Just as writers and readers dream of meeting the authors who inspire them, the Samuelsens dreamed of Horner composing a piece for them.
And, as the happiest of stories go, this dream came true.
Mutual friend and Norwegian director Harald Zwart finagled a meeting with James Horner and the Samuelsens. After performing for Horner, Mari asked if Horner would write a concerto for them.
He said yes.
I feel like I’m transported to the classical style Horner himself loved. The beginning cello solo here reminds me of the bassoon opening Stravinsky’s Rite of Spring. Then the violin enters, and I can’t help but think of Firebird Suite,also by Stravinsky. It’s no coincidence both works were adapted to accompany visual stories of creation and destruction in Disney’s Fantasia and Fantasia 2000.
And Horner himself is a storyteller, such a storyteller. The cello and violin are the characters of this story; its setting, the dawn of spring. Can’t you just feel the encroaching sunrise with the muted swell of the woodwinds? And here come the strings: warmth, growth. Green shoots struggle for freedom from thawing soil. Cello and violin walk–no, dance–through the landscape, casting out the final frost fairies to welcome spring’s sprites. The sprites run as the orchestral strings unleash them into the air.
I could go on, but I am sure your own imaginations picture this dance of change and color. It delights me to hear beloved themes from Horner’s other work woven into this tale: the strings bring forgotten magic from Something Wicked This Way Comes, a touch of kindled love from Titanic. The orchestral woodwinds remind me of the bravery buried in Wrath of Khan. Yes, I hear many loved harmonies of my childhood fantasies come and go until the final moment, when all is silent but for the violin and cello, an echo of the song’s beginning.
It helps the harmonies are played with such passionate players. I must find more of the Samuelsens’ work–their expression with bows and breaths are unlike any I’ve heard before.
If you loved Part 1, then please, listen to Part 2 andPart 3 of James Horner’s concerto. It’s such a stunning work, and one of Horner’s last; he died the year this album was released, 2015.
I am so thankful to have found Pas De Deux, and cannot wait to write more about the composer who led me to this album. But that will have to wait. Until then, let me give you a sample in the form of his contribution performed by the Samuelsens. May this song bring you dreams of Spring’s duet, its color and storms ever dancing with ribbons of sunlit magic.
But most of all, may this song fill your heart with a hope defiant of all darkness.
Purity tests are the tools of fanatics, and the quest for purity ultimately becomes indistinguishable from the quest for power.
Jennifer Senior, “Teen Fiction and the Perils of Cancel Culture”
There is a darkness creeping along the edges of Twitter. Like the Nothing from Neverending Story, it haunts authors with hushed whispers until it moves in swiftly with a power unmatched by any other.
It is the Cancel Culture.
I had not heard of cancel culture until last month, when debut YA author Kosoko Jackson pulled his book from publication because he was accused of being insensitive to the Muslim community. You can read the account here. Like article writer Jennifer Senior says, there’s a strong sense of irony that this YA author pulls his book after he and others demanded YA author Amélie Wen Zhao pull her book due to evoking “an offensive analogy to American slavery.” Click here for that article. (Oh, and here’s another article I found while editing this post that mentions yet another YA book mobbed by cancel culture.) This issue’s grown to such a point that PENAmerica recently held a panel featuring a diverse array of writers and critics to discuss the matter–click here for that, as it’s a thought-provoking read.
Whether you wade through all the articles or not, I really want you to see the quote from Jackson that speaks to this stormy state of YA Literature:
What Jackson’s case really demonstrates is just how narrow and untenable the rules for writing Y.A. literature are. In a tweet last May, Jackson himself more or less articulated them: “Stories about the civil rights movement should be written by black people. Stories of suffrage should be written by women. Ergo, stories about boys during life-changing times, like the AIDS epidemic, should be written by gay men. Why is this so hard to get?”
On the one hand, I LOVE the idea of bringing all the voices from all the walks of life onto the page. No one’s voice is worth less than another.
But while the cancel culture and purists may say they are fighting for diversity, their words come off more as calls for segregation.
Case in point: American Heart by Laura Moriarity. Initially her book was awarded a starred review from Kirkus…until cancel culture called for otherwise. Not only did Kirkus pull its star, it completely altered the review.Click here for a comparison of the two reviews.The New Yorker even did an editorial on “problematic” book reviews, (click here for that) and I think writer Ian Nolan’s conclusion on criticism is worth noting here:
…criticism exists in different flavors, but its defining feature is an individualism of response. That response can be wise or unwise, popular or unpopular. A reviewer can squander authority by seeming too often at odds with good judgment. But, without critical autonomy, the enterprise falls apart. The only reason to hire a critic, instead of giving a megaphone to the crowd, is that creative work—books most of all—isn’t processed as a collective. People make sense of art as individuals, and their experiences of the work differ individually, too. A reviewer speaks for somebody, even if he or she doesn’t speak for you.
