to life to star in Marvel: Agents of Shield.)

Part of how they managed this was each character had a distinct personality, and they had enough room in the movie to give each of them emotional struggles and a bit of their own plotline and backstory. I won’t go through all of the characters, but I’ll show you a couple more (we talked about Stark and Banner above) and hopefully you’ll see what I mean.

Captain America is the straight-laced, honorable one who was struggling with his place in a world that had changed so much since he’d last been in it. He feels the world is evil and his morals are no longer valued. What he discovers is that there will always be evil to fight, and so there’s still a purpose and a place for him.

Thor is the arrogant “god” from another realm who is hurt by his brother’s continued betrayal and who needs to learn that he’s not as superior to humans as he originally thought.

When we move into Avengers: Age of Ultron, they dumped in Falcon, War Machine, Scarlett Witch, Vision, and Quicksilver. In other words, they almost doubled the key cast. And all those additions weren’t necessary. What was the point of all those characters? They didn’t improve the story.

My husband pointed out that “they’re assuming you’ve watched all the other movies.” But I’ve watched all the movies, and that didn’t make it any better just because I knew who Falcon and War Machine were. I can’t help but wonder if it’s more about trying to make you want to watch the other movies, and doing a crap job of it because they don’t seem to understand that a walk-on cameo by a character won’t make anyone interested enough in them that they run out and buy the other movie to find out more about them.

By adding in so many of them, none of them received the development they should have had. And, as I mentioned above, the development of the original characters suffered as well.

I wasn’t as invested in the characters, and the story felt scattered and shallow.


Too many characters can clutter our stories rather than making them feel populated and real. How many characters do we really need to tell our story? Can we cut a character and give the role they play to someone else? Have we given each of those characters (at least the ones who are supposed to be important) a distinct personality and struggles of their own?

One of the current trends is to write short stories, novellas, or even whole new series about secondary characters in an already popular series. That’s a great idea, but we need to be sure those characters deserve their own stories. Cameo appearances by characters also shouldn’t be added just to “check in” with those characters. If they don’t forward the plot of the current story, they don’t belong in it. (This also ties in to Mistake #4 that I’ll share next post.) This is especially true if we’re bringing in cross-over characters (character who appeared in a separate series and are playing a walk-on role in this one). We can’t assume that all readers will have read the other series as well, and so we need to make sure they can follow each series independently of the others. (Again, more on that later in Mistake #4.)

What do you think? If you think I’m off-base about Avengers: Age of Ultron, I’d love to hear your reasons. If you think I’m right, did you enjoy the movie anyway and will you watch a third one?

Interested in more ways to improve your writing? Deep Point of View is now available! (You might also want to check out Internal Dialogue or Showing and Telling in Fiction.)

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It’s Okay to Be Angry

By Marcy Kennedy (@MarcyKennedy)

Too often we’re made to think that anger is a negative emotion, one we should avoid because it’s weak or shows a lack of self-control.

You can see it in The Avengers in the way Dr. Bruce Banner is treated. His character is a personification of anger. If Banner gets angry, he turns into a giant green monster capable of breaking an entire city. 

When we first meet Banner in The Avengers, he’s working as a doctor in the slums of Calcutta. S.H.I.E.L.D. agent Natasha Romanoff tricks him into coming to a deserted hut on the edge of the city. The hut is secretly surrounded by snipers just in case Banner loses control.

Banner ducks inside, and she steps out of the shadows.

“For a man who’s supposed to be avoiding stress,” she says, “you picked a hell of a place to settle.”

Banner turns around. “Avoiding stress isn’t the secret.”

“What’s the secret then?”

Banner doesn’t tell her how he’s managed to go a year without turning into the Hulk, and throughout the movie, that becomes the question.

The others either tiptoe around him, try to provoke him to expose his “secret,” or they take protective measures in case he does get angry. (Measures that include a giant cage that will drop him from the sky.)

We treat anger the same way in our lives. We block it off, pretend we aren’t angry when we are, or try to learn techniques and tricks to keep from getting angry.

But the secret isn’t to keep from becoming angry.

At the end of the movie, the Avengers line up to fight the alien army set to invade earth.

