Here we are approaching the end of The Favored Son: Alternate. It’s been a long road, and there’s been a great deal learned along the way. I want to pause and do a review on those lessons, because while it is important for me to practice my writing, my improvement accelerates when I then critique that practice and learn from it. There’s a lot to go over, so I’m going to have to split this review into two posts: this one today and another in a week. Now let’s get started.
The whole thing began with a post about the struggle of humanity’s reach exceeding their grasp. Like Frankenstein I wanted to try an experiment that I had never attempted before: to take the same foundation from an earlier story and construct an entirely different experience on top it.
Last week I took a look at what I’ve written so far and decided that the answer to that question was yes. The two versions of The Favored Son are very different from one another, not only in the events that occur within them, but in style, themes, and message. As I shared before, this second version of the story hews much more closely to my original vision. In fact, the title “The Favored Son” really makes a lot more sense in this second take than it ever did in the first attempt.
That being said, I found myself starting to drift again during the writing of this second tale, too. Towards the center of it I had Tharol uncovering Reis’s plot in a way that was weak and unimaginative. This revelation was supposed to be a hinge of the entire tale, but it just came off as a cheap coincidence. I struggled for a little while to find a better way forward, but eventually an idea suggested itself to me, which improved the rest of the story. Things transpire much more organically now, and that has meant the final product is much lengthier than I had expected, but it is also more complete.
There were smaller course corrections as well. Early on I mentioned that I was feeling bored when writing a certain piece, and realized that the audience would probably be bored when reading it as well. I saw an opportunity to introduce a small bit of inventiveness to the tale, which led me to create the “statue lady” who is trying to buy her way through the city gate.
While she has not been featured very much in the tale, she is absolutely essential to the entire thing, and I’ve realized that taking the time to give her distinctive qualities should have always been my plan. We’re about to see a lot more of her in these final two chapters, and I’ve realized that her stone nature is going to be a prominent piece in how the final action plays out. I sure am glad I acted on my boredom and breathed this new life into the tale!
Shortly after that sequence I came to yet another trouble area. My initial action scene felt a bit lacking, and given that I intended to write several more of those over the course of the story I figured I ought to do some research on the form. Ever since then I have tried to incorporate the lessons I learned of rapid, yet evocative sentences for every scene of combat. Some of these have come out better than others, but overall I am quite pleased with the result.
But while I was improving my technique in writing action scenes, I then stumbled into another issue of how to transition from them into more conversational pieces. I paused to examine the awkwardness in those scene changes, identified the conditions that led to them, and found a way to do smooth them over.
Last of all, I was dissatisfied with a sequence that showed the leader of the district as a clichéd villain. I wrote about why it is so easy to slip into using tired clichés rather than come up with more thoughtful solutions to our stories. Fortunately I paused and found a more creative way to vilify Lord Amathur, a way that will lead into the broader theme I intend to conclude this story with. In these last posts I am trying to make clear that Tharol exists in a much larger world than he realized, one that has politics and ideologies that he was unaware of, one that is torn between competing ideas and agendas that he doesn’t know his own side of.
This theme of uncovering a broader world was not part of my original vision for this story. It was an element I only discovered while writing out the first version of The Favored Son. It has become the binding theme between the two of them.
One way I will emphasize this theme is in my use of the “statue lady.” In my next post she and her forces will be presented in an extremely antagonistic light. But in the post following that we will see signs that she may not be as evil as we have thus far assumed. In a larger tale she might even have even become the hero.
Well, here we are in a new series. Usually I try to make each series distinct from the one before, and thus avoid building off of any prior ideas. This is going to be the exception, though, because last series I made a post that I have a bit more to say on. Specifically it was my post just a week ago about how every author seems to have a distinctive style. In that post I suggested that if each writer were to examine their own style they would probably find that it had naturally emerged as an extension of their own personality.
I still agree with those thoughts, but realized that many authors are actively trying to change their style. Perhaps they want to branch out and try new things, or they want to be more marketable, or maybe they want the prestige of being a versatile author.
