Continue reading “Jack of Fables”
Once upon a time, there was a boy named Jack…
Wait, do not walk away!
Don’t wander off to play!
You think you’ve heard this tale before?
You think this rhyme will be a bore?
Please give me but a fighting chance.
I bet two cents you’ll be entranced.
Runaways is my middle-grade portal fantasy novel, currently in the drafting stage. If you’re unfamiliar with its plot and characters, you can find an introduction to the story and read its first lines on the WIP Page. This scene comes from near the middle of the story, once Hannah has finally reached the faerie realm in search of her younger sister. 1447 Words, CW for glamour/illusions. I hope you enjoy reading!
The guards led Hannah from the cavern through a dark tunnel that twisted one way, then another. She tentatively reached one hand out to follow along the wall, and they didn’t stop her. It didn’t help her sense of direction. The walls of the tunnel occasionally caved out into branching pathways, and they turned so many times, Hannah was sure they must have retraced their path twice or thrice. Seashells in the woods wouldn’t help her find her way home. A spool of golden string did Theseus no good sitting back at home. She doubted there were seashells aplenty or string long enough to find the way through this maze.
Something roared. Distant growling grew louder as her captors forced her ever forward. Hannah didn’t dare slow her steps, even as dread knotted in her stomach. But her fears were unfounded as finally, the earth took a sharp slant upwards, and they emerged out of a cave behind a waterfall. The thunder of water echoed off the rocks, and she let out a sigh of relief as she realized it wasn’t a monster. The mist sprayed in her face as they rounded the barrier and emerged into a forest of blazing red. Autumn leaves graced the branches of trees that towered unbelievably high. She craned her neck, but couldn’t see the end.
A million twinkling stars hung in the dark sky. A galaxy of fireflies lit the clearing with dancing lights. The stone path continued before them, lined by wildflowers that grew as high as her waist. Garlands that held golden lanterns lined the path as well and drew the attention of diaphanous gossamer moths. They flitted about the party, and one even landed on her hair. Hannah couldn’t stifle a laugh of delight as it perched on her head. She caught the lead guard grinning at her out of the corner of her eye, clearly pleased that she enjoyed the spectacle.
In the distance, the sights and sounds of a gathering solidified into the form and sounds of a palace. The guards marched her up the front steps, through the towering columns, and through the throng of gawking fae. Hannah could scarcely watch before they spun away in a mad dance. It felt like Masquerade. Each played the phantom, and she the unwitting attendant. The music soared and twisted, a lively melody that wound around her and pulled her into the intoxicating revelry. She resisted the urge to twirl in time with the tune. If she began, she could not stop, and for the first time, she was thankful for her guards pulling her on ever forward to her destination. She clapped her hands over her ears. What if the piper was here? As part of the band, with his mask of a face, and colorful clothes, he’d fit right into the motley crowd.
As she entered the throne room, she thought maybe she shouldn’t be thankful they brought her to yet another trial. Two thrones stood atop a raised dais in a semi-circular room. Servants hurried to bring trays of food to their monarchs. The queen sat distinguished in a silvery celestial gown and enjoying delicacies, dropping no fruit on her dress. She had a wild look in her large golden eyes, indigo skin that marbled with violet, and black hair that spilled over her shoulders like clouds of ink. Her wings were like Luna moth’s, huge and pale green, and she held a glass of chocolate wine just in danger of tipping over.
If the queen embodied night, the king personified day. He sprawled across her lap, leaning casually sideways in the throne they shared. Dark freckles stood out like sunspots on pale yellow skin. A tousle of golden curls framed his face, crowned with a wreath of ivy. He wore a plum colored robe and sandals that now dangled from his feet. One hand held a glass of sparkling champaign, and the other held a leg of meat. He laughed with an attendant, and his dark eyes flashed with enjoyment.
“Now what do we have here?” Hummed the queen.
The guard that had been leading Hannah stepped up to speak with a sharp salute, lifting the beetle wings high and proud. “We found this one at the northern gate. Fell through fighting one of the Piper’s agents. Said she wasn’t a spy. Looking for a changeling. Told her we’d let you decide.”
