Serious Editing

Wow, I've been MIA for months! Well, there are a lot of major personal changes coming up, including a major move to the opposite coast. That doesn't mean that my writing has suffered, only that I have had time to really think about it. The thinking has left me borderline terrified. Here's why:

In March, it dawned on me that the back half of Forbidden Children was looking less than stellar. There was too much downtime between the really critical scenes, leaving a lot of insightful but boring chapters. I also got really bored with the plot lines involving their interactions with women. We all know that if the author thinks certain scenes are boring or forced, the reader will think the same, times two.

I love the climax of Book One, but I have started to hate the reason for the climax. It is over a damn girl, a pretty boring girl at that. I know my twins, and they would not throw themselves into such a situation over a cute but rather dull girl. My really strong female leads do not make their grand entrance until Book Two, so any female paired with the twins before that is not high on my importance list, anyway.

This leaves me with some huge plot holes to fill. This is the main reason why my now grumpy Reading Team has not seen anything new from me. I could probably send them about four to five more chapters. After that, I've got nothing.

Book One is not going to be dumped; it has way too much potential. But major parts of it will be, paving the way for William and Thomas to be much better represented. This will probably be the hardest task in writing this entire series. The rest of the road map is perfect, and even has room for possible add-ons and surprises. I know where all the characters (and I mean ALL of them) will end up. But no one will ever see that beautiful road map if I can't get the damn car out of its neighborhood. That is my new task, and it will not be easy. Few things are as pitiful to see as a book that suddenly loses direction halfway through, and that is my issue with FC.

I am certain that I will figure it out because everything else about this series seems to be solid. My main heroes (or anti-heroes) are awesome guys, my bad guys are awesome pains in the butt, the society they live in is over a decade old, and the I adore the main plot. The main question is this: how much of the twins' back story needs to be told before I get to the present?

Oh, and I welcome any comments or suggestions :)

Beyond The Twins: Back Story

I'm going to be honest; most of the back story for this novel was discovered by pure "what if" questions. It was not part of this elaborate plot line I had thought up, completely fleshed out, at midnight on some idle Tuesday. It is the "what if" moments, though, that can either take your story to new heights or sidetrack it straight to paperweight status.

For a novel like this, the biggest piece of back story was world history itself. When I realized that a huge piece of this takes place around World War II, I got a little scared. How in the world was I going to take such an influencing event and accurately portray it in about six chapters or less? Better yet, what aspect should I focus on? If you have really solid characters, they will answer this question for you. William and Thomas couldn't care less about Germany invading random countries, and while they find the Holocaust extremely upsetting and horrific, they are not trying to save all the ethnic groups in a daring rescue mission (which, oddly enough, they still get caught up in). They have two reasons for getting involved, and both reasons start out as being a bit self-serving.

The characters' backgrounds are another source of back story. In the last month or so, I have started asking myself a lot of questions about Elizabeth and how she fits into everything. Little things that I wrote about her that seemed insignificant then are now becoming glaring and mysterious questions. My advice to you is that if you see this happening, don't get upset or think you screwed up. Your characters are trying to tell you something, and you would be wise to listen.

The lack of character back story can be a story in itself as well. I haven't really developed any major biographical points for the two NightWolf Handlers, and for awhile that bothered me. I thought that maybe I hadn't fleshed them out enough, or maybe they weren't even needed. Then I looked at everything from their points of view and discovered something; this adventure with the twins is the most excitement Georg and Gustav have had ever. The NightWolves themselves think little of their lives beforehand because they were simply going through the motions. Basically, the G's were in the middle of a midlife crisis when the twins stumbled into the picture. That is never directly stated in the novel, but their sheer fascination with the twins indicates that this is a welcomed detour in their lives.

I say all of that to say: don't fear the back stories, the subplots, and the writing left turns (or even U-Turns). I got over my fear and plunged straight into my fourth draft of this novel, and so far I have loved every second of it.

Age Old Battle: Good Versus Evil

 Good versus evil is the most basic but most powerful battle in the real and imaginary world. Sometimes it is an obvious battle, like in the Harry Potter series or in Brian Jacques' Redwall series. In this novel, it is much more blurry.

 The biggest dilemma I faced with this story was creating the climax, the high point. It was actually the last piece of the plot puzzle written. I had the beginning, the rising action, the point of no return, the ending, and no climax. There was no climax because I had no obvious battle. It took quite some time to identify the one thing that could defeat William and Thomas. I knew that Elizabeth was not a direct threat (yet), and no one was trying to kill them (yet). So what could make up this epic climatic battle?

 The twins themselves.

 Anyone who knows a set of twins knows that they seem to either really love or really hate each other, often doing both at the same time. They are not living examples of good and evil as much as they are living examples of the human condition itself; a constant tug and pull of wills, desires, hopes, and wishes. That is what the main battle of this story is: the battle of the human condition. It is one of the most complex battles to write about because there is no clear winner or loser, only achievement of a certain level of existence and acceptance. 

 The series will eventually lean more toward the traditional good versus evil fight, but even that is compromised and open to debate. No one side is completely right or wrong, just as the twins' two sides (humanistic and animal) are not right or wrong. 

 I say all of that to say this: there aren't any true villains, in my opinion, to boo in this series. There are only different viewpoints that can easily be regarded as good or evil, depending on who is looking at them. Be mindful of every character in this series outside of the viewpoint characters, William and Thomas.