The Thin Red Line in Hindsight

The Thin Red Line by Julian Spilsbury

The Thin Red Line by Julian Spilsbury is an excellent account of the Crimean War from the British point of view, but it is far from a ‘decisive account’ as some reviewers like to call it.  The book draws from letters and personal accounts of a number of British soldiers, sailors, and officers to tell the story of the Crimean War through the eyes of those who fought it, and Spilsbury does a masterful job of weaving these accounts together into a coherent narrative and filling in the gaps – This book is very well written, and is one of those books that are simply a pleasure to read.

The book opens with a quote from Tsar Nicholas I to the British ambassador in 1853, concerning the ‘Eastern question’ – ‘We have on our hands a sick man’ says the Tsar, ‘A very sick man; it will be a great misfortune if one of these days he should slip away from us, especially before all the necessary arrangements are made.’ – The ‘sick man’ is of course the Ottoman Empire, and the Thin Red Line follows what is essentially the beginning of that ‘great misfortune.’  We start by seeing an Army hastily pulled together out of British Mediterranean and Home Garrisons – This army, poorly organized, under-supplied in everywhere it matters and plagued by bad luck, will be the British force in the Crimea. Although the soldiers sail out of England in great cheer and spirits, which they maintain through the war in face of great military blunders, a Russian winter, and constant under-supply in the typically British stiff-upper-lip fashion, they encounter their first bout of bad luck almost as soon as they disembark in Turkey, with fierce bouts of Cholera thinning their ranks while the army sits stagnant in indecision. We then follow the allied landing at the aptly named ‘Calamita bay’ (Literally Calamity bay – The British army, at the time, was exceptionally genre blind), and their march south along the Black Sea coast towards Sebastopol.

Then comes the first of the British battles of the Crimean war, the Alma (Not to be confused with the Alamo!) – And this is where The Thin Red Line really shines. Spilsbury draws accounts of the battle from almost every regiment and goes to great lengths to give a clear picture from all viewpoints – That of the rank-and-file British soldier marching in line, through the officers that lead their regiments, to Lord Raglan himself, and his seemingly indifferent coolness under fire. It is a truly brilliant account of the battle, a standard Spilsbury maintains and surpasses with each battlefield account in the book.  Later, we are to read about the battle of Balaklava and the two most iconic actions of the war – ‘The Thin Red Line’, where a regiment of Scottish Highlanders face a Cossack cavalry charge in two-deep formation, and rout them under a hail of shot; and the ill-fated ‘Charge of the Light Brigade’ where British cavalry charge through the North Valley on a misunderstood, vague order, and into a crossfire between three Russian artillery positions and all its supporting infantry. We are also treated to an excellent account of the battle of Inkerman, where the Russian army attempts to break the allied siege by threatening it’s supply from the coast, and of course a horrific account of final assault on Sebastopol that decides the outcome of the war.

I can find only one complaint with this book, and that is how narrow its scope is.  First of all, it is very anglocentric; Spilsbury has found excellent accounts to draw on, no doubt, but they are all British in origin and this creates a very lopsided account of the war. I should have liked to read about the French in their battles, or read accounts from the Russians concerning the defense of Sebastopol and the conditions behind its walls (Though I suppose I have Tolstoy’s Sebastopol sketches for that!), Or even Turkish accounts of the first and last battles of the war. Spilsbury was quick to explain French, Russian and Turkish action where it influenced the British, but where it does not they are given only a passing sentence or reference.  We read about the failed British assault on the Great Redan, with all its horrors, but the first we read of the French assault on the Malakoff is a British soldier noting the tricolore flying above it. We read of the British sentries on Mt. Inkermann, but where are the Russian accounts? Much is made of the Minié Rifles, a new weapon issued to the British that lends them a decisive edge against the Russians, but what do Russian soldiers and officers have to say about charging in their columns against the hailstorm of shot that is a British Minié Line?