Personally I do think it can be very positive to spread one’s wings and expand, though not necessarily for all of those reasons listed above. In fact I think authors can run the risk of killing their passion for writing if they push themselves too hard to change and for the wrong reasons.
I’m concerned that the most common motivation people have for changing up their craft is a fear of what other people think of them. This fear can manifest in couple of ways. Perhaps the author feels that writers who shift effortlessly between many different styles are more impressive than one who only writes in one, or perhaps they think their work will sell better if it is in a different genre. With these fears an author can feel pressured to redefine themselves over and over, changing with every shift of society.
Holding ourselves to such expectations can never be healthy. It’s exhausting and will inevitable lead sooner or later into writing things that we really don’t care about. With this mentality writing truly becomes just a “job” and not a work of passion. And what of the outcome? Perhaps one can learn to write something different, but that does not inherently mean that it is better.
Even a dream can be made into a drudgery, and nothing is more dulling than slaving away over a script you don’t care for. I’m all for writing things out of your comfort zone as an exercise, and even for emulating an entirely different voice in a new novel. But if you’re going to be dedicating a significant portion of your life to doing this work, you had better make sure it will be in a genre that you love.
But what if it’s not about pleasing a crowd? What if it’s sincerely just trying to become the best author one can be? What if the author is afraid that they have stopped growing and they want to take their craft to the next level?
Well, to be clear, experimentation and exploration are obviously essential to becoming a confident author. Every person who wants to author a story needs to be expanding their scope every day. They need to practice and exercise their skills, making sure every tool in already in their belt is kept sharp, and trying to add new tools wherever they can. I think most people would say that developing one’s skillset is the single most important thing one can do to become a professional writer.
I, however, would say it is only the second most important. It’s a very big second, but still second.
First and foremost comes living a full and complete life. Extensive skills, fancy prose, hours of writing prompts… these are ways of putting those tools into your belt. But tools do not craft a masterpiece, the artist that wields them does. More than these you need to find things in life you are deeply moved by, so that you will know by experience how to touch a reader’s heart. You need to experience the full depth of real-life relationships, so that you will know how to write a convincing relationship. You need to go through a soul-crushing disappointment, so you will know how to pen a heartbreaking tragedy.
One of the classic elements I love most in a good martial arts film is that raw talent is only of use after one is grounded and centered. You see this in The Karate Kid, Ip Man, and even Cinderella Man. Other warriors in those stories might have greater raw strength, but the heroes triumph because their foundation is based on living a life that matters.
If you want to be the best author you can be, then you need to find out what real love is, what real loss is, what hopes and dreams and doubts and failures are made up of. You need to hurt, and you need to be healed. You need to understand yourself, and then you need to be mystified by yourself.
No author should want to stay the same for their entire career, but they needn’t worry about that if they are living a deep and meaningful life. Part of living life to the fullest means constantly changing and improving. It means not sitting back in complacent idleness, but rather growing and expanding as a person.
As I mentioned in my earlier post, my own particular style has changed as my patterns of life naturally evolved through education, physical exercise, and spiritual searching. I didn’t have to try to alter my form of storytelling, it just did so naturally as an extension of who I am.
When growth as a writer is based first on personal development and second on developing skill, I think you’ll find your improvement will outstrip any other method. This has certainly been the case for me.
Whenever I want to take my writing to the next level, my first question is “what can I do to improve myself as a person?” And if I successfully become a person that I respect more, then I always find that my writing is more satisfying as well.
A Real-Life Example)
Obviously many life changes come unexpectedly, and it is impossible to tell exactly how they will color our writing style. This means that while we hope to improve in our craft, we may not know in which way we will do so.
When Brunelleschi lost the commission to design the bronze doors of the Florence Baptistery in 1401 he also lost any future as a sculptor in Florence. His entire trajectory had been crushed in a moment, and he knew it was time for some deep soul-searching. So he went away to Rome, and there among the marvels of antiquity he found an abiding fascination in the ancient ruins that he found there. He started uncovering principles of architecture that had been forgotten to the ages, secrets of a bygone era, and even found ways to improve on them.