“Dr. Banner,” Captain America says, “now might be a really good time for you to get angry.”

Banner strides toward the aliens. “That’s my secret, Captain. I’m always angry.”

Everyone thought that Banner had discovered some way to keep from getting angry and that was how he prevented himself from becoming the Hulk.

The truth was he hadn’t purged his anger. He’d learned how to control it. By the end of the movie, he’d even learned how to harness it and redirect it for good.

Feeling angry isn’t wrong. Anger is merely an emotion. Sometimes it can even be healthy if we’re angry over injustice or true evil. And denying it or hiding it won’t make it go away.

It’s what we do with anger that matters. (Click here if you’d like to tweet that.)

Do we allow our anger to hurt and destroy? Or do we channel it into righting wrongs?

It’s the difference between a father who goes out and murders the drunk driver who killed his only daughter and a father who finds a way to bring about stricter punishments for drunk drivers and establishes a safe ride program in his town. Both were justified in their anger. But one used it for evil while the other used it for good.

It’s the difference between saying something cruel back to a person who’s hurt our feelings and using that anger to remind us how not to treat other people.

It’s the difference between screaming at our spouse because we feel like they never help us around the house and letting that anger be our cue that it’s time to have a painfully honest talk about weaknesses in the marriage that we need to work on.

What do you think? Is it alright to get angry? Or should we work on trying to purge ourselves of anger?

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I Miss Old-Fashioned Values

By Marcy Kennedy (@MarcyKennedy)

Avengers: Age of Ultron comes to theaters this Friday, and because of that, I thought I’d take a look at some of the lessons hidden in the first movie. A couple of the posts I’m going to share in this Tuesday series are flashbacks (I posted them when the original Avengers movie released), but I’m going to be adding a few new ones as well. Hopefully, I’ll find as many gems in the second movie as I did in the first. So here we go…

Do We Need to Be a Little More Old-Fashioned?

If you woke up one day to find that 70 years had passed, would you be excited or would you mourn for lost friends and family and the way of life you’d known?

When we meet Steve Rogers again in The Avengers, he’s still struggling with this very thing. Back in 1942, a special serum turned him into Captain America, and in the middle of fighting a rogue group of Nazis known as Hydra, he accidentally ended up in suspended animation. He wakes up in the “present day.” The world has changed a lot since 1942.

Not surprisingly, Steve feels like he and his values are obsolete. He doesn’t understand Tony Stark’s cavalier attitude or circumvention of the rules, or Bruce Banner’s scientific mumbo jumbo, or any of the pop references the others make (except for one about flying monkeys—and he’s almost pathetically excited about finally “getting one”).

It doesn’t look like there’s much that can break up the gloom surrounding what should be a golden boy character. But on their way to the flying ship, Agent Coulson tells Steve that they’ve updated his Captain America costume.

“Aren’t the stars and stripes a little old fashioned?” Steve asks.

Agent Coulson looks him straight in the eyes. “With all that’s going on in the world, people might want a little old fashioned.”

Throughout the movie, Steve comes to realize that Coulson was right. People are starting to not only want a little old-fashioned, we’re starting to need it.

And it’s not about the evils of technology. Technology isn’t evil. It’s not about needing to reconnect with nature and unplug. It’s not about retro becoming the latest fashion trend or collecting records or bottle caps.

It’s about reviving some old-fashioned values. I suspect that, like me, a lot of people long for the return of some of the things we’ve lost.

I’m only 30, but when I was a child, stores in my town were closed on Sundays. Was it an inconvenience if you wanted to buy something? Yes. But didn’t we always manage to survive until Monday? And wasn’t that a small price to pay to give everyone a day of rest, a day focused on friends and family?

I miss the idea of a day of rest. And a 40-hour work week that gave you enough income to live off of. Not only live off of, but raise a family on.

I miss when a handshake meant something, people did what they promised, and you could leave your doors unlocked.

I miss teamwork. Days when it wasn’t about getting ahead as an individual by stepping on others, but rather about working together to make sure everyone achieved their goals. We didn’t feel the need to shout to be heard. We didn’t feel the need to sing our own praises because we knew that if we did a good job, someone else would sing them for us.

