Here we are with just more section left in The Favored Son: Alternate! This Thursday I’ll post the conclusion, then be ready to move on to something new. A week ago I took a look at half of the lessons I learned during this long process, today we’ll be looking at the rest. Without further ado, let’s dive right in.
The story opened with a group of boys who, if not the best of friends, still felt the kinship of being in the same order. Obviously things did not remain that way, though. I always knew that betrayal and drawing lines in the sand was going to a major component of this tale, and I recently wrote about that very concept. With this story I specifically wanted to focus on Tharol’s reaction to being betrayed, and how pre-emptively strikes against the coming treason. On the one hand I wanted his actions to feel clever and resourceful, while on the other I wanted to question the morality of resorting to the same sort of underhanded tactics as his foes. Even if we feel Reis deserved what he got, I think it is still a pitiable moment when he realizes what his friend has done to him.
I also talked about the hero’s relationship to him- or herself. Many tales remove one support from the protagonist after another, until at last they stand alone. By the end of the story Tharol has discovered that half of the boys in the order are traitors, and the other half have mistaken him for being a traitor himself! Not only this, but as we learned last week, even his mentor was trying to cast him off from the order for his own good. Tharol needed to be made alone so that he wouldn’t be dragged down with the ship. I think that is a very compelling notion, and if I ever expand on this narrative that would be an ongoing theme in the plot that followed.
I also spoke about a story’s relationship to the audience, and how it strives to be relatable to us in our everyday lives, or else in our private fantasies. Tharol is experiencing a situation that not many readers will be able to directly identify with, but my hope is that he reacts to the events in the same way that the reader would if in that same situation. If I managed to pull it off, then he becomes a vehicle for the audience to feel like they went through the experiences with Tharol.
Forms of Communication)
Storytelling is a form of communication. And having had many years to explore the possibilities of story-communication, humanity has developed some very nuanced techniques. I dedicated one of my posts to consider protagonists that say one thing but imply another, who have jumbled feelings on the same matter, and who have to deal with multiple relationships intersecting with each other.
I tried to include elements of this in my story as well. I think one of my best implementations of this was after Master Palthio had been poisoned and Tharol was left alone in the room with Beesk, Inol, and Reis. Each of the other boys turns and makes meaningful eye contact with him, all without seeing that the others are doing the same thing. At this moment the audience is aware that each of them is believing a different reality. Beesk and Inol think Tharol is afraid that a boy accidentally brought poisoned wine to the dinner, and Reis thinks that Tharol suspects Beesk and Inol of trying to pull a fast one on him. But in reality Tharol knows that Reis is the guilty party, and now he must carefully play all the different sides so that no ones becomes suspicious of how much he really knows.
I spent another of my blog posts discussing communication through forms other than dialogue. Specifically I called out how a story can use scenes of action to drive plot and character development. Laced through The Favored Son were a number of competitions and fights, and I tried to lace each of these with special meaning. The scuffle between Tharol and the pickpocket in the marketplace showed the expertise Master Palthio was weaving into his boys, the standoff between Lord Amathur and the rebels showed how little Tharol understands about the politics around him, and the several practice duels reinforced the growing rifts between the boys. And at the end of the story we are seeing all of the separate lines become lethal as competing ideologies are proved by the sword.
And the Others)
Finally there were two other one-off lessons that I explored while writing this story. The first had to do with the flow of character development, and how it can be a steady arc, or it can be a fluctuating river, or it can be a firm stillness. Tharol’s development has the most natural progression of all the characters. Sometimes his growth accelerates and sometimes it plateaus, but overall it is consistent from start to finish. For Reis there is a certain ambiguity during half of the story, as we really aren’t sure what he is all about. Then, as we reveal him to be a traitor, his development suddenly spikes rapidly. And Master Palthio is a constant throughout the whole story, never really changing, yet suddenly seen in a far clearer light at the end.
Finally I spoke about the use of suspense in a story. It is used when the audience is waiting for some unknown fallout, whether negative or positive. If negative it generates anxiety, if positive it generates anticipation.
There is a lot of waiting in my story. We know things are going to go down, but we don’t know what. A grave, yet nebulous, threat hangs over the entire story, giving us anxiety. At the same time, we see Tharol setting wheels in motion with the poisoned wine in an attempt to counter whatever is coming, and this gives us a sense of anticipation. I tried to build up both halves of suspense in equal measure, then let both of them crash out in the climatic finale. This is meant to provide an ending that is both positive and negative, and hopefully extremely satisfying in each.
Having done all this, all that remains is to wrap up all the loose ends of the story. Come back this Thursday when I post the final chapter of The Favored Son: Alternate, and let’s see if I can put a bow on everything that I’ve learned along the way!