Eventually Brunelleschi did return to Florence, but not as a sculptor. Instead of crafting a pair of mere doors, he was commissioned to erect an architectural masterpiece. His dome on the Santa Maria del Fiore cathedral showcased principles of balance and support that were entirely unheard of, and the structure still stands today as a prominent figure of the Florentine skyline.
The important thing, though, is that while his shift in life was quite radical, it was not a brash reaction to public opinion. Perhaps it was losing a commission that began his journey of self-discovery, but he dedicated 39 years of honing his craft between that failure and his later monumental success. This was no brief flight of fancy, this was a man improving himself over a lifetime of effort. As best we know, Brunelleschi died a content man. A man who had lived richly, and then created beautifully.
By all means each of us should test the limits of our comfort zone regularly. These exercises will expand our skillset, and may even lead to discovering new passions, such as architecture to Brunelleschi.
Generally, though, I always like to approach these sorts of exercises without any expectation, I simply allow the experience to be what it will be, take the good that it offers me, and move on with my work. And that’s exactly what I am going to be doing with my next project. On Thursday I will post the first part of a story that is intentionally as far removed from my usual style as possible. Where normally I fall into the pattern of slow and fantastical allegory, here I am going to strive for a realistic setting, some biting cynicism, and a chatty-conversational narrator. Come back then to see how it turns out.
Except for the stone. As everything else vanished from the reality the small portion of cold rock against Reylim’s knees seemed more real than it had ever been before. She felt it physically, of course, but now she felt its very state of being, too, it’s purpose, it’s destiny, it’s rightness. She knew it. She understood it.
Reylim glanced down and saw her inner light glowing. It wasn’t just a bright spot at her core anymore, it was her entire figure, vibrant and shining. She focused on that glimmer, spinning it through her with greater and greater speed, churning it faster with each beat of her heart.
The stone beneath her was fading, losing its reality. She gritted her teeth and beat her heart harder. It hurt, and even seemed to tear her inside a little, but she felt some of her essence spill out into the rock and bring it back towards reality.
She beat her heart into the stone again and again. Cold beads of sweat formed on her brow, her hands were shaking, but she did not dare stop. She felt another heartbeat wanting to come. It was going to be heavy, it was going to hurt, but it needed to be.
A torrent of light pooled from her into the stone, and there the rock began to shift, contorting until a being started to emerge from its midst, a man born of the earth. As he rose to his feet before her, she recognized him from the village below.
“Avaro!” she said in surprise.
He smiled warmly to her. “At your service, lightbringer! I never dreamed I’d get the honor of meeting you.”
“Oh!” she cried as another heartbeat rent her, spilling her essence back into the stone and beginning the process of raising another warrior, this one a woman. These beings were casting their own light, light borrowed from her. With every portion of herself that she gave to the stone their little circle of light was steadily widening.
“I want you to know we’ve never forgotten what you’ve done for us, first star,” the emerging woman said earnestly. As she spoke Avaro’s eyes flitted to the widening circle of illumination around them. Reylim followed his gaze and saw the dark billowings of the shadows slowly coming back into form. The woman was speaking again. “We may struggle to find our ways at times, but…”
“It’s right to struggle,” she said to them, then doubled over as a third heartbeat tore her heart again. Her face landed on the stone and she felt her breath coming out ragged and shallow. She was faint and clammy, her fingers twitching involuntarily. When at last she opened her eyes there was now a third warrior, and all three were waging powerful battle against a number of dark figures that were spilling into their radius of light. The three glowing guardians all bore different uniforms and weapons, all from different periods of time, all representing a different race.
Reylim tore her eyes from them, looking the other way. At the edge of the circle of light she could just make out the stone pillars of the Nexus. As difficult as scaling the mountain had been, this crawl looked more daunting by far. Limbs protesting, heart heaving, she lifted an arm that felt like lead and thumped it on the ground in front of her. She lifted her next arm to meet it, then slid her knees across the rough stone.
