Showing posts with label trilogies. Show all posts
Showing posts with label trilogies. Show all posts

Saturday, February 22, 2020

Bring It Back(list) ~ Never Have I Ever

Posted by: PG Forte
Never Have I Ever
Games We Play, Book 2

Kristy loves Luke but if anything was clear to her back when they were kids it was that gawky, awkward, tomboys didn't stand a chance with the king of the schoolyard. She watched her older brothers set their caps for Luke's glamorous cousins and get shot down. So she did what she had to in order to salvage her friendship with Luke. She hid her true feelings and her need for him to take control. 

Luke wants Kristy in the worst way -- actually, in all the worst ways: tied up, held down, beaten, bitten, whipped. But he knows he has no chance of ever having her. They'd been childhood friends and sweethearts, until she friend-zoned him in the fifth grade. He knows he can either keep her as a friend, or take her to bed and lose her forever. His biggest mistake--so far--was in hiring her to work alongside him in the bar of the haunted hotel he and his cousins inherited from their grandmother. He knows Kristy needs the money and the job, but Luke's self-control can't take the constant contact with the girl he wants to dominate -- both in and out of the bedroom. Something has to give -- and soon! 


 Currently available as a serial read on Radish Fiction. Click on the link below to read the first three episodes FREE:  


Excerpt:

The Saturday before Mardi Gras…
“Hey, DiLuca,” Luke called to Kristy as he helped her close the bar—cleaning tables and stacking chairs. “D’you know what a drunk’s idea of a balanced diet is?”
“Wait, I do. I know this one.” Kristy looked thoughtful as she straightened up from the table she’d been wiping down. “Uh…a drink in each hand? Something like that?”
“Yeah.” Luke frowned. “A beer in each hand, actually. Did I tell you that one already?”
Kristy smirked. “Well, you must have, right? I don’t know anyone else with your encyclopedic knowledge of corny jokes.”
“Oh.” That was a relief. But why was that the case? It shouldn’t have mattered all that much if other people were telling her stupid jokes. It shouldn’t have mattered at all, come to think of it. It wasn’t right that he was so invested in keeping her to himself. But he was just the same.
“So, this memory problem you’re having, is it age-related or due to alcohol consumption?”
“Don’t be a brat,” Luke admonished as the urge to punish her—never far below the surface anyway—rose up to tempt him. He loved her all the more for being bratty, but the whole not being able to do anything about it? That royally sucked. “And cut the crap. You’re only a year younger than I am, and—”
“And I can drink you under the table. Yes, I know.”
Luke shook his head. “You’re really asking for it tonight,” he muttered, wishing she were. Oh, if only she were doing it on purpose. If only she really wanted what she was tempting him to give her. “Keep it up and I’ll go home and leave you to finish closing on your own.”
“Is that supposed to frighten me?”
“Ha-ha.” It was an empty threat, and they both knew it.
One of the main reasons he’d hired her to tend bar was so that they could split the shifts between them and give him a couple of nights off each week. But the sad truth was that, these days at least, he didn’t really have much of a life outside of the bar. So more often than not he’d stop in to check things out even on his days off. He’d tell himself he’d only stay a few minutes, that he’d leave after a drink, maybe two. He never did. Some nights he and Kristy would hit a diner when they were done, sometimes they wouldn’t, but at the very least, he’d always help her close.
It was part of their routine. He’d flirt with her and tell her stupid jokes. She’d laugh at him and call him an idiot. Afterward, he’d go home and fantasize about all the ways he’d like to punish her for being such a brat, all the ways he’d like to have her.
It was pathetic—he knew that. But the upside was that he got to spend time with her nearly every day, to indulge his hopeless passion for the girl, to watch her laugh. He got to take care of her, to make sure no one hit on her inappropriately…or at all, for that matter. Because that’s what friends did. Because that’s what kept them friends, kept her from cutting him out of her life or drifting away.
The downside was his sneaking suspicion that he was keeping them both from moving on with their lives.
“How about this one? Why can’t anyone ever find a place to sit at an Irish family reunion?”
Kristy slid him a sly smile. “I don’t know, Luke. Why?”
“Because the rooms’ll be filled with Dores, Walls, and Curtins.”
“Huh?” The smile disappeared, replaced by an expression of puzzlement. “I don’t get it.”
“Dore, Wall, and Curtin are all Irish family names,” Luke explained.
Kristy shook her head as she turned back to her work. “You people are weird.”