Ian Nolan, “Kirkus Reviews and the Plight of the “Problematic” Book Review
I am a white woman born of two white parents in the Midwest. My parents both worked for protestant churches, and together barely made enough to make ends meet. Frugality was the name of the game no matter where we lived, be it a small farming town up north, or deep in Milwaukee’s North Side.
My father was born and raised in Milwaukee in a tumultuous time. White flight, housing discrimination, police brutality, and the Civil Rights movement all boiled over to overwhelm the inner city and scald it with the Milwaukee Riots. I can’t imagine how this affected my dad, seeing the death, the pain, the hundreds upon hundreds arrested in a war for equality. Maybe taking that Call to serve his childhood church in Milwaukee is answer enough.
I think Dad saw this and remembered the prejudice and anger that had poisoned his town so deeply in the 1960s. It would explain what he did next.
Juneteenth Day comes every 19th of June to celebrate the emancipation of slaves in 1865 in the last “holdout” state (Texas) after the Civil War. Dad reorganized the church’s annual outdoor picnic to be held in June as close to the 19th as he could get. He invited a gospel choir directed by a friend of his in a church from Milwaukee’s East Side, another struggling area. Then he reached out to the congregation’s few young members to form groups for canvassing the neighborhood, leaving flyers of invitation to the church’s outdoor service. With a mixture of words from the Bible and Civil Rights activists, Dad preached a message of Love, Equality, Justice, and Hope.
If I am to take this cancel culture to heart, then my father should not have worked to heal the old neighborhood. He was a middle-aged white man; therefore, he cannot possibly connect with those of a different color. He should have kept with his own kind. We should all only keep to our own kinds.
Have we forgotten what it means to look beyond ourselves?
Have we forgotten what it means to have empathy?
em·pa·thy [ˈempəTHē] NOUN the ability to understand and share the feelings of another.
Why must my body define my voice?
Stories have a power completely, utterly unique: they can take a person born in one body, and transplant them into another. That body could be living three hundred years ago on the other side of the world, or three hundred years into the future buried deep beneath the earth, or even three thousand universes away. When we take the age-old writing lesson of “write what you know” and give it the Orwellian twist of “write only what you know,” we limit that power severely, dangerously.
When we limit that power, we limit our ability to empathize with one another. We lose our ability to connect with those beyond ourselves. We begin to turn away from the wealth of a diverse world, and huddle with our own kind.
Do not let others take your power away. There are countless worlds inside of you, filled with people of all cultures and creeds. You have every right to bring those people to the page.
No voice should be fettered by the body it’s born in.
I’m still pretty wound up about this, so if you feel like talking, add your comments below! If you’re new to my site, welcome! You are welcome to sign up for my newsletter, grab a copy of my freeshort stories, or check out my first novel. Thanks for coming by!
A free-spirited college student becomes a career-obsessed adult.
A writer becomes a…writer? Yes, still a writer. But a stronger writer.
I’m looking at you, Holly Black.
This woman’s got phenomenal talent. Black’s written books that lure you to dive head-first into her world. She’s got a strong following of readers, and one look at books like The Cruel Prince and The Wicked King show why. The relationships are complex, the conflicts compelling. We want to see what these characters do next, especially Jude, the teen protagonist.
Now I’ve talked a bit about Jude before, both in my post on tragic backstories as well as dissecting one of the briefest chapters ever written. Today I want to return to Jude because of another Holly Black title, the first Holly Black title:Tithe.
Sixteen-year-old Kaye is a modern nomad. Fierce and independent, she travels from city to city with her mother’s rock band until an ominous attack forces Kaye back to her childhood home. There, amid the industrial, blue-collar New Jersey backdrop, Kaye soon finds herself an unwilling pawn in an ancient power struggle between two rival faerie kingdoms – a struggle that could very well mean her death.
So over the course of sixteen years, Black wrote two different series about two teen heroines dealing with faeries. Fairies. Fae. However you spell it.
I–and many other readers, I imagine–connected with Jude because of her hopes and dreams. Jude is a girl struggling for identity inside her mostly Fae family as well as the Fae society. She witnessed her human parents’ murder by a Fae general, was then ripped away from the human realm along with her twin sister and half-Fae sister to be raised by that same general, and now attends school with other Fae gentry. She is living, breathing evidence of her mother’s desertion, yet this general fathers Jude like one of his own. In turn, Jude yearns to train and serve the Fae royalty as a knight despite being mortal. She loves her little brother, the Fae “son” of the general and his new wife. This is a girl fighting to make a place for herself in a world not created for her. She’s so desperate to make her mark in the Fae courts that she’s willing to kill in order to achieve her dream.
And then, there’s Kaye from Tithe.
Lots of people like this book, so I assume they must like Kaye as well.