“Well done, soldier!” said the king. “What fun, what excitement! A wonderful opportunity!”
Hannah shuddered to wonder what that meant. She took a step back, abruptly sober and wary.
“May we have your name, little one?” The queen crooned. Hannah set her jaw. She prepared for this.
“You may not have my name, but you may call me Maria,” She answered. There were millions of Marias in the world and they bore a good name – a safe, powerful, beautiful one, but not hers.
“Let us offer you these sweet cakes then, Maria,” The king said. A platter materialized out of the air, filled with luscious tarts.
“I humbly decline, for I had my meal at home.”
They grinned, an identical, sharp-toothed grin. “What do you seek from the Seelie Court of Autumn?” The queen asked.
“Which do you want?” the king asked, “For there are many.”
“My dear,” the queen purred, “You’ll have to be more specific than that.”
Yes, she would need to be exacting in her request, lest they pull a horrid trick on her for their amusement. Lest they endanger Cec- her sister. Best to avoid even thinking her name in their presence. Who knew what they could do?
“I believe your people took my sister last night during the thunderstorm, between the hours of midnight and four today. She spoke of the Piper, and his flutes on the wind. I couldn’t hear his music, because he didn’t come for me. She vanished the next morning. I wish for her freedom to return to our home and our parents.”
“You wish, hmmmmmm?” The king mused. “We do not owe you a wish, but yours is a noble plea.”
Her heart leap with hope. Would they consider?
“Why?” the queen asked.
Why? A million reasons, but should she reveal her heart now? Hannah ventured for a safe answer. “Because our mother and father will be cross with us if we return late for dinner,”
“Why?” Insisted the king.
Hannah’s stomach turned as they pressed into her with that driving tone. The facade of indulgent amusement dropped like taking off a mask, leaving behind hard, angry eyes. Why did they toy with her? Was her request so unreasonable?
“Because she left without a word, and I am worried for her.”
“Why?” Hissed the queen.
“Because I miss her. Because I love her.”
They gave her those same, sharp-toothed grins again. Hannah wanted to slap those smiles right off their silly little faces. She held her breath as they waited for an agonizingly long moment before the king spoke.
“How do you know her, when you cannot call her by name?”
Around her appeared a dozen figures–girls that all looked exactly like Hannah’s sister. They all gazed at her with wild, desperate expressions. She shrunk back, but more popped up behind her. Hannah scowled at the ring of possible imposters as she realized the trick. One would be the truth, trapped in the game. The others would be illusions. She had to choose.
She closed her eyes and took a deep breath to steady herself.
“I know her by her footsteps when she creeps into my room at night to watch the thunderstorms.” They took a step towards her, menacing. Those three, those were wrong. Hannah snapped open her eyes and banished several of the imposters. With a wave of her hand, they vanished into a puff of smoke.
“I know my sister by her laugh when I tell her a terrible pun,” Hannah said. The girls all laughed, seemingly on command. She couldn’t tell apart individual voices, but there was a silence from one side as one didn’t laugh. She had said nothing funny. Banished. Vanished. Smoke.
“I know her by her kindness when she sneaks our cats extra treats. I know her by her competitiveness when she jumps off the top of a maple tree to beat me in a race.” One flinched at the idea of breaking bones, but her sister never hesitated with heights. Banished. Vanished. Smoke.
One remained. Hannah locked eyes with it through the smoke and her eyes stung with tears. “I know my sister,” she repeated. “And she knows me.”
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Hello Hello! This post is going to be a little different from the usual Personal Process series, since this week it’s a special request from my good friend Katie Koontz. I interviewed her about her character Bolte for an earlier post, and when she asked me to cover character tropes, I wholeheartedly agreed! Today, I’m doing a deep dive into how tropes are used in storytelling, some fun ways to play with them, and offering a few exercises to think about how they impact your story.