Tuesday, June 7, 2016

Overcoming Two Towers Syndrome

Posted by: Jeffe Kennedy
It's been a great week for my duology with Grace Draven, FOR CROWN AND KINGDOM! I'm frankly astonished at the response and grateful to all of you enthusiastic readers. If you'd still like to pick up a copy, here are some linkys:

Amazon
Apple/iTunes
Kobo
Barnes & Noble

Now that the promo pony parade is wearing down for both this release and for THE PAGES OF THE MIND, which also released last week to the best rankings that series has seen so far (yay - thank you!!), I'm turning my attention back to book two in this new series I'm writing, The Sorcerous Moons. Book one, LONEN'S WAR, is done and I have an actual blurb now!

An Unquiet Heart 
Alone in her tower, Princess Oria has spent too long studying her people’s barbarian enemies, the Destrye—and neglected the search for calm that will control her magic and release her to society. Her restlessness makes meditation hopeless and her fragility renders human companionship unbearable. Oria is near giving up. Then the Destrye attack, and her people’s lives depend on her handling of their prince…  
A Fight Without Hope 
When the cornered Destrye decided to strike back, Lonen never thought he’d live through the battle, let alone demand justice as a conqueror. And yet he must keep up his guard against the sorceress who speaks for the city. Oria’s people are devious, her claims of ignorance absurd. The frank honesty her eyes promise could be just one more layer of deception.  
A Savage Bargain 
Fighting for time and trust, Oria and Lonen have one final sacrifice to choose… before an even greater threat consumes them all.


Book two is called ORIA'S GAMBIT and it's slow going so far. I'm working hard to keep from hitting Two Towers Syndrome, which is a common pitfall of second books in trilogies. 

You know what I'm talking about? It's a common complaint that the second book in The Lord of the Rings trilogy, THE TWO TOWERS, is simply a bridge between THE FELLOWSHIP OF THE RING and THE RETURN OF THE KING. Nothing really happens in the book, except things that fill in from the grand beginning to the crashing finale.

Now, if we can get over criticizing Tolkien, master of all things epic fantasy, we can take a look at why the book feels this way.

Something I like to do to create a scaffolding for my novels, given that I'm much more a gardener than an architect - so this is more like a trellis for the story vine to grow on - is to break down into the three-act structure. This is a natural storytelling structure for most of western culture, hearkening back to the Greeks. 

Basically, it works like this: 
Act I = first 25%
Act II = middle 50%
Act III = final 25%

Breaking this into beats it goes:
Act I Climax - 25%
Midpoint - 50%
Act II Climax - 75%
Act III Climax - 90%
Denouement

This matches the perhaps more familiar structure of introduction, rising action, climax, falling action. Or get your heroine up a tree, throw rocks at her, get her down again.

Thus, for say a 100,000 word novel, the word count would break out roughly as:
Act I Climax - 25K
Midpoint - 50K
Act II Climax - 75K
Act III Climax - 90K
Denouement - 100K

Of course there's variation in there, but it's remarkable to me how closely my major beats hit this scaffolding. It helps me because I know I have to have all the stakes set by the first 25%, a big pivot around 50%, a huge all-is-lost climax at 75% and then the final climax. 

Okay, so! Now's where it gets fun! (If you're a geeky, spreadsheet queen like me.) You can apply this same math to the arc of a trilogy. Let's say you have three books, all 100K, for ease of round numbers. The numbers in parentheses are the running sum of the wordcount for the entire trilogy.

Book 1
Act I Climax - 25K
Midpoint - 50K
Act II Climax - 75K
Act III Climax - 90K
Denouement - 100K

Book 2
Act I Climax - 25K (125K)
Midpoint - 50K (150K)
Act II Climax - 75K (175K)
Act III Climax - 90K (190K)
Denouement - 100K (200K)

Book 3
Act I Climax - 25K (225K)
Midpoint - 50K (250K)
Act II Climax - 75K (275K)
Act III Climax - 90K (290K)
Denouement - 100K (300K)

Now let's figure the overall arc:

Overall Arc
Act I Climax - 75K
Midpoint - 150K
Act II Climax - 225K
Act III Climax - 270K
Denouement - 300K

With me so far? Then we paste this against the three-book story arcs:

Book 1
Act I Climax - 25K
Midpoint - 50K
Act II Climax - 75K - Overall Act I Climax
Act III Climax - 90K
Denouement - 100K

Book 2
Act I Climax - 25K (125K)
Midpoint - 50K (150K) - Overall Midpoint
Act II Climax - 75K (175K)
Act III Climax - 90K (190K)
Denouement - 100K (200K)

Book 3
Act I Climax - 25K (225K) - Overall Act II Climax
Midpoint - 50K (250K)
Act II Climax - 75K (275K) - Overall Act III Climax
Act III Climax - 90K (290K) - Overall Denoument
Denouement - 100K (300K)

See what we did there?? Hopefully you're getting excited and the lightbulbs are going off in your pretty heads. So, looking at the overall arc, the Act II all-is-lost climax of book one is the Act I climax of the trilogy. We spent basically the first 75% of book one setting up the stakes for the entire trilogy! Then the Act I Climax of book three is the Overall all-is-lost moment. Book three also contains the overall Act III Climax. This can move a little to coincide with the book three Act III Climax for even more punch. Or, often there's a series of climaxes in book three, to wind everything up. 

But let's look at The Two Towers syndrome. What happens in the overall arc in book two? Right! ZERO CLIMAXES. Basically the book is one big midpoint, all-is-lost moment, so far as the overall arc is concerned. *This* is why the middle book of a trilogy can feel like a bridge. It kind of IS.

What are some solutions to this? Well, one that works well is to make book two longer. If book two is 125K, then the Overall Act II Climax can occur at the end. Though this can create a cliffhanger. The other solution is to be very aware of this syndrome and make the act climaxes particularly powerful. The book gets no help from the overall arc, so needs a strong momentum of its own. Resist having the quest team be split up, wandering about having various incidental adventures. *cough*

Any other solutions?? I'm all ears as I dive back into ORIA'S GAMBIT. One big midpoint... yeah. 


Wednesday, July 17, 2013

Are Middle Books in Fantasy Trilogies Always Bridges?

Posted by: Jeffe Kennedy
That's me in the mirror at Pappadeaux in the Houston airport yesterday. I flew to Atlanta for the Romance Writers of America (RWA) National Convention.

This is probably my favorite convention, because it's really just other writers. Other people who are absolutely my tribe, lovers of stories and romance. But it's not all floral chiffon and Harlequin covers. There are a significant number of people here who write various forms of speculative fiction - from paranormal romance to fantasy romance to science fiction romance. For many, the amount of romance in their books varies considerably. Still, because the some of the perspectives on science fiction and fantasy tend to veer away from anything "too girly," a lot of those writers have found their tribe amongst the romance writers.

For a really interesting article on women sci fi authors by a "hard" sci fi editor, go here. It's worth reading all the comments. I agree with what commenter Erin Lale says, the women authors have gone to romance.

However, this does not mean we traded in our geek cards for boxes of bon bons. So, last night I found myself sitting in the bar (shocking, I know), talking with Amber Lin and Sarah Frantz. Because I knew Sarah would understand, I told her what's been preying on my mind - that I'm afraid I'm writing The Two Towers. Amber patted my arm and said, "That's okay. Lots of people say The Empire Strikes Back is their favorite movie."

This kind of conversation is what happens when you truly find your tribe. They're the people who truly get you.

For those of you who didn't follow this shorthand, The Two Towers is the second book in the famed Lord of the Rings trilogy (LOTR to its friends). The second book is so widely regarded as a "bridge" - a book that really serves only to connect the first and third books - that I was able to Google "the two towers book review bridge" and up popped numerous hits. In this one, they say:

This build-up of momentum, from the smaller-scale events of The Fellowship of the Ring to the huge face-offs in The Return of the King, only becomes possible with The Two Towers to act as a bridge between the other two parts of the trilogy. But because The Two Towers is a bridge, it doesn't truly stand on its own. If you want to find out more about how Tolkien saw this book fitting into his The Lord of the Rings project, check out our learning guide for The Fellowship of the Ring, where you'll find a full discussion.
 Some people even hate The Two Towers, for this very reason.

Amber's example of The Empire Strikes Back is, of course, the second movie in the original Star Wars trilogy. (Which were actually numbers 4, 5 and 6 in the overall series of 9 projected films.) Arguably The Empire Strikes Back is not a stand-alone movie. It really doesn't make sense unless you've seen Star Wars and the ending is a far-from-satisfying series of cliffhangers that are only resolved in Return of the Jedi.

But, is this bad?

Right now I'm writing the second book in my Twelve Kingdoms trilogy and I'm acutely aware of continuing the arc started in book one and of setting up the final conflicts that will occur in book three. This is only my second trilogy and I just finished the whole editorial process on book two of Covenant of Thorns, where I had many of the same problems, so I'm still learning how to do this. Maybe the middle books in trilogies are inevitably like this?

What do you all think? Are there examples of really strong middle books in trilogies that you know of? I'd love to know!

Meanwhile, I'll console myself that Amber is right. LOTS of people liked The Empire Strikes Back the best.

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