She heard a cry behind her and saw Avaro careening from a vicious blow to the chest. She cried, too, as another heavy heartbeat crippled her. The warrior’s chest healed and he rose back to the battle.
Reylim summoned her strength back and began crawling forward again. Even the small heartbeats hurt now, but they were necessary, each brightening the path in front of her, bringing it far enough into reality to support her crawling form. In spite of the pain and effort, yet she couldn’t help but notice each inch of rock and tree bud came into relief from her light. She found herself loving each one of them as her own. Wanting so much for them. Giving so much for them.
Again Reylim felt her whole form shake as an orb of light gushed out of her, streaking from her form to the Nexus looming just ahead. The rock formation flashed to life, dust and dirt blasting from its edges as cords of light wound back and forth between its pillars. Reylim crawled forward another pace.
Another ball of light went to the Nexus, deepening its cords and giving them a distinctive hum. Reylim’s elbows quaked and she dropped to the ground. It took all of her strength simply to turn her head up to the structure, soft tears shining down her cheeks. She clenched her fingers, then shuffled her arms and legs, grinding herself forward on her belly.
Her palms crossed the perimeter of the Nexus. Her elbows. Her shoulders. Inch by inch she moved forward until she was directly under the pillars. Laboriously she rolled onto her back, looking up at the twisting cords of light.
Each of the heartbeats came harder and faster than the last. Her light and her life spilled out, beating into the Nexus and imbuing it with power. Her breath fluttered and her head fell to the side, her nearly lifeless eyes settling on the blurry forms of light and dark fighting in the distance.
“Rage on,” she croaked, then gave her last beat of all. She was already too slumped down to collapse any further. The only perceptible change was the way her eyelids slowly closed and how an expression of peace washed across her face.
Above her the Nexus hummed loudly, churning into full life. It’s light increased a thousandfold in a single moment, washing the entire mountain peak in blinding light. In an instant the warriors, light and dark, were all scorched away as the reality of now was established in their place. No more people, no more villages, no more struggle. Just the memory and the assurance that one day they would be.
With the light of the Nexus having been established, another glow joined it, emanating from the entire world itself. At long last a Glimmer radiated at the core of Nocterra, giving the entire surface the beginnings of definition and clarity.
It’s task fulfilled, the pillars of the Nexus collapsed and its light sunk downwards, settling on the figure at its base. Reylim’s body coursed with exceeding luminescence, the light overpowering her form until she was actually lifted into the air.
Slowly, gently, Relyim raised higher and higher, her robes billowing in shining glory, stirred by a wind that came from within. She continued to rise, eventually lifting so far that she became a single pinprick in the night sky. She settled to a rest there, and so became the first star, the first guide to all that would walk the world beneath. Eventually other heroes would join her in the heavens, but she would always stand supreme in their legends.
Finally, peeking over the horizon from the dark side of the planet, the very first sunrise was now beginning. And with it, the promise of tomorrow.
And with that we have reached the end of Glimmer! I certainly enjoyed doing this one, though it did end up extending out for two sections longer that I had anticipated. There were several defining traits that I wanted to incorporate in this story all at once, one’s that I’ve mentioned in previous posts. Let’s do a brief summary of what each of those were.
First I shared about the significance of sacrifice in a story. I suggested that sacrifice is a sacred principle, and ought to be treated with care by authors. Don’t try and kill off characters just to force sadness on your reader, and don’t pretend you’re going to feature a sacrifice if you don’t have the nerve to follow through.
In Glimmer I opened the topic of sacrifice in the very first scene. Reylim knew from the outset that this was her ultimate destiny, and she was naturally quite unnerved by the prospect. In fact she kept trying to find a way out of her own demise. By the end I tried to suggest that martyrs don’t have to want to die for their cause to still be willing to do so. I think we can spend a lot of time scrutinizing our heroes and wondering if we could ever make the sacrifices that they did, when in actuality they never knew if they could take those steps themselves until already striding over them.
Next I discussed the value of taking the plot of a story, dividing it into multiple arcs, and staggering their beginnings and endings. In this way key themes become reiterated on, separate threads weave towards a satisfying conclusion, and the pace is easier maintained.
With Glimmer there is always the overarching plot of Reylim’s self-discovery and the fulfillment of her quest. Though at times I had segues to introduce new characters, mechanics, and motivations, each of these eventually came back to that central core. Glimmer was introduced and would serve as the companion in her quest. The void was introduced and would serve as the opposition to give her quest meaning. The shadows of the people that might one day live were introduced and served to bring a climax of action at the end of her journey.
And though I could have taken all the sentences dedicated to her anxieties and exhausted them in one single scene at the beginning, I knew it would have greater impact if I instead reiterated those fears at many separate points throughout the tale. And anytime those fears, or the central arc, or the discoveries I mentioned above were starting to grow stale, I had plenty of options to change gears into one of the other categories and keep everything fresh.
During the third week I mentioned the option of creating characters that were not-so-human. These characters could be massive, disembodied forces, things like karma or God. Still their influences would be felt, and they would have desires, and would interact with other characters, but they just wouldn’t ever be seen explicitly.
In Glimmer there are two of these entities, and each of those is manifested indirectly. These two beings are, of course, those of Glimmer and the void. The ball of light that guides Reylim through her journey explains that he is nothing more than a spark off of that main fire, a fire that we never interact with directly. We understand its purposes and attributes to be the same as this guide, but also that it is a distinct and infinitely more powerful being. We understand that that being has thrown off a multitude of sparks igniting planets all across this story’s universe, and we associate it with all that is good and heavenly.
It is the same with the void. We see areas where it is not, more than we see areas where it is. We see beings that are driven by it, but they do not define it itself. We understand it to be an infinite being that stretches through the universe attempting to swallow all existence into perfect nothingness.
The purpose of creating two entities that are never directly spoken to, nor indeed can be spoken to, is that it gives the story’s lore an immense depth. We are witnessing the tips of infinite creatures, and the promise exists that their eternal duel will extend far beyond the confines of this single story. It simultaneously makes Reylim insignificant by virtue of the other infinite wars that must be going on, but also terribly significant for being worthy of these god’s attention in this one place and moment.
In stark contrast to all of this brushing against infinities and the battles of the gods, I then posted about the need for stories to focus deeply on mere individuals. As I explained, no one will care about a massive army if they are not invested in the individuals that make it up. We simply lack the capacity to register groupings past a certain size, and instead need something more individual to anchor our emotions to.
Though Glimmer involved epic beings lurking in the background, at its forefront this was still very much a story about a single individual: Reylim. Even Glimmer and the shadows she fought were only secondary supports to her own very personal and intimate story. This closeness was established by having every inflection of the story immediately followed by an examination of how it affected her. I mention the dark cloud that is waiting for our heroes on top of the mountain, and I immediately focus on how Reylim cries in response to it. I mention how empty and bleak the world is when Nocterra first arrives, and I immediately show how she trembles and whimpers. I then mention how a small light is exuded from her, and I describe her delighted surprise.
Reylim may be a single character in an infinite epic, but this is undoubtedly her story. I even emphasize this in her final moments where her vision fades and the raging battle becomes nothing more than a blur, a backdrop, a mere periphery to her final strains.
Last of all I observed how every author has a particular style for the stories that they write. This is simply a default voice, one that I suggested is based more on personality and experience than conscious intent. Mine, it would seem, happens to deal with themes that are slow, supernatural, and allegorical.
Certainly in Glimmer there were punches of action, but ultimately the climax of the story is a long and heavy final note. The action that does exist comes in at a very specific time to fulfill a very specific purpose, and otherwise I allow the drama to move the plot forward.
This story also dealt entirely in the supernatural. Alien worlds, strange powers, mysterious beings of light and shadow; actually there was very little in the story that was relatable to us and our everyday lives. I suppose there were humans and basic villages and depictions of nature, but all of these operated under different rules and physics than our own.
If there was one thing that the reader could find familiarity in, though, it would have to the be story’s themes. The call to become one’s truest self, the sense of fear at sacrifice, the personal quest against evil; all of these are very human experiences, and herein we find the allegorical nature of the story. By making all of the mundane and tangible things bizarre, it is instead the intangible familiars that shine through most clearly.
It’s been fun working on this story and this series as a whole. It’s certainly time to move on, though, and I look forward to exploring entirely new pastures when we begin a new series next week. Come back Monday to see where we’re headed.
One of the most valuable things about writing regularly is that you start to learn things about yourself you never knew. Perhaps one of the revelations that comes quickest is what aspects of writing you are bad at. Personally I’m bad at character descriptions. And by bad, I mean I just don’t even do it in most cases! I’m worried about dragging down the pace, so I blitz past giving the reader a mental image of any character. I guess I struggle with knowing how to tackle that in stride with the plot, and it’s something I need to get better at.
A little bit after discovering your weaknesses you will also get to know your strengths, a far more pleasant discovery! Obviously this is subjective, but I think I’m pretty good at incorporating messages into my stories. I’m able to have arcs that are “going somewhere.”
After your strengths and weaknesses further revelations will follow. You’ll learn how hard-working of a writer you are (or aren’t), how consistent, how many typos you’re likely to make for every thousand words written. You’ll start noticing the differences in how you write when you are happy and how you write when you are sad. You’ll learn how some of your scenes will be deeply moving to you when in some moods, only to be laughably corny when in another.
But one thing you may not fully realize until you’ve written for a decent while is what your style is. If I had been asked before this blog what my writing style was I really wouldn’t have known how to answer. The last time I wrote stories consistently was in my mid-teenage years, and those were “high fantasy adventures that are liberally inspired by Lord of the Rings.”
Now I still like high fantasy adventures, but I really don’t think I would say that is my particular style any longer. As I’ve paused to reflect on all of the titles that I’ve written for this blog I’ve been noticing some strong new trends emerging, ones that I had been entirely ignorant of while writing. Just this last series of short stories illustrates a lot of those common themes especially clearly. Let’s take a look at them.
First and foremost is allegory. With the Beast and Glimmer are both overflowing with it, and as I look back on all of the short stories I’ve written on this blog almost each has had some from of it at one point or another. I seem to like taking intangible concepts and bringing them to life as a character.
In With the Beast these principles are the various virtues and vices that can live within a man, the regret when the latter destroy the former, and the hope that the former never actually do die. In Glimmer the allegory is based on nothing less than good and evil, themselves! They are manifested in a ball of light, an eternal void, and the various souls that are moved by each. We see how good becomes personified, and how persons become good. We see the difference between active evil and inactive evil, and the dangers of both.
When I reflect on my stories from earlier in life I don’t find any allegories among them. I’ve reflected as to why that might have changed, and one event stands out the most to me as a likely turning point. As I mentioned before, it was my mid-teenage years that I last wrote stories consistently, and that period was brought to a close as I started at college.
While there I didn’t have so much time to write stories, as I began writing essays instead. At first essays were unnatural to me, and it was only after a great deal of practice that I began to really write them properly. With essays I had to learn to see things in terms of a culminating message, a thesis, a point where we say “and thus from all of this we learn…” I was learning to write in allegories and I didn’t even realize it. Now on the other side of college I find myself writing stories again, but ones that have been flavored by the allegorical lessons from college.
I tried to base my story The Heart of Something Wild in a situation that was based on reality…mostly. The specific tribe and location in Africa were works of fiction, of course, but were meant to represent something that could exist. But then, after establishing the familiar I threw something odd into the mix: a large and lethal bat-like creature with rows of finger-like mandibles and a deep sense of empathy. It was utterly bizarre and clearly a work of pure fantasy.
