#castle meta

Richard Castle: Snake Primary, Bird Primary Model, Bird Secondary, Snake Secondary Model

Castle puts a lot of time and energy into cultivating his public persona, which is why he ends up with some models here. His Bird Primary Model operates on a system of what makes a "good" story. Right and wrong are defined by "good" or "bad" story. When Castle uses this model he is driven to find new inspirations for his writing, he indulges in his curiosity about murder, and he fixates on finding a "good" ending. However, when the people he loves are in trouble, he immediately drops this model and prioritizes his people. His inner circle is small, especially at the beginning of the show, and he shows immense dedication to keeping that circle safe and happy, leading me to believe he's a Snake primary. His Snake secondary model is part of his public persona as well; charming, witty, fast-thinking, and can easily fit in with any crowd. Castle also has a lot of fun with this secondary, especially when it involves dressing up and acting. However, he's not necessarily... good at it? Not naturally anyways. What he is good at is using his Rapid Fire Bird secondary to get him out of tight corners. That paired with his extensive toolset, courtesy of writing research and special interests, and Castle can easily pull of the Snake secondary look most of the time. But underneath that he is such a nerdy Bird!

Kate Beckett: Lion Primary (Exploded), Lion Secondary (Burnt?), Bird Secondary Model

I feel like this show really really wants to convince me that Kate is a Loyalist, but I can't see her as anything but Exploded Lion all the way. She's a self aware Lion too. She warns Castle that if she reopens her mom's murder case that she will lose herself in it again. She won't be able to stop the obsession. And she's right! Kate explodes when it comes to her mom's murder. Castle calls her out for her willingness to die for her cause, which is textbook Lion. She let's the cause blind her to any and all repercussions, whether to herself or the people around her. When she's not being consumed by her mom's murder though, Kate is still driven by the need to find justice for the victims she encounters. The show explains this as being connected back to her mom's murder, but I think Kate made it her personal cause and kept going from there, which is more Lion than Loyalist. When Castle is trying to pull her into an investigation, all he needs to do is appeal to her need for justice and she goes along with him; it doesn't need to be a personal connection. A lot of her advice for Castle regarding Alexis is also centered around finding identity and stems from Kate's personal experiences following her heart and learning how to be true to herself no matter what people think, which is all very Lion. Kate's secondaries are a little muddy to me. When she's backed into a corner her instinct seems to be to charge, like a Lion. She usually does this backed up by a Bird secondary toolset, but that doesn't always coincide, so I'm relegating the Bird secondary to a model for now. I think her Lion secondary must be damaged, although I'm not sure if it's totally Burnt (considering how confident she is in giving advice about following your gut and being yourself). However, there's something unhealthy going on there: she freezes up completely when she finds out Castle loves her, she runs away from him multiple times during the show, she feels absolutely lost when there's not a clear direction for her to charge in, etc. I think when she pulled herself back from her mom's case the first time, she associated parts of her Lion Secondary with her Exploded Lion Primary and just shut down all of them at once.

Javier Esposito: Snake Primary, Lion Primary Model, Badger Secondary, Lion Secondary Model

Javi is probably the most interesting character in the whole show to me. He has a really clear inner circle and "ranking" of his people, with Kate and Ryan at the top. He is extremely, personally hurt when other people don't operate on the same level of loyalty as he does. When he and Ryan realize that Montgomery is the third cop in Kate's mom's case, Javi is the one that goes into denial about it at first because they know Montgomery and "he's the one that brought us onto homicide". When Kate wants to go rogue, Javi has her back and he looks down on Castle and Ryan for not doing exactly the same. His Badger secondary also contributes to his intense loyalist tendencies. Javi always "knows a guy", he calls in favors constantly, and has no problem being the one that shows up and gets the work done. In fact, he is so staunchly Loyalist that he is confused when the people around him aren't the same way. He takes months to forgive Ryan for going to Gates about him and Kate, because he sees it as a personal betrayal. He talks a scared friend into risking his job to get him information all because he "owes" him. When Javier wants to be scary he is scary. To the people he decided he cares about, he is an almost impenetrable safety net, whether they realize it or not. To the people he decides are on the outside of that... watch out! The Double Lion model he wears on top of all this is mostly just his idea of what a police officer should act like: motivated by the need for justice and willing to charge recklessly into danger. (I wonder how much of this model is based on Kate and how much he cultivated himself while he was climbing the ranks.)