The book also has a very strong focus on the combats of the Crimean War –  Spilsbury follows the Alma, Balaklava, Inkerman and the siege bombardments and assaults in great depth, drawing from the accounts of Soldiers across the battlefield through different regiments and ranks.  It is very interesting to read through the battles, and we are witness to some Heroic and seemingly superhuman deeds. However, beyond battles this account is found to be lacking. Spilsbury only touches briefly on the logistical and Medical problems faced by the British army. He looks briefly at the effects of the Russian winter and Cholera outbreaks on the men, but I can’t help but feel his account of all this would do better with more detail and discussion. Florence Nightingale, arguably the most famous name of the Crimean War, is mentioned only once or twice in passing – while she is responsible for revolutionizing the British medical service and giving birth to the Medical staff corps. To his credit, Spilsbury does acknowledge this nearer to the end of the book in a discussion on the aftermath of the war, but I would have liked to read more of Nightingale’s struggle and efforts, as well as a number of other aspects of the war not discussed in depth here.

Overall, the Thin Red Line is an excellent book – though I feel its subtitle should be altered slightly to read; ‘An Eyewitness History of British Combats in the Crimean War.’ I found this book while exploring a military hobby store one afternoon, and am very glad of my purchase – It is superbly written, and contains brilliant insight into the British military actions of the war.  It comes from me highly recommended to anyone interested in military history – But: Someone interested in the politics of the war; the Medical or Logistic side of the war; or the war from the Russian, French or Turkish perspective, would do better to look somewhere else for a more fitting account. Nonetheless; What the Thin Red Line does, it does extraordinarily well.

The Thin Red Line – Robert Gibb, 1881

The Treasonists March Onward

After a long and successful campaign through the battlefield that is first-year University, I have returned to the home-front that is Treasonsists.

Alright, enough war metaphors – that was in danger of becoming purple. Over the past couple of weeks I have made huge progress with Treasonists, Pulling it from an idyllic dream into what initial readers tell me is reminiscent of a professional book. As you can no doubt guess, I’m quite stoked to hear that, if a little disbelieving. However, it is hard to deny the difference in quality between now and the last round of drafting – A lot has been added to the plot, characters and world and, to me, it seems like things are coming together as they should instead of being segmented in their own scenes. When I first started, my goal was to have a product of at least 75,000 words – the current count is about 80,000, and with much to go I expect the end product to be at least 100,000 words strong, if not more.

In celebration of my progress, I thought I’d give you a short teaser from near the start of the book. This is fairly close to what I imagine the final product to be, but please do keep in mind it has a little to go yet.

 

Treasonists – excerpt 1

‘Father, war is not the answer. It is already difficult enough to defend the food storehouses and prevent the civilians from murdering each other. Even our own soldiers quarrel over bread. A foreign invasion will only cause further hardship for our people and needlessly add to already overflowing graves. There must be a better solution; we can appeal to the Astral Empire, offer trade with Erethol! Surely, if the royal coffers can support an invasion, we could equally support the rebuilding of infrastructure and agriculture. But to go to war would achieve nothing but needless destructi-‘

‘Nonsense!’ Silvara seethed. ‘You know nothing of the situation or politic! Run back to your toy soldiers and leave such worldly matters to others.’

‘The blood of the empire runs through my veins just as yours, and I receive the same reports.’  Sephiran retorted, holding his ground.  Silvara scowled and turned to the king.

‘We must unite the people to remove the threat of revolt, and seize crops and farmlands to quell starvation and discontent. My king, you must make a decision now; we don’t have time for diplomacy or games.’ The tired eyes of the king rested wearily on Silvara, and his lips parted to draw fresh air into his lungs.

‘We must,’ Came his croak, dry and crackling, ‘to war.’  He coughed painfully, dry air forced from his chest. ‘It is the only way.’

‘Do you see, Sephiran?’ Silvara turned to her brother. ‘War is the only path, even our father, the king and emperor of all Azimir, agrees. What place do you have to object?’ Sephiran’s mind whirled with objections; to start a war was pure folly. Neither the Astral Empire nor Kingdom of Erethol would look kindly upon such reckless expansion across the seas, and if Silvara meant to attack one of the greater powers – it was inconceivable. The Three Emperor’s Treaty was signed by the king of Azimir himself, and guaranteed an alliance between any two empires against the aggression of the third. Yet with all these objections burned into his mind, all the Prince could do was stammer in confusion.

‘Please, father, I beg you reconsider. We can gather support from the other empires and states, we have treaties and agreements!’

‘You would throw us at the mercy of other empires?’ Silvara snapped, ‘Have you no shame? No honor ’ She paused, catching breath, ‘War is the only way to ensure the people of Azimir don’t turn against each other, or our king! Are you a traitor? Do you not care for your country? Your people? Your father?’ Silvara spat at Seph’s feet in disgust, smirking as the boy stood paralyzed in shock, his mind struggling to make sense of Silvara’s attacks. The string of treacherous accusations had come from nowhere, and he was unready to counter them. Silvara grinned at his inaction, and her eyes flashed.

‘Nothing to say?’ she mocked, snatching advantage from his silence ‘After all, Sephiran, you cannot argue with the truth.’  Silvara approached the king, and leaned to whisper something in his ear. Slowly, the monarch’s eyes grew wide as his face twisted in anger.

‘Sephiran!’ He didn’t yell; he couldn’t yell, but the sentiment was clear in his tone.  ‘You are banished!’

‘Prince Sephiran,’ Silvara gleefully took over the monarch’s rites, hints of humor flaring through her voice. ‘Third in line for the Azimiran throne after Lord-Lieutenant Princess Silvara and Prince Admiral Garcia, I presently strip you of your royal title. You are banished from the Empire of Azimir for treason and crimes against the throne.’

1812 – Year of the Zombies (And my return to the scene)

I feel a little like a zombie right now, actually. All of my Assignment’s have been handed in, my semester exams are over and on top of that I have the Flu. Since March, so much of my time has been dedicated to reading textbooks and essays and writing essays and assignments that now I have the freedom of the winter holidays, I forgot what I’m meant to do with myself.

Perhaps that’s why when a writer-friend Alerted me to Acacia Moon’s upcoming Zombie Anthology ‘And Then Jayne Was A Zombie,’ I was hit with a sudden bust of inspiration. A good thing, too – I was finding it hard to get back into the middle of a project after so long of writing nothing but History and Psychology assignments (As much as I enjoyed writing those – Particularly my major essay on the Industrial Revolution. Fascinating stuff). And so began a frenzy of thinking and note writing that would steal yet more sleep from my tired body.

I have yet to see zombies done correctly, yet to read a book or see a movie that really makes me think ‘Yes, this is what Zombies are.’ (I think I may have told you this before, Internet…) Don’t get me wrong, I love zombies and Zombie fiction to (un)death – WWZ by Max Brooks is my favorite (But His Zombie Survival Guide is cringe worthy), and I have all of Romero’s Zombie flicks – even the bad ones. 4pocalypse by Dark Red Press deserves a shout out here because I didn’t have the time to review it – though I loved it – and it has some very cool takes on the Zombie theme (and a Swordfight.) I have about two hundred and sixty hours clocked on Left 4 Dead, and it remains one of my favorite games. But I have never quite seen Zombies done – in any medium – in a way that completely fills the hole in my heart brains, so to speak.

Now, I’m not about to say I’ve written it. I would love to one day, and probably will end up doing so (I would have loved to be the first to combine Zombies and Steampunk – two of my favorite themes – if Cherie priest didn’t bollox it already) but not now. To be honest, I’m not even sure exactly what I would consider the zombie ‘perfection’ – Probably something of ‘War of the worlds’ style – a tale of survival until the Zombie menace falls to decomposition, with a heavy dose of humanity and human nature through a magnifying glass,  inspired by my many hours of Sneaking around Chernarus in Day Z(I wrote an essay about that, too – Perhaps I’ll fix it up and post it here) No, I don’t think I can do Zombies justice yet, so my Zombie Magnum Opus will have to wait.

But even so, I am excited to do something with zombies for the anthology (And, well, just because I love zombies, in case you didn’t get that) so I filled three pages of a notebook with notes on Zombies and a dozen half-detailed ideas. Originally I wanted to explore some of the themes of my essay (That, I have decided, I will fix up and post in the near future), which can be summarized as a look at why survivors tend to shoot each other out of fear of being shot themselves – Along with themes like Scavenging and guerilla warfare, Heavily inspired by Day Z. However, I was finding it difficult to pull together a nice, coherent plot – especially as I had assumed a somewhat modern-day setting, and I am terrible at modern-day settings. So I took all of my Zombie Ideas travelled back a few hundred years, to the setting I work best with, and – in a Brilliant coincidence – This is when Tchaikovsky’s 1812 Overture started playing over my trusty digital gramophone (Read: I-tunes), so I thought – Zombies, in Napoleon’s 1812 Invasion of Russia? This could be very interesting.

Now, if you’ll excuse me, I have to dig out my books on the Napoleonic wars.

The Rise of the Iron Moon in Hindsight

Cover art Via Goodreads.com

I think The Rise of the Iron Moon by Stephen Hunt was intended to be a sci-fi pulp adventure novel, but for the first half of book I had no real idea what was going on and by the time it became clear it was nothing more than cliches, dues ex machina and technobabble.  I found myself wanting to finish it as fast as possible – not because I was enjoying it, but because I wanted to read something else.

According to the rear cover of the book, the story follows Purity Drake – last of her royal bloodline – who finds herself on the run after accidentally escaping a parliamentary prison.  She becomes embroiled in a war between the Kingdom of Jackals and the mysterious ‘Army of Shadows.’ By ‘embroiled’ I , of course, mean she becomes a side character with no meaningful dialogue or character development until half way through where she becomes a Dues ex machina dispenser with no meaningful dialogue or character development.

I must admit it started interestingly enough with Purity’s escape, but I couldn’t help but feel cheated when all the excitement and set up of the first chapter was quickly washed away and ignored.  You’d think a highly prized political prisoner killing a guard and escaping would have some kind of reaction from the powers that be, but apparently Purity changing her clothes was enough to throw her enemies off her scent so none of it ever needed be mentioned again.

After series choppy and dissatisfying character introductions that can only be described as a ‘Maelstrom’ , the story begins to settle and decides to follow Molly Templar, an author of ‘Celestial fiction’ and her friends Commodore Black and Coppertracks. (Coppertracks, a robot, is ironically the most developed and interesting character in the book.) We follow Molly as she attempts to stop the destruction of her world by sailing across the celestial voids to the Army of Shadows home world in  search for the ultimate weapon that will allow them to crawl from the war victorious.

Meanwhile, back on earth, Purity Drake discovers she has some dialogue and, also, has the power to ‘rewrite the equations of matter’ with her Dues ex machina sword the ‘maths-blade’ and a convoluted technobabble explanation about how everything is a ‘mathematical construct’ and that Purity can bend reality by ‘rewriting the equations that underlay the world’ as if they lived in the matrix.  With her new Dues ex machina, Purity decides to take the fight to the enemy.

So our heroines advance towards their respective goals and play out their individual plans, and finally come face –to-face with the main antagonists who claim to be the ‘ultimate form of human evolution.’ Then there is some exposition about Evolution that reads like it was written by the Creationist propaganda department, and some plot reveals about time travel that create far more paradoxes and questions than it answers.

The writing itself was more often confusing than not, and I remember having to re-read passages numerous times to understand what was going. I’m also sure I spotted dialogue that had the wrong names attached, but there is no real way to be sure. The book was filled with technobabble and psudoscience to the point where it was downright annoying – Don’t get me wrong, I never fault a book for failing to explain things scientifically. I read Fantasy, after all – but if scientific words and concepts are going to be used they should be employed properly.

Overall, The Rise of the Iron Moon is a mess of a book. The Plot is convoluted and confusing at worst, bland and clichéd at best. The writing is no better, filled with run-on sentences and confusing metaphors. Next time someone tells me Self-published books are all bad because there is no quality control, I’m going to have them read this.

Treasonists update

Today was, perhaps, the most productive writing day I have had this year (It sounds impressive when I say it like that, doesn’t it?)

I started the day by collecting all of my plotting notes for the new ending. You see, I aim to almost completely rewrite (Or at least drastically alter) the current ending because it is nowhere near as exciting and thematically powerful as I think it should be.  To guide me, I resolved to write a new plot outline for the ending.

This was more difficult than it sounds. Most of the last third of the book follows the POV of 3 different characters (and minor scenes in a 4th POV) who are all doing different things in different places, at roughly the same time. They all tie into each other in the Climax of the novel, and have massive effects on each other during the lead up to that point. I was very worried all that could get very confusing.

My first order of business was to write-up the separate plot outlines for each character – To note all of their scenes in chronological order as if I were just writing about them.  That was the easy part.

Next, I attempted to fit everything together in a single outline that detailed everything in the order it will appear in the final book. This was a huge puzzle to work out, and I admit it was a read headache at some parts. (Literally, I ended up taking some Panadol!)

First of all, I wanted to keep everything in roughly chronological order so the reader isn’t constantly going backwards and forwards in time, because that could get very confusing. On the other hand, swapping between characters every paragraph could also get very confusing. There is a balance to be struck somewhere between this two, and I have no idea if I’ve hit it. There is no real way to know, really, until it’s all written down and the beta readers look at me in confusion. But it works in theory, for now.

Another consideration is the excitement and ‘plot’ of each chapter. I’m sure everyone reading this can conjure the graph of how a book’s plot is meant to look when excitement is quantified and graphed; An Ascending line with plateaus and finally a climax followed by a Denouement. It is my opinion each chapter should be set out somewhat similar, with its own goals, climax and denouement (or a set up for the next chapter) and I have stuck to this throughout most of the book. I think it works really well, so I would hate to break it to jump around to another character and ‘start something new,’ instantly destroying the tension and excitement built up over previous scenes.

Lastly, I had cause and effect to consider. As I noted somewhere above, what characters do in their plots have significant impacts on other characters. I had to make sure this all made sense, and that I never accidentally showed the effect of an action before showing the cause. This was just a case of Watching  where I was positioning things, and luckily for me most of the ‘causes’ were naturally at the end of something, allowing me to slip over to the next character to see the effects.

After a few hours of working all this through, I was staring at a shiny new plot outline of the shiny new ending. It is much better than the old ending and, if you don’t mind my saying, pretty epic. I think it provides a much more climactic end both for the main plot and the character arcs that eventually cumulate in the final battle.

But that’s not all I did today (I told you it was productive!) – I also got some work on the actual editing or, rather, writing. I’m at a point where I am adding a completely new chapter, so I’ve had to swap from an editing mindset to a writing one. Thankfully, I’m able to do that without much pain.

This chapter is really shaping up to be an interesting one to write, and I can only hope it’s as interesting to read. The chapter follows a major battle, the Seige of Luftenport, Between Vanessa of the Valkyries and Admiral Garcia of the Azimirian/Silvarian navy. What makes the battle so interesting is the fact those are both POV characters. In essence, what I have in this chapter is a miniature version of the above.

So the chapter follows the POV of both side’s commanders. Think of it was watching a game of chess (or, more aptly, an RTS) where you can see the plans and strategies of both sides as they attempt to implement them, and make the other fall into their traps. We get to see the commanders formulate their plans, we get to see the plans implemented, and we get to see the opposing side make their counter-plans and react. It’s a very interesting dynamic to write because both characters are Strategists, leading to a battle of wits with the lives of a few hundred soldiers at stake.

Not only that, But the battle has the same features of all my battle scenes – I like to show how things play out from the POV of commanders directing the battle (Moving regiments, implementing strategies) and also the POV of the actual soldiers fighting the battle directly.  Again, it’s an interesting method of doing things and I like to think it pull it off well, but there is no real way to know until I have my beta readers look at it.  At some point in the future, I’ll write a post entirely about how I write battle scenes.

To get all this working together, I’ve had to make heavy use of ‘***’ on an In-chapter level, to indicate a change of character. On a larger, inter-chapter level I’ve come up with the idea of calling Chapters by the same number with a different letter to indicate Concurrent timelines. For example, Chapter 6A and Chapter 6B happen at the same time, but follow different characters.

What do you think? How do you deal with different POV characters affecting each other’s stories? How do you show a battle from both perspectives? How do you indicate to a reader that two scenes are happening at the same time, in different places?

1Q84 In Hindsight

1Q84 by Haruki Murakami

1984 by George Orwell is one of my all-time favorite books.

That’s why when I saw the title ‘1Q84’ while browsing the book store I was more than a little interested. 1Q84 is a novel by famous Japanese Author Haruki Murakami and “as the title suggests, a mind-bending ode to George Orwell’s Nineteen eighty-four. (The number 9 in Japanese is pronounced like the letter Q)”

Imagine my disappointment, then, when 1Q84 had absolutely nothing to do with Orwell or 1984, besides a few throwaway references. Heck, my own novel has more in common with 1984 – both heavily feature the theme of propaganda.

But despite my disappointment in this regard (I was hoping for a 1984-in-tokyo – We were always at war with Oceana.) I guess I can’t really fault the book for that; it might have still been interesting despite its misleading title and blurb.  Might have been.

I was not aware so little could happen in 300 pages. In total, 1Q84 is a monolithic 900 pages, split into three books – I have only read the first one. The story (if you can call it that) follows Aomame, an assassin who hunts down and kills wife-beaters and child-rapists with a modified ice pick so small it leaves no trace of the murder. Or, that’s what we are told – In the 308 pages of book 1, only once does Aomame do anything remotely interesting. In the second chapter she sneaks into a hotel dressed as a member of staff come to check the air conditioner – There, she assassinates a businessman. This was early in the book, and mislead me into thinking there was an interesting plot, but the rest of the chapters about on Aomame focus on either her history ( which is told and re-told, without even adding more detail the second, third and fourth time) or her sex life. Murakami goes into great detail about Aomame’s preference in men – middle aged, balding and slightly plump (by coincidence, I’m sure, that’s what Murakami himself looks like) – and we Follow Aomame and her young friend, Ayumi, though the nightlife of Tokyo as they search for sex partners and have ‘rumpus sex feasts.’

But 1Q84 is about two characters, their story told though alternating chapters. The Second one is only slightly more interesting. Tengo is middle-aged writer living alone and working on his first novel when he becomes involved in a literary conspiracy. He is approached by his editor and asked to re-write a remarkable novel written by a 17 year old girl (Who has a nicely shaped chest, which is mentioned so much you’d think it was important). The core story of this 17-year-olf girl’s novel is brilliant, or so we are told, but the writing style is horrendous. All Tengo has to do is re-write it so it can win a contest and be sold. After some (a few chapters) debate Tengo accepts and is soon stuck elbow-deep in the conspiracy with his editor and Fuka-Eri, the 17-year-old dyslexic writer of ‘Air Chrysalis” (with a nicely shaped chest.) Oh, before I forget (I can’t forget, it’s featured every second chapter) we also read about Tengo’s sex life, and how his ‘older girlfriend’ gets very jealous.

None of this is to say 1Q84 is an Erotic novel – it’s not. While we read a lot about the characters sex lives any of the actual sex is left unexplained or IKEA Erotica. It’s just that Murakami has some determination to explain anything and everything as long it has no direct relevance to the plot (and if it does, it is skimmed over as quickly as possible). I know what kind of Pajamas Tengo wears (and what they smell like after Fuka-Eri has been wearing them,) and I know the finer details of Aomame’s diet and how she stays healthy and avoids constipation. I know about the Gilyaks, the natives of a small Russian island who don’t walk on roads. I know this because Tengo spends a chapter reading to Fuka-eri about them, while she sleeps in his bed in his pajamas, while her nicely shaped chest is mentioned every paragraph. It is exactly as creepy as it sounds. Despite never having heard the thing, I know more about Janacek’s Sinfonietta then a classical music professor.  1Q84 reads like an attempt to break free from writers block, where the writer just gushes anything and everything from their mind with no real plot, point or purpose above ‘writing something.’ I think most writers have done it when they are feeling a little writers block, but it’s not usually published.

Despite all this criticism, 1Q84 has some interesting things in it. There is a communist revolutionary organization lurking in the shadows; A religious cult with more secrecy than North Korea; the (very drawn out) promise that Aomame may undertake another assassination (when she gets out of the clubbing scene, it could be a few hundred pages yet,) some magical ‘Little people’ who are apparently very wise and remain mostly hidden, and a joint US/USSR project to build a functioning base on the moon, not to mention the fact there are two moons. But I do suspect those last two were thrown in just to prove to the reader the book isn’t set in the real 1984, and Murakami probably has no intention of following them through. But then, it doesn’t appear Murakami has any intention of following anything though in this novel.  I must admit, I am a little intrigued to find out more about the revolutionary organization and the cult, but I’m not willing to wade through another 600 pages of Murakami delving into excruciating detail about everything that comes to mind and the sex lives of his characters. I think I’ll give the Wikipedia page a whirl. Or maybe I’ll just go read 1984 again – At least the fact Julia and Winston had a sex life meant something.


Vanessa and the Valkyries

Only a few short days ago I passed the 60,000 word milestone.

Passing the mark was an exciting moment as I realized just how quickly I had raised the word count some 6000 words. My ultimate goal is 75,000 and I’m very confident in my ability to reach (even surpass) that in the 15 chapters I have left, especially considering most of my large-scale plot changes and additions are still to come.

The last chapter was an exciting chapter to work on because it contained the introduction to new character – A woman named Vanessa – who I was particularly looking forward to working with again. In the original first draft, she did not receive nearly enough attention or development.  In the end, Vanessa was less a character and more a plot device with dialogue. She was the kind of character that exists only because the plot demands it, and has no complexity or dimension. She didn’t feel like a person.

And I wasn’t happy with that. So while I was collecting my notes and making plans for the edit, I set improving her and her involvement in the story as a major goal. First I had to fix her character, so I gave her a much more detailed personality, complete with some new motivations. Hopefully now she can be a character in her own right – and like all good characters, she can give something to the story.

Vanessa is the commander of the ‘Valkyries,’ a criminal organization active throughout the independent city states, but mostly in and around Luftenport. She is the ex-commander of a military regiment from the Astral empire, and a veteran of a heated war, as are most of her loyal troops.  She is cool under pressure, tactically and strategically brilliant, and ruthlessly and mercilessly cunning.  Simply put, she is a magnificent bastard. There is an interesting dynamic I have here between Silvara, the antagonist, and Vanessa – because they are so alike.  They are different enough to be unique characters in their own right (I hope) but similar enough for it to be noticed.  It’s interesting because they use very similar methods to maintain power, and rule their respective sphere though fear. On one hand, we have my characters opposing the tyrannical rule of Princess Silvara, while on the other hand we have the characters accepting Vanessa’s help. I’m going to enjoy having my characters think through that.

My next task was to think about how I am going to give her more involvement in the story – this was an easier task. She already played a large part, it was just background. Vanessa was organizing and doing things while I was focused on the adventures of the main characters. The solution, then, was to write the parts focused on her.  I resolved to write a chapter that chronicles the Battle of Luftenport (The Azimirian invasion of Luftenport.) while the main characters touch on this battle, I felt it could be expanded from Vanessa’s point of view. Not only would this be an exciting addition, but it would help develop Vanessa and answer some questions I quietly swept under the rug in the first draft.  Additionally, I made some plans for new scenes throughout the novel that show Vanessa’s action – a good implementation of the show, don’t tell rule.

Overall, I hope the additions with Vanessa help develop her character and clarify some parts of the story that may have been a little shady before.