Tropes as Tools: Definitions, and how they differ from cliches.
There are a MILLION definitions out there but for the sake of this article, I’m going to use the broadest term: A Trope is a storytelling shortcut or motif that conveys information to the audience. If you notice a pattern, plot device, symbol, or archetype in three separate pieces of media, it could be classified as a trope. In fact, even the Rule of 3 is a ubiquitous trope. Every piece of media has them, and they aren’t objectively good or bad, they just exist. Saying you’re trying to write without tropes is like saying you’re going to write without a font.Continue reading “Tackling Tropes”
When I first started writing this post, I thought it was going to be an easy one to write. When I first started worldbuilding the world of Laoche, I found a bunch of question lists I liked online, and put them together into my own questionnaire that I thought encompassed everything you could possibly need to worldbuild. I’d just copy/paste that list of from my “blanks” document, mess with some formatting to make the enigmatic WordPress happy, and be on with my day. That’s when I stumbled across this website, a comprehensive worldbuilding checklist that includes more details than I could ever hope to come up with. It’s a great resource, and I’ve bookmarked it for future reference, but now I realized that I could just share this instead, and be out of a blog post. Instead, I’ve decided to explain how I decide where to start worldbuilding.
It’s very easy to get caught up in the world past the point where it’s relevant to the story. Big lists of things to consider don’t help with this either, because it’s easy to feel pressured to answer all the questions up front and build yourself a cage made of potential contradictions, or so overwhelmed that you consider switching to contemporary Earth. It’s also very easy to focus on your plot and characters so much you forget to put infrastructure into the background of the world, then struggle to fit in unique settings around the existing story that fit the themes.
I think it’s the most useful to start by asking cause and effect questions like, “What about the world influences the way my characters think?” and “What do I absolutely need to know to inform the plot?” These lists are supposed to be a guide where you can pick and choose what you want to work on, and what works for the story, then ignore the rest to figure out later, so your outline-stage worldbuilding can be as detailed or vague as you need it to be. If you find you need a certain gesture or fashion description as you write, then you can just come up with it on the spot, choosing what makes sense in that moment. Then add a comment or highlight to that section so you don’t forget what you came up with later. Your editing self will thank you for it. That all being said, I want to share my process on how to approach what aspects of worldbuilding in what steps so that I don’t get so overwhelmed and work on the most important things first.Continue reading “My Personal Process: Worldbuilding, and Where to Start?”
Cecilia disappeared. She didn’t wander off following fireflies again. She isn’t hiding in the library, and she couldn’t go out into the storm last night. No, Hannah is sure that faeries stole her sister, and she’s taking the search into her own hands. Armed with their father’s green coat, a steel pocket knife, and a red string tied round her ankle, she stomps into the first mushroom ring she finds to demand her best friend back. Soon she finds herself on a dangerous and extraordinary adventure, navigating between the Seelie and Unseelie courts and trying to find her way back home before dinner.Continue reading “Runaways: A WIP Intro”
Welcome to the last part of this series and the thrilling conclusion of the book! If you happen to be reading this in the future and missed the first three parts, I’ll leave links to those here so you can catch up: Part 1, Part 2, Part 3. Obviously if you don’t want to see how the book ends, avoid this part for the sake of spoilers. I also wanted to put a trigger warning at the beginning of this one for suicide. It’s been mentioned before in the book, but one actually does occur in this part, so steer clear if that’ll be troubling for you. Stay safe, my friends!
When we last left off, the pieces were in place, the secrets known and ready for release, and the undoings begun! The coward Caderousse was murdered by Benedetto – Villefort and Madame Danglar’s illegitimate son, now masquerading as an Italian nobleman named Andrea Cavalcanti thanks to the Count’s patronage. Danglars is teetering on financial ruin after losing a million francs in the stock market, so he’s set up a marriage between his daughter Eugenie and Andrea to get his money. Noirtier’s Bonapartist political affiliations ruined an unwanted arranged marriage between Valentine and Franz, and potentially his son’s Royalist political career, but instead of now being free to marry her true love Maximilian Morrel, she’s been framed as a poisoner. Meanwhile, the Count still can’t figure out his feelings for Mercedes, and news about Fernand de Morcerf’s military scandal in Greece was leaked to a local newspaper. Though it was missing any connection to the family name, Albert was still concerned, and asked his friend Beauchamp to investigate.