Kevin Ryan: Bird Primary, Bird Secondary

Even though Esposito is most interesting to me, Ryan is probably my favorite. His chosen system is the police system and it is fascinating watching this character continually run up against corruption in the system and even among his own friends and how he chooses to deal with that. When Ryan's gun is stolen and used as a murder weapon, his biggest hang up isn't that he personally feels guilty or that he was in a dangerous situation where he was knocked unconscious (although he does feel embarrassed about that). In his own words, the city of New York entrusted him with that gun and he let it get stolen. That's his main problem with the situation. He failed his duty as a police officer by letting his police officer's weapon out of his hands. Whenever he butts heads with Javi, it's because Ryan is ready to follow procedure and Javi is ready to follow Kate. Ryan informs on his friends to Gates because he knows it's the right thing to do and even when Javi stays mad at him afterwards, Ryan doesn't regret what he did. He's upset about it sure, but he never apologizes for doing what he thought was right. He's definitely a Built secondary, and although he occasionally can call in favors and use connections, it's never to the level that Javier can pull off. Kevin tends to favor putting in the research and making sure he has enough knowledge collected to approach a case with confidence (something Javi teases him about occasionally).

A few of the other main characters:

Martha: She's an artist and very dedicated to her own ideals of love and expression, not feeling too torn about choosing between her own way of living and the man she's in love with, so I'm thinking definitely an Idealist, maybe Bird Primary? Her secondary is definitely an Improv secondary, but we generally only see her around her family members where she's more relaxed. I would guess Snake secondary, but she lives in neutral most of the time.

Alexis: Idealist Primary, Built Secondary. I can't tell if Alexis is truly a Bird Primary or if she just lives in a very, very well built Bird Primary Model. Either way, she definitely is a Bird on the surface (same with her Secondary.) But the advice Beckett gives regarding her and the advice she seeks out from Castle, makes me think that she might be a Lion Primary that's just not quite sure of how to trust herself yet.

Montgomery: Lion Primary would explain his dedication to the force as his cause after he witnessed corruption in the system early on. It also explains why even with his relationship with Kate, he never felt compelled to tell her the truth: his cause was more important. Badger Secondary as he tirelessly puts the work in and is good at making connections with his community.

 It cannot be argued that tie-in fiction is not considered a ‘lesser’ form of writing than that which might be given any variant of the term ‘literature’ – even the International Association of Tie-In Writers’ website states unequivocally that “Respect from one’s peers is important... tie-in writers haven't even been able to enjoy that”.1 I have suggested already that there is a sense of cultural illegitimacy to texts that are adapted, rather than generated by the increasingly mythologised ‘writer’, but Heat Wave and its sequels make a deliberate effort to establish themselves away from that stigma. The success of this effort is debatable, but the effort nonetheless has been exerted.

The covers of the Castle novels represent the delicate balance between commerce, genre and intertextuality that the texts themselves are intended to be. The generic elements of the novels’ construction – silhouettes, New York skylines, dark and sinister colours – work not only in terms of Genette’s paratextuality, but also in terms of commerce. They represent, to a potential buyer, the fact that the novel in front of them is a part of a genre that they, in the best-case scenario, are inclined to buy. Merely appearing to be a crime novel is a part of this triple-pronged intertextual, commercial and generic construction, and is emblematic of the way that the novels have been constructed. When Heat Wave presents broad, tropaic genre elements, the novel’s author is attempting to convince a reader that the text is, at the very least, presenting the required aspects of genre for the reader to experience enjoyment, and in turn be inclined to buy the novels’ sequels. A reader’s understanding of those genre elements is intertextual, as Richard Castle’s novels draw on common tropes that, ideally, the average reader would be familiar with, such as ostensibly place-based writing, and the hard-boiled detective. For a publisher, familiar texts are commercially attractive. Profits for publishing tend to be lower than those achieved by other forms of media; publishing easily accessible texts into a well-established market helps to maximise the publisher’s financial return.2

When genre fails as an enticement to purchase, Heat Wave and its sequels have their transtextual relationship to fall back on. The consistent dialogue between Castle and its Tie-Ins means that an engaged viewer – that is to say, anyone with more than a passing interest in the series – will have an interest in the novels. Whether the impulse to purchase is fandom- and/or collection-based, related to enjoyment, or simply a by-product of curiosity, Castle’s viewership represents approximately ten million domestic customers for Disney-ABC. While established authors have a variant of that market – those who consider themselves fans of their own work – tie-in media has a distinct advantage insofar as its consumer base does not need to be regular or consistent readers. By appealing to a non-literary market, the novels do not need to meet the standards established by crime fiction in its attempts to become a viable part of the fiction market. Heat Wave and its sequels present elements of the noir genre, but they tend to be the most cinematic moments, those which have the most in common, and therefore would easily translate back, to their original filmed versions. Castle’s own construction works with the same generic moments, and both the series and novels construct themselves as attractively familiar, rather than risking the alienation of viewers or readers through moving too far away from those viewers might expect. In this context, it seems fair to say that both Castle and Heat Wave are not just literally, but functionally popular.

Functional popularity manifests in many ways throughout the Heat novels, but perhaps strangest of all is their lack of publication data. They don’t need the standard imprint information on the title page’s verso side, as they occupy the same role that any of the DVD sets or T-Shirts sold through ABC’s online store do. As a marker of the text’s primarily commercial status, the data provided is minimal: each subsequent text provides a different amount of information with regards to Library of Congress catalogue data, Hyperion Publishing’s imprint and reservation of rights, and so on, but none matches the fairly comprehensive information provided in most standard texts. For a moment, it could be possible for a reader who is familiar with publication data to suggest the Heat novels are less than books, although still something very similar. Yet all texts are sold, all texts engage on some level with notions of genre, and all texts are impacted by the publishing and sale process.

What makes Heat Wave and its sequels special is not their engagement with commerce, intertext and genre as such, but the specific manifestation of those textual features. The commerce is merchandise-based, the intertext is primarily transtextual and the genre is broad and easily definable, and in turn the books reflect those concerns. For Heat Wave to contain minimal publication data is bound up in the commercial and transtextual aspects of its provenance; reducing the information reduces the exposure of the falsehood that is Richard Castle, ‘best selling author’. Only Heat Rises betrays its origin by citing that the novel is “fictitiously attributed to Richard Castle, a character on the ABC television show Castle”, the others only make a minimal reference to the series for trademark purposes.3 The inclusion of Library of Congress data in Heat Rises, and the statement that cataloguing has been applied for in Frozen Heat, situates the novels within an American context. From a New Zealand reader’s perspective, there is no reference to other cataloguing systems, such as the British Library CIP record, as many texts published outside America tend to have. Richard Castle’s novels are primarily a product of America, and the American mainstream that his genre engagement reflects is the same one that motivates the texts’ commercial production. In these respects, Richard Castle stands for the intersection of commerce, genre and intertextuality in the Heat novels.