Those are the type of things that made the good old days good. Those are the things that are now old-fashioned, and those are the things I think we need to fight to get back.

I’m an optimist, but even I know that I can’t turn back time. I can’t change society to make stores close on Sundays again, and we can’t safely leave our doors unlocked even in small towns anymore.

Captain America couldn’t force Tony Stark or any of the others to accept his values either, but he chose to act on what he believed, and by the end of the movie, however subtly, it was his example they followed, even Stark. The man who “didn’t play well with others” worked as part of a team, and even risked sacrificing himself to save the world.

While I can’t change the world, I can change me. Like Captain America, I can still live by those old-fashioned values.

I can refuse to work seven days a week because my body and my relationships need that day of rest. My handshake and my word can still mean something. And I can support others and let my actions speak for themselves. I have control over me.

And maybe, just maybe, if enough of us change ourselves, the world will one day follow.

What old-fashioned value do you think needs to be revived? How are you helping to bring it back?

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What Does Your Behavior Say About Who You Are?

Captain America The First AvengerBy Marcy Kennedy (@MarcyKennedy)

Does our behavior at the worst of times say as much about us as our behavior at the best of times?

At the start of Captain America, Steve Rogers is a ninety-pound asthmatic who’s been turned away from serving in the US military five times, despite their need for soldiers to fight the Nazis.

No one can understand what Dr. Erskine is thinking when he invites Steve to be part of the group of men in the running to become the first in a new generation of “super soldiers” enhanced by the serum Dr. Erskine created. Steve can’t even keep up in any of the exercises or drills they’re put through.

With all the great soldiers in the group, Steve doesn’t understand why he’s the one chosen.

“The serum amplifies everything that is inside,” Dr. Erskine explains. “So, good becomes great. Bad becomes worse. This is why you were chosen.”

Erskine chose Steve because he stood up to bullies, he thought outside the box, and he was willing to sacrifice himself for others. The serum would magnify the good qualities inside Steve, as well as making him physically stronger. If Erskine had chosen the soldier who seemed the obvious choice, the bullying tendencies the man usually controlled would have been intensified.

The rough patches, long days, aches, and disappointments in our lives act like that serum. It can bring out the best in us, but it can also bring out the worst.

When I’m impatient after a long day, or when I’m grumpy because my back hurts, or I’m selfish because I’ve been working for 10 hours straight and I just want to be left alone, I like to think that’s not who I really am. I can easily blame the circumstances. They caused my bad behavior, almost as if they were injected into me from the outside. It wasn’t my fault.

But the truth is, those tendencies must have been there, in me, all along. My circumstances, no matter how sad or frustrating, didn’t create anything.

And what scares me is the thought that perhaps it’s only in those times when we’re tired, hungry, frightened, or stressed when our true selves show up. Our defenses are down, and the unpleasant circumstances serve to magnify what’s at our core and has been there all along.

Both good and bad.

If those qualities are always there, though, it means if we’re aware of our bad qualities, we can work against them when the times are happy. We can cultivate their opposites so that maybe, just maybe, the next time we face the serums of life, what comes out will be better than the time before.

When do you think our true selves show themselves best? When things are good or when things are bad?

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Related Posts:
Do You Love Yourself Too Much? The Story of Narcissus
Do We Need to Be a Little More Old-Fashioned?
Could You Be An Evil Person?

Top 5 Science Fiction and Fantasy Posts

I’m officially on a blogging vacation over the holidays, but I’ve put together my top-ranked science fiction, fantasy, and mythology posts for those of you who might have missed them or are back at your computers and looking for some reading fun.

What Star Trek Race Are You?

The Missing Hunger Games Line

Do We Need to Be a Little More Old-Fashioned?

Who’s Your Unicorn?

Yoda Was Wrong

I appreciate all of you who’ve read my blog throughout 2012, and I hope you’ll continue through 2013. I have exciting things planned, and I look forward to sharing them with you!

I’d love to have you sign up to receive my posts by email. All you need to do is enter your email address below and hit the “Follow” button. You can also join me on my Facebook page.

Enter your email address to follow this blog: