Tag Archives: fiction

In Transition

This is something I prepared for our local writing group in case planned lessons didn’t use up the whole time we set aside for our meeting. One of the participants suggested talking about transitions between scenes and how to end scenes, and that’s an interesting part of how we craft stories.

I want to look at transitions and hooks between scenes and chapters, but in order to do that, I need to think through the groundwork of what scenes accomplish for the writer and reader.

What makes a scene?

Usually, we put two characters in conflict about goals. Character 1 wants a particular thing X, and Character 2 wants something else – a different objective, perhaps, a thing Y, or even simply opposing thing X. They enter into dialogue or action that expresses this, and by the end of the scene, something has changed, moving the characters toward their original goals or towards the new ones established as a result of the action of the scene.

Color study for Brandon Sanderson’s “Words of Radiance” by Michael Whelan.

A chapter might be made up of one or more scenes, and a book is made up of multiple chapters… so these scene dynamics create a song of sorts, a rhythm or an emotional effect similar to a roller coaster. We do well to pay attention to that dynamic throughout our book. You want variation. You want to create ebbs and flows, to have some chapters that lead toward increased conflict and tension, while other chapters resolve into peaceful transitions to the next part of the story. You want some moments that are exciting, with break-neck fast-paced action that pulls the reader into the next page or next chapter… and some moments that make for easy shifts into a different tone or state.

It strikes me this is more of a revision topic than necessarily a “while you’re writing” topic. In the first draft, your goal is to get all the important stuff onto the page or screen so you have something to play with… to put sand in the sandbox so you can build your castle. So if you’re writing and it feels like scenes die off or chapters seem disjointed, that’s okay–leave yourself a note to fix it later, and come back once you have a clearer perspective on the overall work. However, like many other techniques and tips about writing, having this bouncing around in your head might help the subconscious input come through stronger and make a better first draft that takes these things into account.

In music, a composer can put any notes together or into a sequence. However, it’s obvious that some flow together smoothly while others are jarring. Sometimes you want that dissonance. Sometimes you want a shift in music to pop in the listener’s ears… but more often than not, you want everything to flow, to build into bigger emotions, to swell and to fade in expected ways.

Similarly, you could have a sharp break between scenes, or end a scene on a calming note and dive into a gunfight in the next chapter. You can do whatever you want, just like a piano player can hit any key. The trick is understanding what effect different chords or keys will have on the music… and what effect different transitions will have on the emotional map of your book.

So what are you trying to do with transitions?

At the end of an argument or once the dust settles after some exciting action, everyone can’t just stare at each other before the scene “fades to black.” That’s going to read like a very awkward pause.

A transition finishes the previous thought or conflict and sets up the next one. All these conflicts, whether in dialogue or action, have consequences that carry over into the next scene.

Character 1 gets thing X. Now what? Is that good? Can it be “good but” – in other words, can there be an unexpected consequence that creates a new conflict or imposes some new problem on the character? (Indiana Jones gets the golden idol but that sets off the trap in the temple, and the chapter ends with him staring at the giant rock rolling his way.)

Character 1 finds out that they actually don’t want thing X, or maybe Character 2 successfully convinces or deters them. Now what? Are they persuaded that Thing Y, which Character 2 wants, is actually more important? (Indiana Jones says we have to go after the grail, but his dad convinces him that his diary is the fastest way to get there… which means going back to Nazi-infested Berlin, instead of forward toward the hidden city where they know the grail lies waiting.)

Transitions ask, “In light of what happened in this chapter or scene, what will happen next?” and they don’t answer that question. It lingers. It’s the curling finger beckoning the reader to read on, a gentle whisper of what’s to come. Answering the question is the job of the next scene or a later chapter. Transitions are a hint at the future, but they’re also a little touch in the tone or the dynamics that prepare the reader for that next portion. Transitions are a place for foreshadowing or for forecasting the consequence of the now-resolved scene.

Consider these three options: Character 1 knows that she got Character 2 on her side, so they’re going to pursue Goal X together…

…so they make a plan of attack (which you don’t reveal yet–that’s the purpose of the next scene or conflict)

…but Character 1 has a premonition or feeling she can’t shake, and knows she better keep her eyes on Character 2.

…and Character 2 declares, “I have an idea about how we can get this done… but you’re not going to like it.” (And you don’t lay it out, because it creates that lingering question in the reader.)

You may even want the tension and drama to temporarily resolve, like a pause in a song before it picks up again. Character 1 may know that she has to figure out three more mysteries as a result of whatever happened this chapter, but for now, they’re in a good place, and tomorrow can worry about its own troubles. That’s a fine closer and still has a sense of transition – I know what is coming next, but I’m gonna catch my breath a minute before I start sprinting after that next goal. Not every chapter can end with a high-stakes “tune into the next episode” moment, or those exciting events lose their power.

Heck, maybe you DO want that jarring, awkward pause where the battle ends and silence descends on the field, in order to create the right feeling for your book. So long as it’s planned and intentional, great.

My Paint skills are so lit. It's ok to stare at this image in wonder.
*Generally speaking* these are the flawed extremes and the happy medium of pacing, which grows from your transitions and conflicts.

Whether you create a pause or try to keep things moving at a steady pace, transitions are about a resolution to what just happened, and a gentle nudge forward.

What about hooks?

Hooks serve to pull the roller coaster along. Instead of a beckoning finger, this is grabbing the reader by the collar and tugging with all your might. There’s no steady pace or pause here. These are the moments where you’re trying to make sure your reader refuses to put the book down at 2 AM when they should be going to sleep. Maybe it’s the rising tension of conflicts and consequences that you’ve built up over a few chapters or scenes until the current scene ends with a clear “it’s going down.” Maybe it’s a cliffhanger or “to be continued” in the middle of the book where the reader has to know what happens next. Maybe it’s the plot twist that spins everything around for both the characters and the readers.

Hooks are about inescapable reactions – hinting at the choice the characters MUST make, a situation they MUST respond to. This may come in action or in conversation – the promise of unexpected revelations or emotional conflicts about to break out. Hooks might also be an obvious threat or impending doom.

Hooks might be about the consequences of the resolved scene or conflict, OR they might be the appearance of a game-changing shift as the result of other people’s actions.

Imagine a political thriller where the CIA agents are arguing on the steps of the Capitol building, trying to determine the best way to go after the terrorists….

…when the hero catches something the partner unintentionally reveals, proving they’re working for the villain (big increase in the stakes, WHAT’S GOING TO HAPPEN?)

…when the hero’s partner suddenly draws her weapon and takes aim at the hero (obvious threat, WHAT’S GOING TO HAPPEN?)

…when suddenly the Washington Monument goes up in a roiling fireball. (Plot twist! WHAT IS HAPPENING?!)

It bears repeating – not every chapter can end with a hook. That might work in some kind of campy serialized episodic adventure where Cliff Hanger always ends up dangling over the precipice or staring down the barrel of a gun. However, in meaningful writing, you can’t manhandle the reader and drag them through the entire book, or it feels like a breathless, emotional minefield. A song doesn’t just start at crazy complex overpowering dynamics and stay there the whole time. The Washington Monument can only blow up so many times.

The last thing you want is for your reader to stop caring, either because of boredom or because everything is a constant crisis. Mixing the different options for transitions and hooks will create the ebb and flow of an emotional “song” throughout your work. Considering the highs and lows of tension can help you create and even emphasize the emotional beats you want to stand out.

Your characters, your setting, your plot, and your take on the world can all be powerful and meaningful. Keep your end goal in mind (creating a satisfying, compelling, entertaining work), and then let all those conflicts and consequences sing.

What did I miss? What great plot hooks have you seen in print? Let’s share some perspectives! Leave a comment below. 

NaNoWriMo is coming

There’s one month left before the most hectic month of the year!

No, I don’t mean the Holidays and the present-purchasing shopping sprees. (I just don’t buy things for people. Pro-tip: that makes December really easy, as well as your social life year-round.)

I mean National Novel Writing Month, a.k.a. NaNoWriMo.

NaNo is all about writing your story and sharing it with the world. It’s a commitment in the month of November to write a 50,000 word novel, and it’s a community of fellow writers or would-be wordsmiths to cheer you on when you’re staring at the screen wondering what the heck you signed up for.

It’s a writer’s version of a marathon, a challenge to yourself to put your butt in the seat and crank out an average of 1,667 words a day for the whole month in order to take your story from the spark of an idea to a (very) rough draft.

Have you ever thought about a story you knew would make a great book? NaNo is your chance to commit to yourself and the world that you’ll take that huge first step.

Do you have writer friends, to whom you’ve said, “Wow, I’ve always wanted to write a book…”? What’s stopping you, other than life, responsibilities, college, Netflix, video games, Pinterest, and maybe a lack of willpower? Pssh! That’s nothing! You can beat all those obstacles down! NaNo is the perfect opportunity to dive in and get it done.

NaNo is also a non-profit organization that works with schools and libraries to encourage young writers to put pen to paper or, more likely, fingers to keyboard in order to build their creativity and focus.

Between now and November 1st, they’ll be posting all sorts of discussions and resources on their site to help writers new and seasoned navigate the rocky course from concept to completion. During November, they send encouraging messages and interviews with successful authors sharing insights on how to keep going. On top of that, you’ll get information from your regional Municipal Liaison on meet-ups and write-ins that are taking place near you.

It’s a wild, albeit difficult, ride, and worth the effort. Want to know more? Check out the NaNo site or hit me up with a question in the comments.

The clock is ticking, counting down to your explosion of creativity. What’s your novel going to be about?

Toward a New Normal

To those who faithfully or even occasionally visit this page, thank you.

This is less a “Why I haven’t been posting” blog and more of an update on my personal life for those who value that sort of thing.

I’ve spent some time juggling and reevaluating where all my efforts are going, so I thought I should post an update to projects I’m involved in and commitments I am pursuing, as so much of my life is currently in flux. Most of these changes come from one primary cause:

In the next three months, I will retire from active duty in the United States Air Force after 24 years of service. 

All the chaos of the ever-changing flight schedule with my squadron won’t be a factor anymore. I’ll have a relative stability to my future planning that I haven’t known for a long time. My wife jokes that every appointment or get-together we plan has an asterisk next to it, with the caveat “unless the flight schedule changes.” That will be a thing of the past… and I don’t think I’ll miss that part at all.

We finally get to focus more on family matters. While I’ve had it pretty good as far as not having to deploy repeatedly for months or years, I’m excited to think I can be around more for the time and activities my wife and children desire.

Right now, I have a couple job opportunities that will enable me to continue supporting my military friends and squadron family in some capacity, which thrills me. I’ve seen our squadron crush a demanding and ever-changing mission even when we ramped up to more than double our usual workload. The number of operational sorties is never going to decrease, so any way that I can help keep some aspect of squadron life a little more together is exciting to me.

Meanwhile (and starting next week), I will be more involved in music ministry than I have been in the last ten years. While I love filling in and helping out at local church services or gatherings, I haven’t found a reliable, recurring need, until a month ago, when an opportunity dropped into my inbox out of the blue.

I’ll be performing every week as a contracted musician for the Contemporary Worship Service on Kadena, and while I’m excited and passionate about that, it comes with a learning curve as I learn to work with the Choir Director and look for ways to fulfill the chaplain’s vision for a service that is on a restricting schedule (sandwiched between Catholic masses).

I’m excited about this because having an upcoming worship service in mind on a regular basis usually keeps my attention and thoughts on grace and the Gospel more than the garbage and glitz that beckon from everywhere else in life.

Additionally, the band is full of amazing talents both on vocals and on their chosen instruments, so I’m eager to jam with old friends once more.

In the writing world, I have a number of friends who routinely ask me about Book Two of my fantasy novels, and I don’t want to keep letting them down. I also have a number of projects incubating in OneDrive files and Scrivener folders into which I would love to invest time and effort.

The local writing group has really become that critique group I always wanted, with a core group of four writers sharing chapters every other week.

NaNoWriMo 2018 is rapidly approaching, and that has been a fantastic experience for me every year I’ve done it. I will continue working as a Municipal Liaison for Japan – specifically Okinawa. While I don’t know how much of a chance I’ll have at cracking 50,000 words in the month of November, I will be able to facilitate and support regular meetings and ‘Come Write In’ events for those who can pour words onto the page.

Additionally, infrequent but recurring events like BlogBattle give me a chance to write something disconnected from bigger projects, so I’ll probably continue posting Grant & Teagan stories once a month at a minimum.

My experience with tabletop roleplaying games has shown me that it’s a wonderful opportunity to gather friends around a table for laughs, snacks, excitement, and fun. I’ve got a growing list of co-workers and friends who express interest in an ongoing campaign, but I have barely been able to keep the one group I’m running going.  On top of that, I have a few settings and two or three systems I really want to run. (BattleTech… D&D 5E Curse of Strahd… those 5E Lord of the Rings setting books…)

Once my schedule finds smooth air and level flight, I’m looking forward to arranging some gaming groups where I can commit to bringing my best to the table.

Maybe I can finally work out some opportunities to be a player as well. There’s nothing like being a Storyteller or Dungeon Master (or whatever your chosen system calls that role)… but it’s nice to be on the other side of the screen sometimes and react to the game without knowing what’s lurking beyond the next fork in the road.

In other words, all of this mess of conflicting interests and passions will still be simmering in the crock pot of my life, but the sliders for various activities and priorities are going to shift a lot in ways I don’t fully know just yet. All of this adds up to a lot of reasons to say, “No, sorry” to things I might otherwise enjoy or participate in, especially in the short-term.

I appreciate your thoughts, encouragement, friendship, prayers, and any other support you might offer during this period of instability.

Fangs and Fury

Here’s this month’s BlogBattle post, based on the term, “Blaze,” and once again centered around the misadventures of Grant and Teagan, my 1930s “Indiana Jones-meets-Supernatural” duo of explorers.

I took a stab at a sketch of them on a lengthy return flight from a recent mission. I’m not satisfied with this–it’s unfinished and not what I envisioned–but it was a fun effort nonetheless.

Last “episode,” after dealing with a werewolf, Grant fell unconscious from blood loss. Teagan succumbed to lycanthropy and used that unnatural strength to fight back against a double-agent who betrayed her. This time, we join Grant and Teagan two days later, after Grant has sought a cure for Teagan’s condition.

From The Adventures of Grant McSwain, Hunter of Horrors, Destroyer of the Defiled, and Terror of the Treacherous.

Accompanied as always by his hapless assistant, Teagan O’Daire, the Ginger of Galway.

Firelight danced around the ruined Army camp nestled in the mountains, and wisps of fragrant smoke twisted through the chilly air as Grant hunkered over Teagan’s quivering form. He turned away from the sweat-soaked bristling hair matted on her arms and torso. Grant almost laid a hand on the furry patch of her forehead–between the pointed canine ears that now sprouted from her misshapen body–then reconsidered the danger. He averted his eyes from her bloodied claws and that makeshift muzzle he’d tied around that maw full of jagged teeth. Teeth that could tear his throat open in an instant, or turn him into a monster like–

It’s still Teagan, he reassured himself. She drank Dah-rey’s vial of silver. She’s going to pull through… once the fever breaks. 

His feeble hopes withered at the sound of her ragged breathing, and he turned toward the aged man kneeling beside the fire. “How long will it take for those herbs to purge her body of…”

Striding Bison crushed more of the dried brown leaves with a mortar and pestle, then sprinkled them into the flames. Another aromatic plume rose on the breeze, far more smoke than a pinch of herbs should produce. Curling tendrils stretched toward Teagan’s afflicted body like the fingers of a mournful spirit. “A while,” he said with a shrug, cryptic as ever, his shaky hands moving with reverence and care. The shaman had helped them when past adventures had gone awry, but those had all been of the mundane snake-bite, gunshot-wound, dehydration in the desert variety.

Howls tore through the night, and Grant peered into the murky blackness on all sides. A wasted gesture–the firelight destroyed his night vision. Even so, instead of the call of another werewolf pack, he recognized the war-whoops of hunting parties from local tribes.

“The Chickasaw know what hunts under the full moon,” Striding Bison intoned. “They hate those the wolf spirits possess. Their braves will come with cleansing fire… not the kind for burning herbs, but bodies.”

Grant put his palm on Teagan’s head and grimaced at the heat radiating through her coat of fur.

“They will kill us too,” the shaman added. “They will consider us tainted by her presence. None of the tribes take lycanthropy lightly.”

If the thought bothered Striding Bison at all, he showed no sign. He poured steaming water from a kettle into a stone bowl, dipped a cloth, and laid it across Teagan’s head.

Helpless, Grant left Teagan to shiver under her blankets. He surveyed the wreckage, noting the makeshift defenses the soldiers had erected. The werewolves left no survivors but also had no interest in equipment or supplies. A broken crate of rifles caught Grant’s eye, their dark metal glinting in the firelight. He pulled one from the container and found another box filled with circular drum magazines. “Do what you can, where you are, with what you’ve got,” Grant mumbled, quoting the President he idolized. Teddy wouldn’t back down from the fight. 

Striding Bison smirked and ground more leaves into powder. “The Chickasaw won’t be impressed by Army guns. They’ll have gangster rifles too–and they can shoot from horseback.”

“I know,” Grant said, his shoulders sagging. “But I have to do something.”

The war-cries echoed louder, closer. Even though the mountains blocked some lines of sight, the light of the fire would be seen for miles from the right viewpoint.

“You are one man, McSwain. They are many. They are trained for war, whereas you…”

Fury flared within Grant’s chest, an explosion of rage at the futility of his situation. All his strength cried for action, something to throw, someone to punch, some means to resist the obvious fate looming over him. His fingers tightened on the grips of the Tommy guns in his hands and he glanced at his companion. A realization washed through him like a lit trail of blasting powder. If I have to die to protect Teagan from butchery, so be it. And if I’m going to die anyway… 

Grant dashed to Teagan’s side and set the Tommy guns in the dirt, then drew out his knife. “Bison, you have more of that coyotesbane?”

“Of course.”

“I’m loosening the bonds on her feet and doubling the ropes around her wrists. In a moment, I want you to lead her to safety while I distract the Chickasaw. She’ll be able to move, but she won’t be able to hurt you. Think you can manage?”

Striding Bison’s eyes narrowed as he scrutinized Grant’s actions. He said nothing, but his eyes moved to the knife.

“I just need to buy you both enough time for her to fight off the disease,” Grant said. He drew the knife along his forearm with a wince, and a line of crimson formed. “The Chickasaw don’t know who was afflicted.”

Grant untied the muzzle and held his arm above her elongated face. Though unconscious, Teagan shifted and jerked, emitting sharp sniffs and a low, hungry growl. In a flash, her teeth latched onto his arm, gnawing and lapping at the wound. He screamed but held still, muscles straining in anguish. When he could bear it no more, he tore his arm free then wrestled the muzzle back over Teagan’s maw.

Pain shot up his arm, throbbing and thrumming with his heartbeat. The moon grew brighter and his senses opened to the world around him with such clarity that he felt as if he’d been deaf and blind all his life. His thoughts wavered between lucid concern for Teagan and a sudden thrilling bond with all of nature.

Striding Bison looked on in horror, then came alongside Teagan and helped her to her feet, her bony arm stretched too far over his hunched shoulders.

Even as he watched the thick black hair sprout from every inch of exposed skin, Grant racked the slides on the submachine guns and turned toward the approaching war-cries. “Come face me,” he howled, his voice deep and guttural. “But be warned! This wolf has fangs!”

Letting Go (Short Story)

I slip in the back door, and a scented wave of cinnamon and sugar hits me, an intended welcoming warmth that I don’t feel. I head for the stairs, hoping to make it to my room before—

“You’re back!” Mom’s voice sounds strained, her cheerful tone forced. Like always. “How was the mall?”

I shrug. “Boring.”

She pulls a plate of snickerdoodles off the stovetop. “I made some treats for Sunday school, and thought you might like some of the extras. They’re fresh out of the oven.”

“I’m not that hungry, Mom. There’s half a dozen. Dinner’s in an hour.” I feel like she should be the one thinking about that. Still, I’m not about to turn the offer down, not entirely. I snatch one off the plate and let my teeth sink into the soft, sweet cookie.

She watches me with concern, that same disturbed look she’s been giving me every night for the last few years. “Well,” she says, “I thought… maybe Thomas would like some? They’re his favorite.”

I roll my eyes and set the plate on the counter. “I’m not dealing with this again today. I have homework.” Maybe Dad will eat the other ones, or I’ll just snack on them during school tomorrow.

School… yeah right. Sitting at the dining table with a couple workbooks and an iPad is “school” as much as the first aid kit in the bathroom makes it a hospital. Homeschooling is supposed to be close, intimate… but the way my parents run things, it’s about giving me busy work so they can avoid dealing with me. I’m fine with that—I try to avoid them, too.

“Don’t forget,” Mom yells down the hallway as I make my escape, “we have an appointment with Nick tomorrow.”

I whirl and let loose. “Can we stop pretending that calling Doctor Greene by his first name takes away the fact he’s a shrink you’re making me see because you think I’m crazy?”

Mom lets out that defeated sigh of hers, the one that means she will leave me alone. It’s a stalemate, but I’ll take it.

I walk past Thomas’s room—always empty, always immaculate—and slam my door before flopping onto my bed. Tomorrow’s a big day; I know that’s why they made the appointment. Five years ago, Thomas and I took off on our bikes, and only one of us came home.

* * * * *

“Hello! Good to see you,” Nick says, with a too-white smile and “Happy Holidays” disposition. I don’t mind calling him Nick, even though I’ll argue with my parents about it. To them, and to him, it probably seems cool, a way of relating to the kids he sees. Whatever. It’s all part of the show we’re putting on here. Thirty minutes of fun and entertainment, and the clock starts now.

He’s got two folding chairs in front of his desk, and a love seat in the corner where Mom and Dad could sit together, if Dad ever bothered to show up. I take the one on the left and sink into a slouch, arms crossed, hoodie shading my view.

“Mrs. Talbach,” Nick says in his overly chipper tone. He turns to me, glances at the empty seat, and says, “I’m really glad Thomas could be here today.”

I kick the extra chair aside with a huff. “It’s just me, Nick,” I hiss, “just like the last five times. What are we paying you for again?”

As soon as I say it, Mom’s emotional rubber band snaps—I can feel her burning glare on the back of my neck. “Mind your tone and watch your manners. You’re not paying him for anything—”

“Darci,” Nick says, cutting her off. His tone is solid and firm. “Maybe you’d like a mug of cocoa? Someone at the front desk can help you.”

He takes a seat beside his desk, his eyes on her. He watches in silence, removing any doubt about the directive nature of his suggestion.

I try not to smirk, and I keep my back to Mom until the door clicks shut.

“So,” Nick says, elbows on knees, chin resting on his laced fingers. “Still pushing your mother’s buttons?”

“As much as she pushes mine.”

“You realize your parents have been through a lot, too, don’t you? Today, especially. The memory of the accident hits them as hard as it does you.”

Of course I realize that… but they didn’t see what happened.

Nick glances at the empty chair. “You say that Thomas isn’t with you anymore, but I’m afraid you’re telling me what you think I want to hear. It’s easy to put on an act for the doctor every two weeks, and you’re a smart kid, no doubt about it. Smart enough to figure that out.”

I stare at him from beneath my hood. That’s most of what Dad pays for—Nick and me staring at each other in silence. Maybe that’s part of why he stopped coming.

“You can be honest with me,” Nick says. “No sign of Thomas at all?”

“I let him go. That’s what you’re supposed to do, right? Move on?”

“Yes, well, you’re a… complex case, in my experience,” Nick replies. His fingers stroke the thick file on the edge of the desk. “In any event, after a traumatic episode, you’re right, it’s important to keep moving forward in life. However, we all want to be sure the direction you’re moving in is healthy. That it leads somewhere better than where you were when we first met.”

Same old speech. “Who’s to say what’s better, Nick?”

“Great question. I think that’s when you benefit most from the perspectives of others—the people who love you, the people you love. Those, like me, who want what’s best for you.”

Out the window, I can see a dozen kids scrambling all over a school playground across the street. Climbing, swinging, chasing, laughing. I miss those days.

Nick leans over and twists the stick; the venetian blinds snap shut. “Tell me about Fairmont Junior High.”

“Sucked.”

“I imagine so, given some of these comics and stories you wrote.” He slides a couple yellowed sheets of paper out from the folder. On one of them, a pair of stick figures fight their way through a school infested with zombies. On another, there’s a list of names titled ‘People I Hope Die.’

I sigh and stare at Nick’s wall of degrees in glossy frames.

Nick points at the comic. “‘Timmy and Tommy Versus the Zombies,’ a tale of twin boys, taking on the mindless horde of cold adults and mean classmates that you had to deal with every day. That’s kind of funny. Maybe a little bit like life?”

When I don’t respond, Nick presses his point. “You drew this, what, a year after he passed away? Do you think maybe you were expressing some feelings you weren’t able to process otherwise?”

I shrug.

“Of course,” Nick continues, “Fairmont had a zero-tolerance policy for anything perceived as threats, so when your teacher found this list, you had to—”

“No! That’s not why we homeschool, okay?”

Nick sits back at the outburst, but gestures for me to elaborate. I’m surprised that came out, but I’m so sick of them worrying about problems and phantoms I’ve already outgrown.

“How do you think it felt,” I say, “being the only kid in middle school with an imaginary friend? Being the kid who freaked out if anyone sat next to him in the cafeteria… Teachers had to keep one desk empty rather than put up with me losing it in the middle of class…”

Nick nods, pretending he knows what it’s like. “That’s why I’m glad we’ve made progress,” he says gently, and gestures at the empty seat. “Some, at least.”

“Whatever. If we made so much progress, what the hell am I doing here?”

“Like I said, you’re complex. There’s still more going on, and I don’t know if you’re ready or willing to address it.”

I shake my head, and my lips curl in frustration. “I’m fine with how things are now. I’m finally fine. I’ve moved on. That’s all I wanted, all I needed. I just wish everybody else would back off and stop trying to tell me what’s best for me.”

“You say that, but—”

“Isn’t it time to go?” I grab the small digital clock he has on his desk—turned away from the patients, of course, but always visible from his chair—and check the time. Ten more minutes. Dammit.

“It’s a sign of progress that you no longer require the additional space and consideration you once expected from everyone,” Nick drones, flipping through records of previous visits. “That’s an important step, but as I review your history, I wonder if we are moving in a healthy direction. One significant concern when dealing with delusions related to trauma is that…”

I’m done with this. My mind shuts down and my eyes wander over the decorations around the room: the dream-catcher some kid made in art class, the framed newspaper story with Nick’s picture, the carved African trickster guy hunched over his flute whose name I can never remember.

“—unable to distinguish,” he continues, “between the real and the imaginary in other parts of life, affecting relationships, job performance—or, in your case, academics—and basic social integration.”

Nick leans forward and gives me his oh-so-caring face. I wonder how many times he practiced that in med school. “What I’m saying is, I can’t just ignore these other symptoms.”

“They’re not symptoms,” I growl. I’m so tired of him and everyone else not listening to what I’m saying about me. “Stop treating me like I have a problem. I had a problem. It’s gone now.”

“You have to want to get well before—”

I fly out of the seat and kick it down behind me. “I am well!”

I had a twin. We did everything together. He got into an accident and died, and that sucks, and nothing’s gonna fix that. I did what I could and let go.

Now I wish they would.

Before Nick can give me another one of his touchy-feely speeches, I storm out the door into the lobby, past Mom and her cup of Swiss Miss, past the secretary’s stupid bulging eyes, past some other waiting mom and her teenage daughter. I leave them all stunned and slam the outer door on my way to the parking lot, slipping my earbuds in. I just want to be alone with the fresh air and my music.

Moments later, Nick leads Mom out the door and checks what I’m doing before continuing his conversation with her. I pause the music on my phone so I can hear, and keep pacing around Mom’s car, eyes on the ground, the perfect image of a distracted teen.

“—following the right approach, Mrs. Talbach. There’s more pain deep inside that he doesn’t want to deal with just yet, and this is his way of coping—or rather, ignoring and suppressing that hurt. Keep on pressing him about why he let go of Thomas.”

“But he gets so angry,” Mom says, her voice quivering like she’s going to cry again. “And he just shuts down whenever I say his name.”

“This is important. It’s going to be a hard road; I won’t lie to you, it’s probably going to be almost as bad as…” He glances at me and leaves the rest unsaid.

The kids on the playground are still shrieking with delight, dashing to and fro. I remember recess with my brother, when we challenged each other to ever-higher climbs and ever-farther jumps off the swings. Always one-upping each other, never afraid of the risks. That, and pranking the teachers in grade school, who never could tell us apart.

“Talk to Jared,” Nick says, referring to Dad. “Please, encourage him to come next time. He’s burying his pain, too. Maybe helping his son will draw both of them out of their shells.”

Mom nods. “I’ll try.”

Can’t wait to see the train wreck tonight when she brings that up.

* * * * *

“I’m not going back, Darci,” Dad shouts. “I tried that psycho-babble bull. We’re throwin’ money at that guy every month, and for what?”

They always think their fights are some kind of secret, something I don’t notice because it happens after dark, behind closed doors. Even quiet voices carry through the vents; shouts come through loud and clear. The doors and walls aren’t nearly as soundproof as their minds.

“Honey,” Mom pleads, “there has to be some way to make things better.” I hear the crack in her voice as she adds, “I can’t lose him too.”

“Wasn’t it that quack’s idea to let the imaginary friend crap run its course in the first place? Then all of a sudden, we’re supposed to stop playing along. Where did that get us, huh?”

Like I’m some garbage video game they’re playing… Push A to expose pain; tap B to speed recovery; use right trigger to unlock closer relationship.

“Doctor Greene says we need to keep talking to Thomas,” Mom insists, her voice ragged. That tone—she’s barely holding together. It’s the threshold before the bubbling pot boils over.

“Darci, he keeps saying Thomas isn’t there anymore.” For once I have the tiny spark of hope that maybe someone believes me. “He’s not doing any of that imaginary crap like before. Maybe we’re only going to make things worse if we press the issue.”

“I can’t pretend that—I won’t accept that he—God, Jared, every time he acts like this, I feel like I’m grieving all over again.”

Dad says nothing. I get where Mom’s coming from, but she doesn’t know what Thomas went through, either.

“So… what do we do?” Mom sounds broken.

“Hell if I know.”

* * * * *

“Let’s talk about that day.” Nick isn’t even trying to go slow today.

“Fine. There’s not much to say. We rode our bikes up the steep hill on Hoffman Street, up to the train tracks. Nobody rides down that hill—it’s crazy. I told Thomas he didn’t have to do it, I told him he won the bet. I chickened out.”

“Is that right?”

“He said it wouldn’t be fair if he didn’t go through with it.”

Nick sits back, giving me a suspicious eye. “What did you say to that?”

I look around the room, trying to focus on anything else. Mom didn’t bother coming in this time. Dad called about some last-minute meeting at the office, so Mom stayed in the car fighting with him over the phone while I checked myself in for my appointment.

Against my will, the memories flash through my mind: my brother lurching forward and pedaling like mad, building up speed before the descent, my hand reaching out as if I could pluck him off the bike from ten feet away. “I didn’t have time to say anything.”

For an instant, I feel the onset of tears, the old hurt like a hand wrapped around my heart, squeezing into a fist. It was my fault. I goaded him into it. He lost control—I should’ve known that would happen—and went into traffic on Garfield Avenue at the bottom of the hill…

“Thomas,” Nick says, “it’s not healthy. All that guilt, all that blame, that crushing burden? You’ve been carrying it too long.”

My eyes drop to that folder on the desk, the name “Thomas Talbach” written in thick black Sharpie. Of course that fat secretary had me booked under the wrong name, the same one on Nick’s file. As he waits for me to answer, Nick taps his fingers on the folder almost like he’s pointing out the mistake everyone keeps making.

Just like how the hospital put the wrong name on the death certificate.

Just like the gravestone.

I don’t need any help. I don’t have any burden to put down. My only problem is I don’t know how to get everyone else to see that.

“My name,” I mutter, “is Timothy.”

Nick locks eyes with me, his face stern, his tone hard. “You need to let go, Thomas.”

“That’s the thing, Nick. I already did.”

 

Delusions and Adventures – Two Open Submission Opportunities

Writer friends and followers:

While there are a host of magazines and collections that often solicit submissions, two recent options caught my eye.

ApparitionLit runs a quarterly open solicitation for submissions of poetry and short fiction, with some appropriately thrilling or mysterious theme. This quarter is “delusion,” but unfortunately, the session is about to close (Feb 28th).

They’re accepting works with a theme of vision from May 15-31, and submission guidelines can be found here.

Find a quiet place, listen to the voices in your head, and write out all your inner pain… easy!

 

 

 

 

 

Since I’ve been focused on preparing my own submission, I failed as a blogger and provided those links far too late for anyone else to benefit. To make up for this heinous misdeed, here is another opportunity for short story submissions:

Rachel Ritchey is organizing a short story contest for adventure fantasy and sci-fi pieces as part of an anthology to raise money for charity. The inspiration for this piece is a cover picture provided with the submission details at the link above.

This contest just opened up today (Feb 26th) and runs until March 16th.

Now my guilty conscience is (somewhat) appeased, and I can get back to working on my own pieces.

I Feel Attacked

Saw this a while back, after having some conversations with a writer friend from my local group. “Dave,” he said, “one thing I noticed was consistency in spelling. Which things are capitalized and which are not. That sort of thing.”

Guess what’s #1 on Ellen Brock’s list?

D’oh!!

Seriously, though, if you’re self-publishing or working on a manuscript to submit to traditional publishing, here are a lot of pitfalls to avoid.

Putting NaNo to Bed

Another November passes, and another National Novel Writing Month comes to a close.

You win a self-inflicted nervous breakdown! Also your manuscript needs infinity revisions.

I’m proud to have put over 50,000 words into my project, but I’m most excited about connecting and re-connecting with writers in my area. Not only did all four regular members of our base writing group dive into the challenge this year, but a WriMo participant from a few years ago jumped in (and won!). On top of that, I met four writers I didn’t know prior to the NaNoWriMo events.

Not everything went perfectly.

I had the privilege once again of serving as a Municipal Liaison for Japan–specifically Okinawa.

We have three stellar individuals on the mainland who managed the bulk of the nation’s participants. On island, our group had a rough start that forced me to develop some guidelines and contingency plans for future NaNo events–stuff you hope you never have to enforce, but you realize should be in place “just in case.” Yay for opportunities to grow and practice interpersonal skills!

The librarian on Kadena is passionate about writing groups–participating and supporting–so we enjoyed an array of Keurig coffee cups and a constant influx of writing resources. (Anyone need a journal? Here’s a stack. Need a book about researching how bodies decompose? I know a great one we might even have here… Stuck in your manuscript? Try playing around with some poetry magnets or story dice.) Who said libraries aren’t cool?

Great participants and a supportive location made my job easy and enjoyable!

My writing felt like a mess more than usual.

In the past, I approached NaNo like a plotter, laying out the overall course of the story with key milestones I knew I needed to hit as well as rough scene ideas documenting who needed to say or do what and for what purpose. That usually works for me, like following a recipe of cake mix. I have a little bit of freedom to substitute ingredients, and I can change plans in the middle if I really want to do so. “I think I’ll turn this into cupcakes instead of using a standard 9 by 13 cake pan. I’ll switch out the oil with applesauce for a healthier option.”

Some people are “pantsers” who sit down with a blank document and go to town, allowing the muse and the characters they’ve created in their minds to develop on paper in whatever way the story unfolds. More power to all of you who can manage that.

This year, I think I fell in the middle of the two–what some NaNo types call “plantser.” I had much less to go on than my last three NaNo drafts. The rough bones of a story arc bounced around in my mind, and I jotted down certain key points at the bottom of my manuscript Word document, but I had nowhere near the detail or preparation of previous efforts. It showed, as I left myself a lot more notes with questions to follow-up on, gaps or plot holes I could see while writing, even basic details like “insert her mom’s name here.”

On the one hand, “plantsing” gave me enough freedom to do as I pleased, changing up the events in the story as I wrote, to fit new ideas and revelations. It also gave me enough signposts as reminders to keep me moving in my intended direction. “Not saying you have to take the left lane onto I-80, but Chicago is far down the interstate in this direction, so you do you.”

I kept distractions to a (relative) minimum.

My favorite author Brandon Sanderson released the next novel in his massive epic fantasy series, The Stormlight Archives. Those books are so good, my non-fantasy-reading wife even loves them. That has been sitting on my iPad for the last three weeks, taunting me, beckoning with one finger crooked. “Just one chapter… that’s all… won’t take long… come on…”

The Netflix Punisher series came out mid-November, and I am a sucker for Jon Bernthal’s amazing combination of brooding / unhinged. Dude is like the stacks of unstable dynamite from my favorite 80s post-apocalyptic games. Sure, you might gain something by searching this, but you probably ought to back out of the fallout shelter slowly and forget what you saw here. (Fans of Wasteland might know what I’m talking about. The rest of you can take pleasure knowing I suck at analogies.)

I watched one episode the night it came out, then forced myself to close the app.

Thor: Ragnarok was a must-see, so I used that as my reward for getting ahead of schedule early. Justice League was going to be a mid-month reward, but I started falling behind and never found a good time to see it. In 20/20 hindsight, given the reviews and images, maybe that wasn’t a bad thing.

My pained smile when someone asks how NaNoWriMo is coming this year. “Yeah… I’m writing words or something…”

The addiction to video games kept its hooks deep in my flesh-husk. While I pulled away from WoW, and only played a couple hours of the intro of Horizon: Zero Dawn – The Frozen Wilds (omg such a great game), the mindless entertainment bug bit hard about three weeks in. For inexplicable reasons, as I looked at the Blizzard launcher on my PC, I realized that I own Diablo III, and I never played through the fifth act expansion, nor have I tried the necromancer class they added long after the game’s release. Easy fix! A few minutes of monster-grinding and loot-grabbing wouldn’t affect my writing too much, right?

In the course of a week, I played through the whole story and raised my overpowered goddess of death to just shy of max level. “Just one more level… just one more quest… just need to kill this one boss…”

Really, with an army of skeletons fighting for me, it just seems unfair.

I’ve put 75,000 words on various projects this month.

I started this year with a goal of writing a thousand words a day. Like many New Year’s resolutions, that lost steam after the first month or two. By about April I recalculated my goal. (500 words wouldn’t be too bad, right?)

In September, I realized if I cracked down and wrote like NaNoWriMo every month until the end of the year, I would make it. That didn’t pan out, though I exceeded my 1K/day goal. After the last month of grinding, I’m sitting at about 320K, with a few different projects clamoring for my attention. (I’ll post about one of them soon, because it has been both fun and valuable to me.)

Not saying those words are great words… but they’re something I can edit, revise, or cut, which is better than a blank page on screen and a bunch of imagined plot lines in my head.

All of that to say, I’m sort of sorry I was gone for the last month (plus), I’m not too worried because I can see how many or how few views come through, but I’m grateful for those of you who care enough to read this and/or support me, even if it’s just asking, “How’s that writing coming?”

Cue the wild-eyed Superman pain-rictus. “Pretty good,” I say through clenched teeth, choking down my self-loathing. “Everything is fine.”

Plots and Plans

At our bi-weekly Okinawa Military Community Writers meeting, Kyle led off the discussion with an exercise in developing the main idea of a short story, novella, or book. He posted about this and covered the 5 Ws that can help a writer summarize the story they intend to write.

I hope to build on that here with some additional tools or techniques for devising a plot line. Your mileage may vary, but hopefully one of these options will prove useful.

So you want to write a book…

Anyone setting out to write hopes to create something new and interesting, a unique contribution to their genre–and that’s a noble aspiration, of course. That might make some of these formulaic approaches seem unpalatable.

The thing to remember about a formula is it exists because it works.

Readers expect certain elements in particular genres… and this is not bad. A reader should have a decent idea what to expect based on the cover, back copy, and the first few pages. The tale may be familiar in structure, but unique in the telling, which makes it a fun read.

Deviating from the standard plan can be creative. Deviating too much is detrimental unless you telegraph it from the beginning.
In one of his excellent lectures on writing, fantasy author Brandon Sanderson brings up the example of a fellow writer who got published around the same time as Sanderson’s first book, Elantris. Sanderson’s book sold well and launched his career. The other fellow’s book sold poorly. What started as one type of novel (fantasy coming of age) suddenly became an entirely different book (dark and gritty science fiction) about three-quarters of the way in. Obviously other factors could be at work in this example, but when a book doesn’t deliver on its promise, that turns readers away.

That’s where planning and plotting can help. If we understand the commitment we’re making and the steps we should take in order to fulfill that promise, it’s easy to give readers what they will like.

“But I write free and unrestrained,” one may protest. “An outline or plot is a straitjacket in a padded room, an orange jumpsuit in a prison cell. I won’t go willingly.”

Pantsers (those who write by the seat of the pants) can still find use in these tools and structures. However, instead of using one to start an outline, the pantser can use these to guide the first major revision. If we’ve done our job as writers, the rough first draft will have elements of story and theme and proper flow between events, leading from whatever kicks off the thrill ride to the explosive climax. Figuring out the main structure of a story–even a free-writing journey of creativity–can illuminate what works and what fits, or highlight what should be cut to make the end result leaner and tighter.

Get your writing on LOCK

James Scott Bell writes about the LOCK method in Plot and Structure, among other books. The elements are:

  • Lead – a compelling or interesting character we’re going to care about enough to read through an entire novel.
  • Objective – the important goal or need driving this character into action they might otherwise avoid
  • Confrontation – the opposing forces or agents keeping the Lead from a quick solution
  • Knockout – an unexpected yet exciting ending that wraps up the conflict while blowing the reader’s mind

The stakes in the conflict have to be high–usually involving death. That doesn’t mean the lead or some support character must literally be hanging from a cliff or targeted in a sniper’s scope. Death can be professional (disbarred as a lawyer, kicked out of the military, imprisoned for a crime, or simply shamed and humiliated), or personal (divorced by the spouse they love, abandoned or rejected by their child, trapped forever in regret and frustration at what might have been).

Varying the Variables

A technique I picked up from George Guthridge during a fantasy writing workshop involves sorting out the variables and reasons that sum up the conflict, almost like a math formula.

(Variable 1) (verb phrase) (variable 2) because (reason).

For example, “A hopeless loser gets his life mixed up with his wealthy twin because neither knew the other existed.” So we get all the variations on The Prince and the Pauper, such as Freaky Friday, the Parent Trap, and a number of plots for one-off episodes in cartoons and comedy shows.

The trick here is to ensure that most of the equation involves some new or interesting. One of the variables can be boring–the hopeless loser, for example–but the rest must be exciting for the equation to work.

For example, the hopeless modern-day loser is trained to use magic by an enigmatic centuries-old sorcerer because only together can they close the portal to Hell in the middle of Times Square.

Okay, that’s been done, but the point is only one part of that equation feels like it fits in the mundane everyday world.

Filling Out the Outline

Guthridge also taught a skeletal plot structure that lays out the protagonist’s character arc, around which all the rest of the story will build. Here are the pieces of that framework:

  1. The Protagonist (what’s interesting about him or her?)
  2. Has an emotional / inner problem (what’s the backstory that led to this personal issue?)
  3. But an outside problem arises (what happens that forces the protagonist to face their issue and backstory?)
  4. Protagonist tries a solution that not only fails, but makes things worse (how are the stakes raised as a result?)
  5. Repeat 4 with another failed solution that builds the conflict and deepens the crisis
  6. Repeat 4 if you have space for a third failed solution and the resulting increased tension
  7. Protagonist solves the outer problem (without help from God, luck, friends, family, deus ex machina stuff)…
  8. And in so doing also solves or overcomes their inner problem

This will establish the main thrust of your character’s journey. Plotters can use it to start an outline; pantsers can look for how what they’ve written conforms to this kind of arc and revise accordingly.

Characters Change… Maybe?

Some books and speakers insist that a story is a series of events where characters change. This isn’t always true.

While considering the path a character will take (or has taken in the first draft), it may be that he or she remained firm in their convictions, against all the odds and pressure to change. Some stories are about people whose unwavering beliefs carry them through seemingly insurmountable odds. The tension builds with the increasing temptation to give in, and readers wonder, “Will they break? Will they sell out?” We’re satisfied when they don’t. Think of Captain America in the Avengers movies, who states that sometimes when all the world pushes you to move, you have to stand your ground and say, “No, you move.”

Conversely, plenty of stories involve the transition from an old belief or worldview to a new take on reality. Most “apprentice” novels and coming-of-age stories involve an underdog who becomes a master of their craft while developing the internal confidence to stand up for themselves.

A character may stand firm or change views–then we can reveal if their decision will end well or poorly for them. Maybe it’s a mistake with dire consequences, a cautionary tale. The unwavering person might not be able to survive a changing world (alas, Ned Stark!), and the person shifting their beliefs might live to regret their decision. Either of these can be a satisfying (if not happy) resolution to a character’s arc.

Nothing New Under the Sun

None of these structures or techniques are first-seen, unheard of, unique experimental snowflake novels. They don’t have to be. Everything we do and create is derivative of something we’ve seen or experienced–that’s what makes it relatable. The familiarity of the structure puts readers in a comfortable place, but each writer’s individual twists or combinations of ideas build a fresh experience that keeps the writing from feeling like what we’ve seen before. On top of that, no one tells a story exactly the same way; the use of voice and style in writing puts the spice in the casserole of words that will satisfy a hungry reader.

I hope the tools above and the 5 Ws from Kyle’s post help spur some creative writing. Whether following a recipe is easier, or looking at a picture and winging it is preferred, let’s get cooking and serve up something delicious.

Finding Allies

Readers: This is a scene I wrote for a character in a tabletop roleplaying game, someone out to do good even if their powers are misunderstood and condemned by society at large.


Fleuris ducked down the alleyway between wooden shops and hawker’s stands near the Quay, weaving her way between the meandering peasants ogling things they could never afford. She shot a glance behind her and caught a glimpse of sunlight sparkling off two shields emblazoned with the six-point sun of Aulivar.

Soulforged—champions of Justice and unwavering bastions of virtue. They’d chased her across mountains and rivers, over leagues and tendays. She’d tried to ditch them in the dark corners of every town and city in the ‘Marches, but still they maintained their pursuit.

Even among their zealous order, few sins earned such relentless retribution as necromancy.

If only they could let me explain… if only they could understand.

Her friends would be waiting at the docks… Trenton strumming his lute and singing a sailor chanty, Galla sharpening her longswords, Hakri meditating and memorizing a fresh array of war-spells. But the three companions wouldn’t be enough by themselves to take on the pirate crew… so Fleuris intended to bring help.

It shouldn’t be far now, and the ritual wouldn’t take long—provided the Order lost the trail along the way. Her prize lay at the edge of Mirelenai’s sprawl of ramshackle buildings and flimsy shanties. The dread pirate Bloodhook the Brutal, Captain of the mighty Dire Shark, scourge of the Bay of Raentallas, lay wrapped in tight sheets in a shallow grave outside the town. After the mutiny, Bloodhook’s crew buried him on land to prevent his spirit from returning to the seas he loved and lorded over—one last spiteful jab at the savage master who had beaten them into submission.

Now the Dire Shark sailed the bay once more, tormenting seafaring merchants and plundering their ships’ holds. The Seamistress would pour out a chest full of gems and gold coins on anyone who sent the Dire Shark to the ocean’s floor.

“Seize that girl!” a voice shouted from much too close behind her. Another shouted, “The Ghostskin in purple,” and Fleuris gasped. She zipped down a narrow walkway that stank like an open sewer, trying not to consider the filth staining the hem of her burgundy skirt. The deep violet cloak wrapped around her wispy frame obscured her face from view, and her gloves of thick, black lace helped hide the tell-tale alabaster skin the Order sought.

She hustled through the dim-lit walkway, headed for the sunlight at the far end. A few paces from the street, she stumbled over an unseen obstacle like a tree root, and glanced down, squinting in the darkness. A body of some poverty-stricken peasant lay slumped against a wall, not yet dead a full tenday, judging by the rate of decay.

Fleuris probed the supernatural realm with her heightened senses and latched onto a glowing spark of life hanging in limbo. “I’m sorry,” she whispered to the soul, then again to the body on the ground. She yanked the life force from the ether and shoved it into the corpse, then watched the fruit of her labor.

The body clambered to its feet, loosing a swarm of flies and dropping chunks of flesh. Dead eyes stared at Fleuris, waiting.

She doffed her cloak, threw it over the corpse’s shoulders, and sent it a forceful command. Then she slipped into the crowds on the street, her step calm and sure despite the racing thrash of emotions and the rapid drumbeat in her chest.

After passing a few merchants, Fleuris paused at a tailor’s stand and reached for her coinpurse. “How much for the forest green cloak there,” she asked, “with the silver trim?”

While they exchanged offers and counter-offers, Fleuris caught the glimpse of her violet cloak near the walkway she’d passed through. The animated corpse shambled into the street and lumbered away from her, toward the busy docks at the heart of the town.

Fleuris threw the new garment over her shoulders and clasped the smooth material with a silver brooch under her chin. Then she froze in fear. Two dozen paces away, she spotted the pair of Soulforged from the Order, stomping their way through the crowd toward her.

“Undead!” Someone shouted in the distance, and another voice chimed in. “A walking corpse near the Ragged Sail! To arms!”

Other cries joined the throng, and the two Soulforged halted their approach. Then they dashed toward the commotion, swallowing whole the hook and bait she’d left them.

Fleuris turned her back to them and strode away with as casual a pace as she could muster. This road would curve toward the fields and foothills outside the town. A short walk by the bay in the afternoon breeze would lead to the grove which held Bloodhook’s remains.

Buried on a slope within earshot of the sea, but laid in a grave that faced away from the water… With cruel care, the Dire Shark’s crew had chosen the site of Bloodhook’s final resting place.

Not final, Fleuris corrected herself. He will rise again… I’ll see to that. Though he did nothing to atone for his crimes in life, he shall do much to repay them in death.

After all, Trenton and Galla had asked for allies on their quest. They didn’t specify living allies.

 


Note: This was written and inspired partly by discussions about whether a necromancer in D&D could possibly be considered “good.” My thoughts on the subject are found here, but I’d love to hear yours.