The Morcef Mess, Chapters 85-93
This chapter opens with Beauchamp arriving at Albert’s home to tell him the bad news that he has solid proof of his father’s crimes in Greece. Because the original story didn’t have a direct link to the Morcerf family however, this news can still be suppressed, and Beauchamp promises no to release it because of his friendship with Albert. He thanks his friend and visits with the Count for a vacation at the beach. Three days later however, the story is published in a rival newspaper linking Morcerf with the whole scandal and Albert rushes back to Paris to do damage control and hear the whole story. Fernand belonged to the government Chamber, and after the news got out, they ordered a trial and extensive investigation into the betrayal. At the trial, Haydee appeared and testified to the murder, as well as how Fernand sold herself and her mother into slavery and presenting evidence in the form of the selling/buying contracts from Monte Cristo.
Hello! I’m picking up again today with this series, but if you missed the first two parts, you can read those at the following links: Part 1, Part 2. For convenience sake I’ll put a summary and color code guide, but if you’re already up to speed, you can skip the next paragraph.
When we last left off, Edmond Dantes (aka the Count of Monte Cristo, Abbe Bussoni, Lord Wilmore, and Sinbad the Sailor) had moved to Paris and started meddling in the affairs of the other characters. He gets the default black color. His old love, Mercedes, who recognizes him but says nothing out of fear and her son Albert are pink. The Count met Albert in Italy and saved him from bandits. Mercedes’s husband, Fernand Mondego (aka The Count de Morcef), in red, accused Edmond of treason to get him out of the way but doesn’t recognize him as the count. He is now wealthy after a military career in Greece. The reader also meets the Count’s “slave” and friend – a Greek girl named Haydee who is traveling with him. The Morrel family are old friends of Edmond is green. Notably, Maximilian is in love with Valentine de Villefort, but their marriage is impossible due to a family grudge and her existing arranged engagement. Her grandfather, Noirtier loves her to death and does not get along with his son due to differing political views. He is disabled due to a stroke but communicates with her through blinking. Valentine’s mother hates her, dotes on her son, and takes an interest in poisons while ignoring her husband. Valentine’s father, the prosecutor Gerard Villefort, sentenced Edmond to prison, and tried to bury a baby in a box one time before he got stabbed by Bertuccio – a man with a vengance who took the child and raised him as his own. Their fun dysfunctional family is violet colored. The child, Benedetto, grew up to be a criminal and ran away from home at age 11. He’s not missing, and he gets Brown.. In the meantime, Bertuccio was also witness to Caderousse (the old cowardly and selfish neighbor) killing a jeweler to keep a diamond and large sum of cash. He was last seen on the run from the police, and is shown in yellow. The Count also makes an impression on Danglars, the greedy sailor who schemed to betray Edmond now turned banker, by taking out a huge line of credit. We also meet Madame Danglars, a scheming woman who doesn’t actually like her husband very much. Their daughter, Eugenie is engaged to Albert Morcef, and the family gets this blue color.
Connections, Continued… Chapters 54 – 57Continue reading “Reading Rec: The Count of Monte Cristo Part 3”
Welcome back to the summary! If you missed the last entry in this series, I’d recommend reading that first to catch up on the story. To recap the color coding, our protagonist, Edmond Dantes (aka the Count, Monte Cristo, Abbe Bussoni, Lord Wilmore, and Sinbad the Sailor) gets the default black color. His old love and fiancee, Mercedes, is pink. Her current husband, Fernand Mondego (aka The Count de Morcef), in red, accused Edmond of treason to get him out of the way, and is now wealthy after a military career in Greece. Edmond’s kindly employer and true friend, Monsieur Morrel, and the rest of the Morrel family including Maximilian and Julie are green. The greedy sailor who schemed to betray Edmond, now the rich banker Baron Danglars and his family members are blue. The cowardly and selfish neighbor who said nothing during the betrayal, Caderousse, gets yellow. And finally, Villefort, the prosecutor who sentenced Edmond to life in prison for his own political gain, as well as his family, get violet.
