WRITING CHRONICLE #30: plots and the way they move

Via: Daily Prompt – Gratitude

Image: Jon Bell, Flickr CC2

Plot – one of the seven pillars (others being character, conflict, setting, theme, POV, and style) of fiction. Though harboring deceptively similar traits, it should be viewed as different from the story. However, when I first picked up the craft of fiction writing, I could not find the plot in my stories for the life of me. It was there, but I didn’t see what it was. How was it any different from the story itself? Until I came across the following pearls of wisdom from one of the most masterful storytellers of our history:

 

Let us define plot. We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. ‘The king died and then the queen died,’ is a story. ‘The king died, and then the queen died of grief,’ is a plot. The time-sequence is preserved, but the sense of causality overshadows it. Or again: ‘The queen died, no one knew why, until it was discovered that it was through grief at the death of the king.’ This is a plot with a mystery in it…”

~ E. M. Forster

The above words of Forsters helped me put things in perspective and review my work, correct errors in my technique, and raise the value of the stories I was writing. Thankfully, not too late in my writing journey to inflict any irreparable damage to my style.

As the years wore on, I came across other educational literature, both online and within books, that helped me identify plots in stories written by others as well as formulate plots of my own. A safe bet for finding them is to look for changes that move circumstances in the story from point A to point B. Again, it requires looking for the causality that will achieve the desired resolution in the conflict introduced:

A tangible event that forces change upon the characters.

E.g. After the death of an all-knowing headmaster, a warrior-student is forced to set out on a journey with his best friends-cum-comrades to discover and destroy the objects that tether an evil wizard’s soul to Earth in order to overcome his reign once and for all. (Harry Potter and the Deathly Hallows by J.K. Rowling)

A decision that changes a character’s circumstances.

E.g. A father decides to leave his post as a clergyman and removes his family to an industrial town where the daughter has to navigate the society of a new breed of working class and masters whose life force is the dignity earned through hard work, as well as butt heads with a proud but honest manufacturer whose heroics is not always apparent. (North and South by Elizabeth Gaskell)

Change in the relationship dynamics between characters.

E.g. A self-centered social princess who enjoys meddling in the lives of her peers out of a misguided perception that “she knows best” is only ever called out by her politically correct older step-brother but eventually realizes she enjoys his overbearing guidance and admires his integrity but is no longer confident that she is worthy of his attention. (Clueless by Amy Heckerling)

Internal change in a character.

E.g. A young woman prides herself on the accuracy of her study of characters of those around her, becomes prejudiced against an aristocratic man of natural proud bearings after being inadvertently slighted by him and hearing accusations of his misconduct against another man but eventually discovers that she allowed herself to be thoroughly misled and proceeds to witness his generosity towards those he cares for. (Pride and Prejudice by Jane Austen)

Change in reader’s perspective of the situation.

E.g. A divorced woman, who makes multiple errors in judgment due to her incessant state of inebriation, is obsessed with her ex-husband’s budding new family and tries to recover her life but begins to piece together a sinister past through wild flashbacks that foreshadow that the guilt might not be hers alone. (The Girl on the Train by Paula Hawkins)

Character coming to the realization that there will not be any change at all.

E.g. A recluse author, under the pressure of trying to come up with a novel that will rival the success of his first, begins to write a female character who likes his dog and whom he starts to fall in love with, bringing her to life and later decides to allow her freedom of will, only to realize that once free, the character is no longer satisfied with her life with him alone, and feels morally compelled to set her free from his domain. (Ruby Sparks by Zoe Kazan)

Such classic plotlines are the fail-safes of writing fictions. Of course, one cannot simply rely on them to succeed. No, success is achieved by adding originality to these storylines in a way that lifts the characters off the pages – and that is entirely up to the author’s creativity. And even more complicated than deciding on the “causality” to induce the story arc is deciding how the plot will progress to make the story plausible.

So once you have decided how you will add the plot to your story, how do you move it forward? There are many methods of plotting you can use, and here are some approaches to get you started:

Traditional Approach – Ideal for planners, this is the method you use to first break down the entire story into chapters, then briefly summarize what happens in them as well as the contribution to the story arc that each makes.

Synopsis – Similar to the Traditional Method, the Synopsis is ideal for planners but who wish to allow themselves more creative room in writing individual scenes to build on the general plot as they progress. Here, the writer also outlines the entire story but without breaking it down chapter-by-chapter or scene-by-scene. The ending is often loosely introduced in the synopsis or may be left blank. The synopsis is a good practice for later if the author wishes to gain representation in traditional publishing.

Image: Wikimedia

Freytag’s Pyramid – Though the 5-act dramatic structure was almost abandoned in the mid-nineteenth century, German playwright Gustav Freytag not only brought it back into use but streamlined this outlining method by choicely breaking down the course of plot into Exposition (background information on the major elements introduced in the fiction), Rising Action (introduction and build-up of the conflict), Climax (turning point where conflict is at its most volatile), Falling Action (where conflict unravels and the final suspense/doubts are exposed), and Denouement (where the story’s loose ends are drawn together).

Three-Act Structure – This simplifies the 5-act structure by diving the plot into three segments as the name suggests and putting specific elements in each, which is left up to the author to decide on. Most commonly, the three-act structure is broken down into the introduction plus rise of conflict, climax, and resolution. This structure is becoming more popular as it is often now advised to introduce the inciting incident in the novel as early (often even scene one) into the story as possible to capture the audience from the get-go.

Hero’s Journey – This method engenders the three-act structure by specifically dividing the plot to induce the character arc for the MC. In the first act, the hero receives but refuses a call to action, thus showing his/her reluctance to get involved; in the second act, a series of trials are forced upon the hero that may test his/her physical prowess as well as intelligence, emotional, and ethical quotient; and, in the final act, the hero triumphs over the antagonist.

The Snowflake Method – Introduced by Randy Ingermanson, this method does not attempt to systematically outline the plot but rather starts with writing a one-sentence summary or loglines that defines and entices the storyline, then picks out specific elements in the story such as characters, conflicts, epiphanies, goals, etc., lists them out by rote, and adds details to them which will mechanize plot progress. This method is ideal for people who prefer discovering their way through the plot as much as the reader.

Draft Zero – Finally, the food of the pantsers and who think plots should remain mysteries until they are well on their way through the first draft [for creative freedom, of course]. The writer focuses on speed as they write a mock draft, allowing plenty of gaps in scenes to be filled in later. The writer courses through the story too quickly to allow for anything such as fatigue or “editing impulses” to set them back or keep them from reaching completion.

Of course, authors are welcome to combine any of these methods to ensure optimal output from themselves. After completing the draft of my first novel and realizing how my plot was all over the place, making my MC’s character arc plausible but not achieved via the right course, I took to employing a combination of Traditional Method and Draft Zero – it saves me a lot of time later that would be otherwise spent filling in plot holes.

What are your plotting processes?

WEDNESDAY REFLECTION #29: A Monster in Paris

Via: Daily Prompt – Identity

Title     A Monster in Paris

Starring     Adam Goldberg, Jay Harrington, and Vanessa Paradis

Director     Bibo Bergeron

Writer(s)    Bibo Bergeron and Stéphane Kazandjian

Genre     Animation Adventure Comedy

Release Date     October 12, 2011

Filming Location     France

Parental Guidance     PG

IMDB Rating     6.8

Synopsis: Emile (Jay Harrington/Sébastien Desjours) is a shy projectionist with a passion for films, working in a movie theater and crushing on the ticket girl Maud (Madeline Zima/Ludivine Sagnier) in his free time. When he finally plucks up the courage one day to woo her, his exuberant best friend Raoul (Adam Goldberg/Gad Elmaleh), an inventor and deliveryman, literally drives a halt in the situation with his bizzare delivery van “Catherine” when he arrives to pick up Emile to help him buy a belt for his projector. Lamenting the courtship interruptus, Emile blames Raoul but Raoul takes no notice of his error, too busy encouraging his best friend to go for it. On this transport route, Raoul has Emile tag along for an “adventure” to the private nursery of a scientist, where they roam unchecked in the absence of said scientist. Despite the warnings from the scientist’s guard-cum-assistant, a monkey named Charles, Raoul fools around with the various chemicals in the chemistry lab while Emile records what happens on his new video camera. An accident ensues, during which a flea off the monkey’s back is hit by two unstable chemicals that turn the flea into a human-sized figure. The disgruntled flea, upon seeing Emile’s fearful reaction, “flees” the vicinity and is on the run ever since throughout Paris whenever witnesses reject him in terror upon the sight of him and eventually ends up in the back alley of the cabaret in which Raoul’s childhood friend and crush Lucille (Vanessa Paradis/Vanessa Paradis) sings. At first Lucille, too, is afraid of the giant flea but when the flea with human emotions and the voice of an angel breaks out into a song about his harrowing experience being seen as a monster from the moment he turned, she takes pity on him and invites him in to hide in her dressing room, dubbing him with the name Franceour (Sean Lennon/Matthieu Chedid), which means “honest heart”. Only, in him, she finds the perfect singing partner who inspires her to perform even better. The duo is instantly popular with the audience, except the power-hungry Police Commissioner of Paris Maynott (Danny Huston/François Cluzet) is out to capture and murder the monster in a hope that it will gain him enough popularity to win the mayoral election.

Experience: I had this movie on my TBW list for a while now – years, actually. I just kept skipping over it for some reason but I wish I hadn’t. Yet, I guess, everything has its time and this Halloween prep-season was the time to watch A Monster in Paris. And what I learned is, not all monsters are bad.

And this monster can sing. It doesn’t take animation to realize that almost all species are capable of emotions, many of which are quite human. But I think cartoons do have a way of humanizing creatures better than any other medium. Turn your suspension of disbelief on and it seems perfectly plausible that a flea off a monkey’s back (a monkey which is a scientist’s assistant and guard too) turns to singing to express his fears upon becoming a seven-feet-tall monster instead of sucking the blood out of terrified and lonely pedestrians when he meets them in dark alleys. “It” becomes a “he”, and we sympathize with him and try to give him an opportunity to excel at his talent. The monster in distress becomes the central character with whom we commiserate.

Appropriately juxtaposed, we witness a power-hungry police commissioner out to kill this pathetic creature in a bid to gain popularity and politically climb up to the lofty perch of the mayor of one of the world’s most modish cities. And, in his single-minded track, he is ready to slaughter any civilian in his path. We see the human become the real monster. The story now has greater meaning – not all whom we see are who they are. We learn that before we assume one’s reality or feel any partiality towards or against a person, we should give them a chance to prove their true worth.

Meanwhile, two beautiful romances unfold amidst citywide chaos. We already see early in the movie that Emile is trying his best to hold onto his courage to inform Maud of his feelings (and for a while, I was sure it will be Emile who will end up becoming the monster and start wooing Maud in his new form), but slower to blossom is the romance between Raoul and Lucille. In fact, I found the chemistry between the latter duo much more scintillating than the former, despite (or perhaps because of) the apparent volatility of their relationship. The mystery behind Lucille’s obvious disparage of Raoul and his attempt to jovially disregard it hints at a past and titillated the romantic curiosity in me immediately. Especially because under all the witty comebacks lobbed at one another, the two seem to truly care for each other’s interests.

While at first, I thought the sweet shy Emile might be the hero of the story, and he does rise to the occasion when necessary, driven as he is by friendship, Raoul is adorably comic (think Ryan Reynolds) and he comes alive more throughout the movie. And I found it great that Lucille’s character wasn’t far behind him. She was no damsel in distress even though Raoul did his best to “save” her by protecting her friend-flea Franceour. Yet even while they are working together, they continue to bait each other with hilarious effect. But we see the knot loosening and it’s charming to witness.

Recommendation: I’m sure you all too have plans for this Halloween to catch a monster-flick or two. But I sincerely suggest you make time for this uplifting monster movie this year – especially if you haven’t seen it already. Especially, after all the political and environmental chaos we have experienced throughout this year. It’s a great reminder that human endeavor may be found even in the most unlikely places if we only make the effort to see.

* Original animation was dubbed in French so I have included the name of the French voice-over artists beside the English voice-over artists post forward-slash in the synopsis.

WRITING CHRONICLE #29: the art of conversing in fiction

Via: Expect & Enlighten

Image: Max Pixel

Last week, for the final #AuthorToolboxBlogHop post of the year, I discussed how to find your character’s voice. It only seemed fitting that this week, I write about what to do with that voice once you have found it. That’s right, I’m talking dialogues.

Dialogues (and accompanying actions, of course) make up the parts of a novel I prefer to read most. In fact, they were a major determinant in the selection of my favorite authors. The more dialogues a story offers, the quicker I fly through it. Because that is precisely one of the advantages that dialogues provide – the ability to move the plot forward. Dialogues reveal new information and secrets that may deepen the conflict or bring about resolution. They make the reading easier by breaking up blocks of expositing prose and instead present a sense of unfolding action, quickening the pace in turn. In fact, did you know that, when perusing books in a store before purchase, readers often look for the amount of white space in the layout to determine how much dialogue the story contains and thus how quick a read it might be? I wonder if that is considered cheating, though.

Dialogues also have the ability to make characters seem more real. For one, real people don’t spend every waking hour observing and contemplating the world around them. No, they converse, they take action. But not only does adding dialogues to the story makes the characters come alive but it also provides a tool to reveal more about the characters. You can expose a lot more about a character’s backstory (and in a much more interesting way) by injecting habits, thoughts and beliefs, dialects and accents, vernaculars and technical jargons, etc. in a few quick dialogues than would be necessary with endless passages of exposition. Dialogues are a medium to strengthen a character’s voice, making it more distinct and consistent over usage, as well as to express the dynamics of the relationships they have with other characters.

There’s a lot you can do with dialogues. And as with any ambitious instrument, they are tricky. Some writers have a natural ability to write interesting dialogues – Jane Austen, Jennifer Crusie, and Julia Quinn to name a few of my favorites; others have to work at it. For the most part, it really requires an observant pair of ears. Yup, eavesdrop until you get the hang of emulating the way people speak. Or else, the following tips may come in handy:

Expositing. It is necessary to remember that people don’t constantly launch into soliloquies or solo productions in their day-to-day lives. The “di” in dialogue signifies an exchange of continuously flowing discourse between two or more persons, and therefore, should not be generally used by a character to narrate the story to another. Even when one character is in the middle of describing an event, other character(s) present should be reacting and responding – unless there really is a podium involved. But even so, keep the presentation short and cover it mostly through brief narratives.

Using fillers. Then again, not everything in real life should be imitated in art. While people often dawdle in small talks before getting to the meat of their conversation, there is little need to weigh down the dialogue in fiction with small talks between characters. If it is not revealing anything important about the plot or characters, ixnay on the chitchats.

Over narrating. Another mistake is giving blow-by-blow accounts of actions that surround the dialogue. Suppose a character throws a tantrum, saying something hateful to another character followed by a walk-out, there is no need to explain the character is angry. The dialogue and actions are sufficient. Let your characters show the readers what they feel and mean; you stick to editing.

The right dialogue tags. Which brings us to dialogue tags. With an endless supply of adverbs, it is often tempting to use the “he exclaimed” and “she retorted”. However, sometimes the “he said” and “she said” suffice. Using too many variations of dialogue tags may become obtrusive, and thus, distracting. Once in the flow of the dialogue, readers much rather forgo of all the additional explanation of how the characters are conducting their exchange; some of it sort of ebbs and flows into the momentum.

Injecting actions. Then again, sometimes action narrations may be used to replace dialogue tags. For example, in a scenario where the hero and heroine are immersed in serious flirtation, their body language can speak volume more than mere dialogue tags:

Eric tilted his head towards Vanessa, a corner of his mouth tipping up suggestively. “How do you feel about taking this conversation to someplace more private?”

Forgoing dialogue tags altogether. Again, sometimes when the dialogue between two characters picks up momentum, after initially setting up the format to show which paragraph of dialogue is being spoken by whom, the dialogue tags may be abandoned:

Don’t be so judgy,” Shabnam advised after putting some distance between them and the boys.

Obaira watched where they were walking to avoid making eye contact with her cousin. “What do you mean?”

“Here’s the most handsome boy in our batch paying you so much attention and you are doing your best to put him off. If I know you – and I do – that means you have something on your mind and it’s not pretty.”

Her cousin did know her too well. “Well, don’t you think it’s suspicious that he starts paying me attention right after I won the contest?” she whispered, looking over her shoulders to make sure the boys wouldn’t overhear. “I mean, we barely ever spoke before – other than to exchange a couple of class notes, that is.”

“I would think that that just proves like is attracted to like.”

“Come again?”

“For a nerd, you’re pretty slow on the uptake.”

“Oh.”

Shabnam rolled her doe-eyes. “Well, he is the top student in our class and you the top girl.”

~ Excerpt from Bad Daughter by Yours Truly

However, notice even while most of the alternate paragraphs did not have dialogue tags or action narrations, every once in a while I reinstated a tag or action to re-acquaint the reader with the character speaking a specific dialogue. While forgoing dialogue tags can help quicken the pace, going without them for too long can also make the sequence confusing.

Getting grammatical. Going back to the realism of dialogues, also important to remember that most people aren’t overly critical of using correct grammar in their everyday conversation. Vernacularly speaking, it is not “The King and I” but more “Me and the King”. So, depending on the education level and upbringing (and sometimes the era) of your character, best if they speak the way people of their time and culture would speak in an everyday setting.

Signs of hesitation. But then, in our every day, we do tend to fumble for the correct words a lot as we speak. Not the right move when writing dialogues. While using an “err” or “um” on occasion is okay (particularly when trying to emphasize a character’s hesitation or confusion), it is quite unnecessary in the general use and only serves to slow down the momentum we hope to provide through dialogues. Remember, we are trying to keep things real, not transcribing a court procession.

Phonetic spelling. Again, in a bid to inject realism, we may be tempted to write dialogues exactly the way they would sound when a character speaks in their dialect or accent. However, unless it is relevant to the plot or the traits of a particular character, we can stick to the generally accepted spellings for words. For example, in Harry Potter, Hagrid’s dialogues are heavily peppered with his West County accent to create the illusion of a less-than-sophisticated blundering-but-bighearted half-giant who “managed to learn to speak English” – it is an important trait that defines Hagrid and is also relevant for the sociological and “racial” divide in the plot. However, while the wizards all come from places far and wide in the United Kingdom, few others are seen to speak with accents because with such a varied cast of characters, it would make the reading material very confusing and arduous once we are done translating what everyone says.

Character names. This pertains to both the address within the dialogue and the using character names with the dialogue tags. The first is obvious: we do not continuously address the people we speak with by their names once the people in the conversation is already identified; we just keep talking by facing them or throw out our statements openly for anyone present to respond to. The second, with regards dialogue tags and action narrations, once the paragraph sequence is established to show who the alternate speakers are, characters names may sometimes be replaced by subject pronouns: “he said” or “she said”.

Consistent punctuations. It is an unfortunately-common mistake in manuscripts where authors keep mixing up which quotation marks they use to bracket dialogues. If you are using double quotation for your dialogues, stick to it. Don’t keep switching between double and single quotation marks at different parts of your novel. Even if you are undecided when you start drafting, by the time your manuscript has been edited and ready for submission/publication, your dialogue format should maintain a modicum of consistency.

One eye on the voice. Speaking of consistency, it is important to provide each character their unique and distinct voice, to be retained throughout the story. Characters cannot be slipping in and out of their… well, their characters. Also, the characters cannot all sound the same. Remember, the character’s voice is an extension of their psyche and therefore if everyone had a similar voice (ipso facto similar psyche), there would be no conflict, right?

 

Yeah, follow all these rules and you should be good. Piece of cake!

#AuthorToolbox 06: oh character! how thou meow?

Via: Daily Prompt – Loyal

 

Image: Max Pixel

 

 

Image: Tenor

In preparation for the new season of Supernatural, I was recently watching some of the casts’ Comic-Con videos on YouTube when this member of the audience got up and asked if Jensen Ackles ever falls into his character Dean when handling everyday situations such as, if his car was to be overtaken by another vehicle and he needed to vent his frustration, would he shout at the offender and say – ok, I can’t write that here. But the fan did a perfect imitation of Dean Winchester, from words to tone to pitch, that even Ackles had to praise it – though with startled bemusement. In any case, it got me to wondering, how well do we know the characters we write? How often do our characters reach that level of consistency and distinguishability where a reader would be able to immediately connect a dialogue or thought to a particular character? Because that, my friends, is where we know we’ve got it made.

 

Earlier this year, I blogged about what the writing voice is and how I discovered mine. In essence, to me, the writing voice is the culmination of one’s writing style and their purpose of writing. The same goes for the voices of the characters we develop. Who are the characters we write really and why are they even there? To reiterate the above, in order to ensure each of our characters have a distinct and consistent voice, we need to truly know them – know them the way we would know how a really close friend or relative will react to a situation and know them outside of ourselves so that the author’s voice does not overlap with the character’s.

Easier said than done but not impossible. Here’s how:

The Interview. To an outsider, it might seem totally nutty that an author hosts little tête-à-têtes with his/her characters but this is one of the most common advice I have received at any writing circle, official or among Twitter friends, whenever I stumbled across a block with a character. What better way to find out who your character is than to simply ask them, am I right? This, of course, would have been easier if the character in question (excuse the pun) wasn’t a figment of my imagination. But to make the process less convoluted, a good place to start asking questions is their opinion of other characters they interact within the story and the various issues they face. The various lookouts (list below), then, during such an interview would be to monitor the emotional intensity with which the character responds to each question, make notes of the nuances delivered, and then ask follow up questions based on the responses.

 

Accept Them For Who They Are. Your questions answered, you must learn to not become judgmental by what you have discovered about your character. You may ask me, how can an author disapprove of the character he/she has created but I have seen this happen in works of others and have been guilty of it a few times myself. It is that moment in your story when you start to exposit on why a certain character behaves a certain way to distance yourself from that character – to show that this character is obviously not you and that you would never behave that way. Don’t do that. Remember, you are not in the story so your readers know better than to attribute your character’s flaws and fears on to you. More importantly, your character is the way they are because the traits they embrace are relevant to the plot as well as the relationship dynamics of your story. Let them be who they are, for authenticity’s sake. Also, if you do not remain faithful to your creation, no one else will.

 

Take Them Out For A Spin. If an interview does not do the trick, it’s time to really get crazy. Do a little exercise with your character such as having them over for company for a week and taking notes of how you imagine they would behave in everyday situations, positive and negative, that you face during that time. It will allow you to become accustomed to their reactions to the world and help you get into their mindset. You may crank it up by actually behaving like your character and then including in your notes how others respond to you as well. [Full disclosure, while actors do it all the time, I have to really bring out my inner prankster to get that wicked.] Alternatively, something simpler like having the character write a letter to you or another character in the story to see how they relate to others is also useful though perhaps not as stimulating.

Ok, I’m fresh out of techniques here, really. Truth be told, the interview method has been working well for me so far. On that note, here is the query form I have pieced together over time that seems to get me through to my characters (or is it, get my characters through to me):

• What is the character’s mode of address? Formal or informal? Does the mannerism persist from their upbringing, education, or profession, etc.?
• For that matter, what kind of education has the character received and how has this affected their level of intelligence and intellect, thought pattern and speech?
• What is the character’s cultural background and what impact could it have on their vocabulary? Does it fall into a particular dialect? Does the character allow this vocabulary/dialect to show during their speech? If not, why not?
• What is the character’s speech pattern? Do they use short or long sentences? Are the words they use vernacular or profound? Why?
• How emphatic is the character? Do they emphasize on their words to prove their point?
• Is the character cynical or naive, full of satire or respectful? How do they observe the world around them? How does it affect the way they speak? Are they gruff or humorous, edgy or laid back?
• What is the character’s general disposition towards others? Is the character prone to profanities or graciousness?
• How quick to response is the character? Does it make them naturally witty or aggressive?
• Is there any maxim that the character lives by that affects their behavior? Or else, does the character resort to any catchphrase or verbal tics?

To wit, how the character thinks and behaves and speaks depends on who they are, for which the author needs to really sort out the attributes and backstory of the character. The character’s voice is very much also connected to the POV(s) used in the narrative and it is up to the author how much of the character’s voice they will allow to seep into the prose when writing from a certain character’s viewpoint. Whatever the decision, dialogue or action or thought, consistency and distinction is the key.

Before I leave off, I invite you to share any other method you use to find your character’s voice.

Finally, a word on the Author Toolbox Blog Hop:
#AuthorToolboxBlogHop is a monthly event, hosted by the gracious Raimey Gallant, featuring various resources and learnings for authors written by authors. It is open to writers at all stages of their careers and the rules of sign-up are available in the overhead link. Also, if you are just interested in connecting with actual authors and see what they have got to say, the sign-up page has a list of participants to direct you to their pages. Happy reading and writing, fellow authors!

Wednesday Reflections #28 – The Bad Luck Bride by Janna MacGregor

Via: Daily Prompt – Believe & Tame

Title     The Bad Luck Bride

Series     The Cavensham Heiresses #01

Author     Janna MacGregor

Genre     Historical Romance | Regency Romance

Publisher      St. Martin’s Press

Publication Date      May 02, 2017

Format      eBook

Setting     England, 1812

ISBN     1250116139

Synopsis: Lady Claire Cavensham, the only child of the late Duke of Langham, is a veritable heiress and beauty. But that does not save her from being the subject of a cruel joke. The ton believes her to be cursed and the rumor is not wholly unwarranted. As a child, she was in a freak flood accident that resulted in the demise of her parents. To top that, she lost four fiancés in three years to death, disease, dismemberment, and debt, in that order. But on the night that her latest intended reneged on their engagement, one of England’s most sought-after bachelors Lord Alexander Hallworth, Marquess of Pembrooke, offered to rescue her by announcing their “spot” engagement – one to which she did not agree – to her family and a few stragglers at a ball. Claire finds Lord Pembrooke’s motives highly suspect but feels the pressure to accept his offer if she ever hopes to stamp the rumors of the curse and have a family of her own, which she so intensely desires. Her only condition is that their marriage is a faithful one. Alex readily agrees to her terms and raises it by telling her just how much he desires her. Only, Alex’s pursuit of Claire stems from his determination to ruin his former friend and Claire’s most recent ex Lord Paul for abandoning his younger sister after getting her with child, leading to her suicide. Alex spent the past year systematically driving Lord Paul to destitution by arranging unlimited credit for his high-stakes gaming and then paying for the debts, accepting all his properties as repayment. The final nail in the coffin is forcing Lord Paul to give up Lady Claire, thus relinquishing his potential hold on her inheritance and any means of recovering his possessions. Lord Paul’s only respite is to tell Alex that he has “had” Claire and when Alex discovers that Claire often purchases men’s apparel from the town’s top retailers, he begins to suspect that his new bride may be keeping a lover, despite her advocacy for loyalty. Too bad he is also ardently falling for her. Maybe she is cursed after all…

Experience (some spoilers): Janna MacGregor’s debut novel The Bad Luck Bride is not half bad. However, there was definitely room for improvement – namely, sounder editing. First, let’s discuss all the reasons that made this novel promising:

• An ominous beginning: The antagonist is the hero’s former best friend, a reprobate whose actions led to the hero’s sister’s suicide, and against whom the hero has sworn retribution. Also, the antagonist has protested that the hero jumped to conclusions by blaming him, so maybe he is not the cause of the sister’s demise?
• An edgy hero? The hero is deeply loyal to his family and feels no compunction in the manner with which he goes about exacting said revenge, including using the heroine as an instrument in a way that permanently ties an innocent to him. The secret is bound to get out and then where will they be?
• A heroine with a mysterious past and fraught with scandals: The heroine already comes with her share of problems, the most obvious of which is her streak of misfortunes with men. But she also suffers from PTSD from the event to which she lost her parents, which has led to some eccentricities and secretive behaviors that throw further shadow over her impending marriage with the hero.
• A failsafe for conflict resolution: Given that the hero is a generally considerate person (apart from his deceptive manner of procuring a bride), he is readily available to come to the heroine’s aid whenever she is in need, namely during storms and carriage rides which set off one of her traumatic episodes. Potential for them to bond as husband and wife. The heroine, having suffered her share of losses, is able to easily empathize with hero’s loss of the sister, thus becoming someone he may confide in. Additional foundation for build a relationship.
• A rescue marriage: without any prior courtship or even acquaintance portending an extended adjustment period in which we can only hope to see the characters gradually reveal each of their character traits to the other. Maybe heated disagreements with hotter makeup sex? Who knows?

The novel starts on an ominous note with the scent of death and duel in the winter air and proceeds to revenge and a rescue marriage, making for a promising plot. However, halfway in, the tension begins to dwindle, mostly because the narrative gives way to relating the daily events of the couple’s married life in a chronological fashion that was not truly necessary for the development of the story, wasting much of the word limit that could have been better utilized in other efforts. There are plenty of conflicts thrown early in the novel to make Alex and Claire’s marriage a challenging one and I was hoping for some tumultuous disagreements between the two that could have brought out their differences and individualities but these never came. For the most part, I felt there was a loss of focus from the main conflict, which is the secret Alex keeps of how he came to securing his marriage to Claire, and turns to the secondary conflict of his being misguided about her fealty to their marriage. Even then, the secondary conflict is not done full justice because, despite his mistrust, Alex is never exacting with Claire even though in the early stage of the novel, he is so hell-bent on ruining his former best friend, leading to some character inconsistencies. It made me wonder, is he a badass or not? He turned out to be more docile than initially expected. Which is why, when his secrets begin to unravel, we hit the apex suddenly. While in most cases that would make for a great plot twist, here it made the pacing uneven.

Claire, at the receiving end of his manipulation, seems to have got a good bargain out of the marriage. Alex is handsome, titled, wealthy, enterprising, of apparent good character, and loyal to those dependent on him. He seems to genuinely find her desirable despite the rumored curse and is always attentive to her needs. However, if theirs is to be a marriage of convenience (the only explanation for his sudden appearance with a proposal), his end of the convenience should seem entirely improbable to her. Sure, he claims an attraction towards her, but that cannot lead to an offer of marriage to the woman with the worst luck in fiancés and that too on the very first night that they are in company of each other – no matter how large his hero complex or how ready he is to settle down. And just how did he come to know about Lord Paul’s renege of their betrothal anyway? It perfectly warrants her reluctance to accept his offer or end their engagement when he inadvertently accuses her of hiding the extent of her relationship with Lord Paul or telling him to stay out of her bed until he is ready to believe her truthfulness. However, it does not make sense she always puts up her fences after the fact, i.e. informing him she lost her virginity to her first fiancé after the engagement is announced even though she had planned to be honest with him from the beginning in order to give him a choice, telling him she cannot consummate their marriage unless he believes Lord Paul was not her lover after they have already been in bed together, etc. While the motives behind her decisions were believable, the timings of her actions were not. Again, even though I found each plot mechanism employed perfectly plausible, they were executed with too much convenience for me to relate to.

The traits of every character, from principal to supporting, too felt very conveniently brought in and out of focus. I already explained some aspects of inconsistencies in the ways the characters of Alex and Claire were developed. When it came to the villain and Claire’s support system (her uncle’s – current Duke of Langham – family members), the same applied. For one, is Lord Paul meant to be a thorough scoundrel? The evidence surrounding his seduction and abandonment of Alex’s sister is suspicious and we are given hints that it might be a misunderstanding, but then we see him as a gambling addict and he turns out to be a true reprobate when he hurls slander at his intended’s virtue, and again he seems genuinely sorry for his missed opportunities with Claire that pertain to more than her lineage and inheritance – he likes her but also disparages her character to Alex. This is mirrored by the fact that Alex too is using Claire as an instrument of revenge but desires her and cares for her, yet engineers a bet in Lord Paul’s name at a gentlemen’s club that further sullies her reputation (frankly, a man actively contributing to risking his fiancé’s reputation is an irredeemable flaw). But we are meant to see one as a villain while the other is a hero. Yet, what was Alex doing with a potential reprobate like Lord Paul in the first place? For all purposes, Alex seems like a gentleman (other than betting against his betrothed or his mean streak when it comes to revenge) and a responsible member of the nobility whereas Lord Paul is a man with a gambling habit and a propensity to lie about the women in his lives. Yet, apparently they were once thick as thieves, which makes Lord Paul’s betrayal so painful – you know, apart from the resulting death of a sister. I felt that if Lord Paul was mistakenly accused, he could have been presented with qualities to truly redeem him and not just exonerate him – at least to reflect upon Alex as a hero (the companies you keep and all that).

To complement, Claire’s family members each concentrate on the wrong misgivings regarding Alex. Whereas, any reasonable person would wonder at his motive for swooping in with a proposal when Claire needed one most despite never having personally met her, everyone too easily gives in once they determine he is not after her inheritance. If I were the Duke Uncle, I would set the Pinkerton after him to find out exactly why he’s angling after my niece or what’s his connection to Lord Paul that he became privy to the decision to end the engagement at the same time as (or maybe even before) my niece – not agree to the marriage after one night of mulling over. While her aunt seems to be the only one worried that Claire is giving in to a marriage not based on love and romance, her cousin Emma (possible heroine for the next book in the series) is fixated on a rumor she heard that he might have a mistress even though the “overprotective” male cousins gave Alex’s reputation a clean bill. And what is up with Emma anyway? She does not make for a very promising heroine if she can so easily allow Lord Paul to flirt with her after Claire’s betrothal with the man is ended. I mean, where is the sisterly solidarity? It seemed that the novel introduced a lot of characters but did not explore any of them fully or, for that matter, rationally.

It all sounds very dire, doesn’t it? But I will still say that, for all intents and purposes, MacGregor shows a lot of promise as a novelist in her first novel. She had a good plot concept, the beginnings of interesting characters, scintillating conflicts, which all could have resulted in a fine debut. However, I think the tying up of the plot points and rounding off of the characters needed more finesse. For that, I would actually say her editors could have helped her more by providing some fresh perspective. I’m hoping with experience, her storytelling will become more cohesive because she definitely has the potential of becoming a good historical romance author.

Recommendation: Despite the various setbacks in the storytelling, this novel does not make a bad investment of time. What it suffered for inexperience made up for with imagination and, after everything is said and done, I found the read enjoyable. I will definitely read the next book in the series because I see the potential for more tightly written stories and see wish to see how that pans out.

WRITING CHRONICLE #28: character-driven vs. plot-driven

Via: Daily Prompt – Elastic & Superficial

 

Image: Cartoon Stock

I think most authors, at least in the initial stages of their career, tend to lean towards writing either character-driven or plot-driven stories. Whether your stories are more plot-driven or character-driven is trivial, as both styles work suitably and most readers are able to dive into either form of literature with easy appreciation. What is important to remember when you write, regardless of which way you lean, is that the plot and characters in either narrative forms do not act independently of one another. Whichever style you may choose, the plot and characters each influence the outcome of the other and should work cohesively towards heightening the conflict and deriving the resolution to keep the story moving or having any true meaning. With experience, of course, it is hoped that our writing styles achieve a bit more pliancy with regards to these two types of narrative.

 

And the first step towards that endeavor is to realize WHAT EACH OF THESE COURSES OF NARRATIVE TRULY REPRESENT:

A CHARACTER-DRIVEN STORY deals with the internal and/or interpersonal conflicts of the character(s). It focuses on the inner transformations of a character or the character’s relationship with other characters in the story. Such a story aims to showcase the MC’s character arc, i.e. how he/she grows throughout the story. The character-driven story relies upon the plot to develop the character. The story offers a series of events through which the character arrives upon the elemental question that defines his/her transformation, or the transformation of his/her relationship with another. The character-driven story has the advantage of connecting at a deeper level with the reader because the characters are so often realistic and relatable.

A PLOT-DRIVEN STORY is one that focuses on events rather than the transformation of the character(s). The character undergoes a sequence of plot points, each of which compels him/her to make a choice, which then either works towards or against the character’s goals, pushing the story forward and backward, creating a story arc. The plot-driven story showcases how a character responses to the situations he/she is thrown into, often depending on split-second decisions rather than deep-seated character motivations. The conflict lies in the circuitous plot that all act in opposition to the MC’s goal(s). The plot-driven story has the advantage of plot twists, actions, and external conflicts which build the tension and keeps reader motivated through to the end.

AGAIN, HOW ARE THEY NOT MUTUALLY EXCLUSIVE?

In the CHARACTER-DRIVEN STORY, it is through the story arc (a.k.a. plot arc) that the character achieves transformation, whether reconciling with self or another. The events in the story push the character(s) to question their own motivations and desires as well as face their fears and flaws, thus helping the character arc to take shape.

E.g. The Big Bang Theory, where we witness Sheldon Cooper, an awkward academic genius who, through a series of mishaps and advisement of his friends, learns to navigate the emotional intricacies of the human mind and proper etiquette of the social scheme.

In the PLOT-DRIVEN STORY, who the character(s) is/are will decide how they respond to the situations they are thrown into. The character(s) still work towards a goal and the plot points act as the conflicts that keep the character(s) from achieving the end game, hence developing the story arc.

E.g. Supernatural and the Winchester Brothers, who are forced to vanquish the various monsters-of-the-week and, though they each love the other dearly, the situation pushes them to act against each other’s decisions as often as working together.

HOW DO YOU PLEAD?

I confess that my stories tend to be more character-driven. And while the plot does help my characters to “discover who they are” or “what they need”, I’m still mastering how to make my stories full of page-turning plot twists.

Which narrative course do you prefer to employ when writing your stories? Or for that matter, as a reader, are you generally drawn towards plot-driven or character-driven stories?

Wednesday Reflections #27 – Cranford by Elizabeth Gaskell

Via: Daily Prompt – Interest & Deny

Title     Cranford

Author     Elizabeth Gaskell

Genre     English Literature, Classic

Publisher      Heritage Illustrated Publishing

Publication Date      March 17, 2014

Format      eBook via Project Gutenberg

Setting     Regency England, Industrial Revolution

ISBN     N/A

Synopsis: Cranford, sometimes referred to as Chronicles of Cranford, was originally published between 1851 and 1853 as a series of vignettes belonging to a larger body of work by Elizabeth Gaskell in the magazine Household Words, as edited by Charles Dickens. The novel follows the lives of spinster sisters Misses Deborah and Matilda (Matty) Jenkynses and their bevy of matronly comrades who oversee the genteel standards of living for the society of this titular town. The narrative accounts are related by Miss Mary Smith who spends the larger share of each year living with the Misses Jenkynses given her unwavering attachment to the townspeople – though her family moved to and officially resides in the nearby city of Drumble for the benefit of her father’s growing business. Mr. Smith, an industrious man preoccupied with his work, rarely feels Mary’s absence, much to the satisfaction of all principal characters in the story. Mary, in turn, especially benefits from the female society Cranford affords since her mother passed away some years ago, upon whence, she has been left mostly to her own devices in her household. Meanwhile, the women of Cranford take great care to uphold all appearances of dignified living despite any pecuniary shortcomings. What unfolds is a witty commentary of a community that strives to retain the “old ways” despite any modernity the industrial revolution brings to their small town and a heartwarming portrayal of feminine friendship that enlists infallible assistance even in the face of irreparable tragedies.

Experience (some necessary spoilers): Honestly, I did not procure this book until I saw the 2007 BBC adaptation starring Judy Dench and Eileen Atkins last month. I never even listed it among my TBRs. The TV mini-series, however, was very enjoyable and so, as I never deny myself a comparative assessment once I have seen the adaptation of a classic literature, I began reading.

When, in the Making of Cranford, creator and writer Sue Birtwistle (one of the geniuses behind the 1995 BBC adaptation of Pride and Prejudice) confessed that the crew had taken many liberties while writing the script for Cranford, I did not imagine the extent to which this admission was accurate. If one reads the novel and then seeks any accuracy of narrative or characters in the adaptation, they will feel the discrepancies. However, if the heart of the novel were to be determined, they will discover that the adaptation has amplified Gaskell’s intentions. In essence, while the adaptation made unscrupulous changes to the original story(s), it made up for the one gross limitation of the novel, i.e. a structured plot.

Indeed, it was not until I reached Chapter 12 that I began to see a plot formation. Upon a bit of research into the work, I learned that Gaskell, due to her commitment to writing another novel, was quite irregular with the installments for this one, which must account for why the first half of the book chiefly details individual events in the lives of the various Cranford ladies without amounting to any particular direction in which the overall the story headed. However, the adaptation more than provides for a plot even though the scriptwriters often resorted to omitting certain characters by merging them with others, killing off some characters early in the series while keeping alive throughout the program others who were meant to have died as per the novel, and generally attributing the events of some characters to the roles of others. To wit, there was a lot of shuffling around; however, not always at a deficit. I wouldn’t go as far as to say that the adaptation was better than the book but Birtwistle and her team edited Gaskell’s story whereas the original author had not.

Having provided you with a fair warning on book vs. adaptation, allow me to proceed to tell you how I felt about the novel itself. Despite the lack of structure in the storyline, both the subject of the narrative and the writing voice had me vested from the first page. In fact, it boasts one of the better opening sentences I have ever read:

In the first place, Cranford is in possession of the Amazons; all the holders of houses above a certain rent are women.”

For a feminist, this line would be of guaranteed interest and I can imagine the popularity the series would have garnered with its very first installation among bluestockings. Indeed, as Household Words aspired to raise the “affection of both sexes”, Cranford was ideal literature towards that objective.

Gaskell, herself, wrote of her characters with much affection, even though she was not impervious to listing their many deficiencies where soundness of logic is concerned, which may have been engineered to recommend the material to the male readers – or, at least, it prevented the reading from becoming wholly unpalatable to her opposite sex given how self-sufficient the characters were. Before the first paragraph is over, we learn that the men manage to find themselves out of Cranford one way or another (“In short, whatever does become of the gentlemen, they are not in Cranford”) because the autonomy with which the womenfolk conduct themselves renders any male presence redundant. As if to exemplify, early in the book, the one man who manages to infiltrate this community and endear himself with his unassuming and obliging ways, manages to get himself killed in an act of heroics.

The Misses Jenkynses, who are themselves daughters of the former rector of the parish, act as the moral compass for the community as well as regulators of the general decorum of their society. The women adhere to certain rules, which would not always make sense to outsiders but manage to ensure that everyone knows exactly what is expected of them and lives in harmony with one another. And while the older Miss Deborah Jenkyns passes away early in the novel, her guidelines are continued to be followed by her peers. So much so that the surviving Miss Matty cannot make most of her decisions without in some way counseling with her conscience as to what her sister might have done. In fact, it is one of the distinguishing traits of Miss Matty to second-guess herself and always reflect upon the inferiority of her mental capabilities in comparison to others because she was so determinedly steered by her sister in all things while the elder still lived. It is not until later in the novel, when Miss Matty begins to demonstrate a bit more independence in decision-making – albeit with temerity – that we begin to realize that she is the central character of Mary’s narrative even though so much of their lives is presided over by the spirit of the long-deceased Deborah Jenkyns.

Yet, the women are not without their individualities, from fashion sense to personal peculiarities. For example, Miss Matty always saves on household expenditures by burning only one candle at a time but would alternately burn two candles every day to ensure they are of the same height in a sense of “elegant economy” (since having two candles lit was the due riggeur) for the benefit of witness should they have visitors. While another character Mrs. Forrester regularly washed her prized lace in milk to obtain that fine creamy hue and once, when her cat swallowed the unattended lace with the cream,  had even fed the animal current-jelly before stuffing it in a farmer’s boot so it could “return” the favored item, for such fine lace could no longer be procured given the nuns from the continent who used to produce it had stopped. And such was the friendship between the women in the community that such eccentrics were not laughed at nor even found wanting. In fact, I thought for a feminist herself who wished to demonstrate how well women could get on on their own, Gaskell was rather harsh towards her characters, ridiculing them more often than they did one another though there was plenty of inducement. However, such indiscretions on Gaskell’s part could easily be overlooked when considering how honest and consistent her portrayal of each character was.

Nonetheless, as the story progresses, the true intent of the author becomes more visible and the reader may realize that amidst all the satire, Gaskell’s message from the town of Cranford is related by how Miss Matty continues to remain a paragon of goodness and kindliness even in the face of adversity, which without fail manages to bring about the best qualities in others. We see, in an hour of need, the devotion with which other characters come to her aid, self-sacrificing without hesitation, simply founded on an assurance that, if situations were reversed, Miss Matty would have happily ransomed every single one of her comfort to benefit another. Even individuals outside their immediate social circle is fully aware of Miss Matty’s eternally benevolent heart and childlike expectation of others to do only good, ensuring that they mirror the same qualities – at least in their deeds towards her. As Mary’s father, upon learning how Miss Matty’s friends rally around her, aptly explains:

See, Mary, how a good, innocent life makes friends all around. Confound it! I could make a good lesson out of it if I were a person; but, as it is, I can’t get a tail to my sentences–only I’m sure you feel what I want to say.”

And Mary, who grows into a woman under the unconscious counsel of this woman, too emulates to think of others before herself, particularly resourcing ways to make Miss Matty happy one of her priorities, faithfully concludes:

We all love Miss Matty, and I somehow think we are all of us better when she is near us.”

Recommendation: There is nothing I love more than a story that depicts the wholesome traits of humanity and this book had this in many folds. I recommend the read to anyone who feels the need to restore their faith in the goodness of mankind and a reminder that kindness begets kindness.

 

WRITING CHRONICLE #27: to what end?!

Via: Daily Prompt – Circle, Popular, & Athletic

Image: The End Title, PDP

As authors, we can easily accept why the opening scene is the more popular topic of discussions among our craft management forums [read #amwriting and #writingtip chats on Twitter]. I, too, wrote about the importance of a good beginning on this blog once (first chapters) or twice (prologues). Okay, maybe it was three times (some bits to look out for when publishing). The reason is obvious: Regardless of how superb and valuable your story may be down the pages, write a flat opening scene and face the eternal disdain of your potential readers (agent, editor, or end audience) [or in case of self-publishing: critique partners, beta readers, and angels who give unrepresented writers a fighting chance].

But the God Honest Truth is that every chapter you write is important, right down to the last. The end may come at the end, but no way should it come last while planning your novel. In fact, I make a point of roughly ideating how I want my stories to finish at the same time as I plan the central theme and first scene. Outlining the rest of the chapters comes after. Or I don’t outline and just write scenes up for my own entertainment [which is actually not the thing to do when writing novels pay for your electricity].

The point is, a good ending serves several purposes that you simply cannot overlook:

1. It brings the story to its logical (and most often desired) conclusion thus ensuring reader satisfaction and relief
2. It reflects upon and clarifies the purpose of telling the story to generate active response from the reader outside the story’s realm
3. It forms an enduring engagement between the reader and the story that outlasts the reading process
4. It keeps the readers coming back for more, a.k.a. great marketing for your next book!

For that matter, it bears asking what makes a bad ending? Well, some of my pet peeves are:

1. Characters behaving uncharacteristically [suddenly], which may have made sense with a gradual arc but the author forgot to layup the reader to expect such developments
2. A forced rushed resolution to the plot conflict that leaves me stumbling around in the dark with no flashlight and a case of vertigo, asking “what the hell just happened?”
3. Deus ex machinas that conveniently rescues the hero/heroine from their predicaments by introducing some unexpected new force into the story
4. A long rambling essay that explains why things happened the way they did (frankly, at this point, I have read enough and don’t bother carrying on till the last line)
5. No ending at all where the story just dwindles away without a resolution because the author obviously gave up

Well, that’s just the way of it, now, isn’t it? All of the above bad endings have a dank whiff of abandonment, which is just no way for an author to treat his/her work. I’ll be the first to admit that sometimes even when the characters, plots, and themes of a story is really gelling together, the ending isn’t completely obvious.

Or the original ending I planned no longer seems to be working.

Or I may have worked on the story for so long that I become too fatigued to give the ending a good go.

Or, or, or.

The many reasons why an author might botch the ending may seem nearly endless. Just as there are many lookouts to guide authors to a good ending (some of which I discussed in my post on how to write a happy ending for a romance novel). But a good way to avoid ruining the end of your novel is to simply put the story away for a while. Sometimes a little distance can provide new perspectives. Just as every relationship needs a bit of “me time” to flourish, so does the author’s relationship with a novel he/she is writing.

A very wise professional once warned me, “You want to do this? You want to write novels for a living? It’s not a sprint, my dear, it’s a marathon. Gear up and hit the gym!” Clichéd but relevant. Novel writing is a long arduous process that may not always be entertaining [as one would hope]. For the most part, it’s just a lot of tedious hard work. So even if you’re just a chapter or two away from the finish line, put away your work if the “THE END” does not convince YOU and if it’s taking a toll on your general good sense. Pause for some electrolytes. Come back to it later and work on something else in the meanwhile.

Err… What about the deadline, you say?

Lucky you. You have a deadline to work with. *smirks with jealous condescension*

The alternative to “taking a break” is going back to where you started. Again, just like in any relationship, sometimes we need a little reminding as to why we signed up in the first place. Just to get through the temporary turbulence, you know?

Where was I? Oh, yeah, circling back to the beginning.

If you’re lucky, you have a detailed outline to fall back on. If you’re not as lucky [which is probably the case, or else why would you be having any trouble writing?]:

# Sometimes you may go all the way back to the sheet of paper where you jotted down the inspiration for your story. A scene you witnessed in real life, an issue close to your heart, a character in a movie that interested you. The spark that made you think “what if” and got you writing. The fact is when you started writing your novel, you must have had a reason. Your personal agenda as the author. Depend on it to guide you. The ending is where you drive your message across.

# Speaking of purposes, sometimes you have to rely on your MC’s agenda. There is a reason why the character is on this dang journey. Where did they start? Where do they need to go? Do a little review and help your MC get there.

# Sometimes this can be the first chapter of the novel. Reading back to the opening can remind you where the MC was and how can the end change that situation for him/her. Or maybe it doesn’t change at all and the MC is back to square one and now must contend with the situation. Whatever the case, allow the MC to gain new insights to be able to handle the end – feed the character arc.

In fact, the first chapter is [as often as not] a good place to end. No need to emphasize on the relevance of coming full circle to create an impact. But bookended scenes also tend to do a good trick in getting my admiration so that’s a clue for me as a writer. Here, I must subject you all to a reminder of what a bang-up job J.K. Rowling did in coming full circle with the Harry Potter books. There were so many times I had an “Aha moment” while reading the series because some element in one book tied to something so unassuming in another that I was constantly returning to a previous book while reading a new one for reference. I still do, in fact, during my annual revision season. And how about coming back to that killing curse, huh? The “Boy Who Lived” lived again! And how his willingness to sacrifice himself protected those who were present for the final fight. Dumbledore’s man? – Lily Potter’s son through and through!

But bookending scenes may also have the opposite effect from wowing the reader [bringing me to why I came to write this post today, in the first place]. Last night, I got around to watching My Cousin Rachel, starring Rachel Weisz and Sam Claflin (two actors I generally admire but who did a piss-poor job of convincing me of the characters they were playing). While I could see how the opening and ending scenes mirrored one another in the way where Claflin’s character Philip is just adopted and raised by his cousin Ambrose at the beginning of the movie and at the end has two boys of his own that he does not know how to raise, the reason for this mirroring quite escaped me. Especially since in a story that seeks to depict a series of misguided whims on Philip’s part where he first believes Cousin Rachel married then killed Ambrose for his money, then falls for her himself and refuses to listen to reason from his friends about her attempts to swindle him out of his inheritance, and then again is convinced she poisoned Ambrose and now is poisoning him until he plays a purposely-by-accident hand in her death himself that he comes to regret, the whole point of how he is raised or should raise his children has no bearing. I suppose since he was brought up in a virtually female-free society, he had little guidance regarding how to function like an adult male when impacted by Rachel’s glory but so what? His boys have their mom. Going back to the beginning with the did she/didn’t she, I felt, was wholly unnecessary – or should I say, having the whole did she/didn’t she at the beginning? And apparently, it’s adapted from a famous 1951 novel, too. But possibly the adaptation is the usual stupendous leap away from the original literature, who knows? [I have possibly saved you from watching the movie with this whopping spoiler; maybe you can read the book and tell me it is written better?]

Anyway, my point is, the ending of your novel deserves as much careful consideration from you as an author as the beginning. To answer the titular question here, the opening you write for you, i.e. to capture your audience; the ending you write for you reader, i.e. to satisfy the audience.