Richard Castle is the Heat novels’ primary illusion, an illusion whose success is based in the use, and strategic lack of use, of intertextuality, genre and their own commercial origins. As far as Castle’s merchandise literature is concerned, he is the transtextual event that simultaneously masks the novels’ origin and communicates to a reader something other than Disney-ABC. Tie-ins, as a format, don’t typically present a fictional author. While merchandise literature as I have delineated it, those Tie-Ins which represent an artefact from a fictional universe, often does – Bad Twin, a novel tied to a deceased character from the series Lost is an example – most tie-ins acknowledge their real-world writer.4 The Star Wars wiki, for example, has biographies of forty nine writers who have contributed novels to the series’ expanded universe, and the Doctor Who equivalent holds similar information for forty one authors whose only contribution are direct novelizations.5 Yet the Castle novels deliberately obfuscate their writer’s identity – even the recently released graphic novels based on Richard Castle’s ‘Derrick Storm’ texts feel free to cite their creative staff, given that they are theoretically ‘adaptations’, even if their source texts never existed.6 They are an adaptational works, whose primary point of difference from Tie-Ins is their deliberate masking of their origin.7 When the International Association of Tie-In Writers itself feels that tie-ins are unfairly treated within the cultural hierarchy, we can read examples of merchandise fiction, like the Richard Castle novels, as texts designed to try and sidestep that treatment. It might be difficult – the Castle novels still have the show’s fans as their primary consumers – but the Nikki Heat texts are at the very least attempting to create a tie-in novel that is somehow distanced from that reputation.

Heat Wave and its sequels, in their attempts to distinguish themselves from the cultural perception of tie-in novels, are using the science of illusion. Richard Castle’s novels use a broad, generic construction to make themselves viable commercial entities; trading as much on the knowledge a reader has of their parent series as they do on a reader’s understanding of the familiar genre beats the texts aim to replicate. The relative simplicity of these moves does not make the novels inherently good or, but it does signal their ultimate purpose. Like the author they claim to have been written by, the Heat novels are a piece of boundary-crossing fiction. They are artefacts of a media franchise, and their construction reflects this flexible reality. Richard Castle, “best selling author”, and his alleged literary output represent the minimum requirements for commercial literary success, but they are still tie-ins, adaptations of something larger than themselves, and carry with them the commercial, generic and intertextual concerns bound up in that fact. Tie-in novels might not be high on the list of timeless, culturally revered texts, but Heat Wave is just one example of why they are not as simple as they might appear.

References

1 “Home”, The International Association of Tie-In Writers. Accessed 9/11/12. http://iamtw.org/index.php 

2 John B. Thompson, Books in the Digital Age. Cambridge: Polity, 2005. 26-7.

3 Heat Rises, Imprint.

4 Gary Troup, Bad Twin (New York: Hyperion, 2006).

5 “Novel Authors”. Wookiepedia. Accessed 1/11/12. http://starwars.wikia.com/wiki/Category:Novel_authors

“Novelisation Writers”. TARDIS Index File, The Doctor Who Wiki. Accessed 1/11/12. http://tardis.wikia.com/wiki/Category:Novelisation_writers

6 Brian Michael Bendis and Kelly Sue DeConnick, Deadly Storm (New York: Marvel, 2011).

Brian Michael Bendis and Kelly Sue DeConnick, Storm Season (New York: Marvel, 2012).

7 The publishing of The Angel’s Kiss: A Melody Malone Novel by the BBC seems to represent the missing link between standard tie-in fiction and the specific kind of merchandise literature that has been fictitiously attributed to Richard Castle. It proudly displays the Doctor Who brand in a font larger than its own title, replicating the somewhat standard form of the Star Wars novels, but the novel itself is presented in the style of Richard Castle’s texts. There is no attributed author, other than the fictional character River Song, who the recent Doctor Who episode ‘The Angels Take Manhattan’ claims is its author. Unlike the Castle novels, however, it is presented as entirely built for fans - It exists only in eBook format, through the BBC’s merchandise store.

Song.

Steven Moffat, ‘The Angels Take Manhattan’. Doctor Who (London: BBC, 2012).

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