Hopefully that paragraph doesn’t hurt your eyes too much to read. Any new characters or plot elements will also fit into one of those colors to indicate a connection to the main ones. Also, I’ve figured out how to embed the original illustrations, so this should be a little more visually interesting than a wall of text this time. Let me know what you think!
Italy, Chapters 31 – 39
This section starts 10 years after the last events covered in part one, and in a completely different part of the Mediterranean with a completely different character: a young Parisian nobleman named Franz who lands on the island of Monte Cristo to go boar hunting. It’s supposed to be an abandoned scrap of rock, but instead, he finds there the crew of Sinbad the Sailor. Franz is blindfolded and taken to have dinner with Sinbad, who shows him an incredible display of wealth before drugging him and sending him on his way to Rome to meet up with his friend, Albert de Morcef – son of Fernand Mondego (aka the Count de Morcef) and Mercedes.Continue reading “Reading Rec: The Count of Monte Cristo Part 2”
Welcome to February and March’s reading recommendation! In keeping with the outlining theme of the month, today I’m sharing a book with one of the most complex and interesting plots I’ve ever read. I listened to The Count of Monte Cristo audio book last summer and it is now one of my favorite classics. There are several movie and TV adaptations that I haven’t seen, but I want to focus on the book to demonstrate how Alexandre Dumas handles a story that spans several decades and dozens of inter-character relationships. Its the sort of story that works really well because of the slow pacing of a book, rather than being constrained by an arbitrary time limit, and hopefully by dissecting it, we can learn a few things about how to do this sort of plot as well.
This book is 1243 pages, 117 chapters, and over 375K words long, so I’m splitting this post up into four parts and stretching it out over the next month. I wanted to make sure I had enough page time to give enough context and that’s the winning option from my polls. That being said, I think there’s a statue of limitations when it comes to spoilers in 177 year old books, so I’m going to prioritize the “what can writers learn” aspect of the analysis in this article. If you’d like to read more, the whole work is available for free download on Project Gutenburg. True to form, I’m also color coding this! Try to spot the themes as I explain the twisty plot points!
The Creation of the Count, Chapters 1-30Continue reading “Reading Rec: The Count of Monte Cristo Part 1”
Welcome to the second entry in this series of Personal Process posts! This series is keeping with the theme of the month, and for February I’m going to be talking about outlining and plotting, since I’m neck deep in planning The Laoche Chronicles and this gives me the chance to both share some behind-the-scenes with you, as well as give you some tips on how I make outlining work for me. This is just my process, and I’m not saying it’s the end all-be all for plotters, just another method that you might be able to learn from and adapt to suit your storytelling needs.
It works particularly well for very complicated series, but if I’m working on a more straightforward contemporary novella, I’ll skip over the whiteboard step and go straight into the document outline. For short stories, I might just make a bullet point list of Stakes, Beginning, Middle, Climax, End, Character Drive. I find that knowing how to tackle all the different angles leads to a better understanding of structure in general, so I find it interesting to study all the different scopes, then change this process to fit the needs of my current WIP.
Step 1: Brain Dumping
At this point, I probably have some semblance of a premise and characters for this idea, and possibly also an endgame idea of where I want to take the story but not middle or clue of how to get from point A to point B. This is where I collect ALL the thoughts. Usually, I do this between phone notes and a document on my laptop for brainstorming, but I also use voice memos or whatever else works. I’ve drawn ideas on my hand in pen during a life guarding shift before and just taken pictures of my inked-over arm before I have to jump into the pool again. It happens. In any case, you have ideas.Continue reading “My Personal Process: Outlining/Plotting”