With the Beast also shares a setting and a place that are realistic, even if not contained within any actual history book. Mid-industrial era explorers come to a tropical island to begin a family enterprise. But all the while they are being followed by an invisible phantom, one that has an uncanny knowledge of their future and later in the story will become embodied as a supernatural beast.
Again, when I reflect on my other recent stories I continue to find more mixes of the ordinary with the supernatural. When I consider why that might be I suppose it has to do with being religious. I believe in a reality beyond the physical, and things like God and angels have certainly taken deep roots in my subconscious. By their nature these things are impossible to pin down in full definition. One may come to understand them better, but never perfectly. Thus they churn and gestate in the mind and heart, and the hands naturally express those ponderings through characters and prose. I think for many of us our writing is just a way of thinking-out-loud the things in the soul, and that stream of consciousness is often best expressed through the supernatural.
Writing in the short story format has been hard for me. It’s taken real effort to keep things moving along at a brisk pace, and even then I end up extending some of my stories out to parts 3, or 4, or 5. I’m looking at you, Glimmer.
That’s not to say that I don’t incorporate action into my stories, I certainly do, but usually in a single punch at the end. That was certainly the case for The Heart of Something Wild. I began the story with a promise of a duel, but then spent the entire story slowly building up to that moment. I wanted to raise the tension and stakes with a long burn, and didn’t want to release any of that pressure with mid-story moments of cathartic action. When at last I came to the promised battle it was fueled with all of that built up plot and drama, and I then stoked it further with a few moments of shock and intrigue.
For Glimmer I have followed the same basic pattern, but with a few variations. In the middle I introduced the enemy and included a brief battle. That scene was crafted to only raise tension, though, and not to resolve it. The hero spent the entirety fleeing, just trying to escape a foe she could not handle. I suppose she did have a triumph in the form of successfully escaping, but also anxiety for the future confrontation that is surely waiting in the wings. Then, with just this last section I finally let loose and it has been a much more drawn-out action sequence than in any of my previous stories. For the ending of this story to work, I really felt it needed to break its tension in a long and exhausting sprint to the finish.
There’s obvious reasons for wanting action in a story, but I’ve paused to consider why I specifically like it in the form of a slow burn that bursts out at the end. Interestingly, I’ve noticed that this pattern matches up very well with how I exercise. When I run, for example, I never sprint out a single rush. I don’t speed up and slow down in cycles, but neither do I hold the exact same pace all the way to the finish. What I do is run just slightly beneath my ideal pace, storing a pocket of fuel that I suddenly let loose at the end for a dramatic finish.
So when all the above is considered, just what is my particular style? I guess I would categorize it as some sort of “slow fantasy allegory.” I had no idea that this was my default when I first began this blog, but as I reflect on all of the stories here I find that the vast majority of them all fall under this very narrow genre.
There are, of course, some exceptions. A Minute at a Time stands out as a real outlier. In that story there is no action whatsoever, there are no supernatural elements, and there isn’t really anything that could be called an allegory. It’s just a very straightforward, quiet drama. And actually I really like it a lot.
Because, of course, having a particular style in no way means that you don’t like other options. I don’t know that I’ll ever be any good at writing a pure comedy, but I certainly enjoy well-crafted humor. And while almost none of my stories have featured any romance, I still appreciate when a heroic epic weaves love into its tapestry.
Who knows, maybe one day my particular style actually will stray into those categories. Because if there’s any main takeaway here, it’s that when you pause to consider why you write the way that you do, you’ll probably find that it is merely an extension of who you are today. And who you are as a person naturally evolves, and as it does the way you write will follow.
Certainly I want to branch out and challenge myself, exercising new skills can only improve my work as a whole. But while I do that learning and improving, I know I’ll also enjoy the times when I settle back into my cozy and familiar voice.
And you can bet that when I post the last section of Glimmer on Thursday, it’s going to involve a slow burn punctuated by moments of action, a hefty amount of allegory, and a strong presence of the supernatural. Personally, I’m looking forward to it very much.