But for me…look, this isn’t a roast of of Tithe. There’s plenty of strong elements here, and when one considers this is Black’s debut novel, those elements should be all the more commended. She blends Faerie and human realms seamlessly. The Fae are quite unique between Seelie and Unseelie. The black knight Roiben provides a wealth of inner conflict: magic compels him to do despicable things under the command of the Unseelie Queen, including killing a friend of Kaye’s. When we read from his point of view, we learn just how much he hates himself because he so often he has no control over his actions. A reader’s sympathy for him grows with every chapter.
And then, there’s Kaye.
Kaye took another drag on her cigarette and dropped it into her mother’s beer bottle. She figured that would be a good test for how drunk Ellen was–see if she would swallow a butt whole.
This is the first paragraph of the Prologue. This is our first impression of Kaye.
Already I’m wincing, but maybe that’s my prudish Midwestern nature. Plenty of kids have shitty parents, drinking parents. Plenty of teenagers pick up smoking. Turns out Kaye’s mother sings in a lousy club band and is dating one of its members, the “asshole Lloyd.” During the wrap up after a gig, Lloyd for no understandable reason tries to stab Kaye’s mom but Kaye stops him. (It is later learned he’d been entranced, for the record.)
We’re only a couple pages in, and Kaye’s witnessed an attempted murder. Normally this sort of thing, especially when family’s involved, would leave some sort of mark on a person, be it physically, emotionally, mentally, or all three. This is something that spawns nightmares, phobias, fixations on danger and/or thrills.
Yet Kaye and her mother Ellen only talk about moving in with Grandma. No confusion or anger over what Lloyd did. No fear over how they’re going to live next. No anxiety over whether or not Grandma will accept them after a six-year absence. Just…
“Honey,” Ellen said finally, “we’re going to have to go to Grandma’s.”
“Did you call her?” Kaye asked. …
“It’ll be a little while. You can visit that friend of yours.”
“Janet,” Kaye said. She hoped that was who Ellen meant. She hoped her mother wasn’t teasing her about that faerie bullshit again. If she had to hear another story about Kaye and her cute imaginary friends…
As you may have surmised, this is when Kaye started to lose me.
Yet I kept reading. Openings are tough. Kaye’s got to get back to her childhood home somehow, soooo okay, this works. Now Kaye’s on the New Jersey shore, walking and talking with her friend Janet on their way to hanging out with boys.
“Kaye, when we get there, you have to be cool. Don’t seem so weird. Guys don’t like weird….don’t you want a boyfriend?”
I had to stop there.
What did Kaye want?
From my impression of Kaye’s memories of her mother falling asleep in toilets and attaching herself to loser after loser, Kaye clearly doesn’t dig the life of a traveling musician. Yet her grandmother’s demands that she attend school are met with the same lack of enthusiasm.
In fact, Kaye doesn’t talk about anything with enthusiasm except Roiben, a lone faerie she helps on the roadside.
“Look, I’m only going to be in town for a couple of months, at most. The only thing that matters is that he is cross-my-heart-and-hope-to-die beautiful.” Kaye waggled her eyebrows suggestively.
Perhaps Kaye is a girl who’s never allowed herself to dream. We can be like that too, I suppose–too fearful of failure, too weary of life’s obstacles to dare hope for anything beyond what’s in front of us.
So when Kaye is told she herself is a faerie who’s been glamoured to look human since birth, she…well, what do you think?
She was shaking her head, but even as she did it, she knew it was true. It felt true, unbalancing and rebalancing her world so neatly that she wondered how she didn’t think of it before now. After all, why would only she be visited by faeries? Why would only she have magic she couldn’t control?
Such a revelation alters everything: her human family’s not really hers. She’s not human at all. Any hope, any dream she had for her future must now be sacrificed–
She didn’t have any aspirations. This revelation, this life-altering revelation….just what exactly does it change inside Kaye?
I’m going to stop dissecting Tithe here. I’ll still recommend it for the world and for the conflicted Fae knight Roiben, but I cannot recommend Tithe for its heroine. For all her dislike against her grandmother’s “normal” lifestyle and her mother’s alcohol addled life on the road, has she honestly not once hidden a special passion for something to keep herself sane? One would think it’d be her “cute imaginary friends,” but Kaye’s first reference to her Fae visitors from childhood was “faerie bullshit.” So as of the beginning of this novel, faeries were no longer special. She keeps no journal, no art, no collection of little things she’d never dare show her mom. Even Janet, the one friend she’s been emailing from libraries, is completely blown off once Roiben comes onto the scene.
Readers care about characters who care. The character may be a jerk in many ways, but even jerks can have a soft spot. Jude committed murder in The Cruel Prince, yet I still found myself rooting for her. Why? Because she was fighting for her kid brother’s safety. Because she wanted the enemies of the old Faerie king to pay for their treachery. She gets her heart broken by one Fae boy while finding her fate entwined with another. Jude IS passion–hardly the “he’s so dreamy” passion, but the “I want my family to survive a coup” passion. The “I want to LIVE” passion.
That’s passion any reader can feel beating in his/her own heart.
Kaye never seems to feel that. She simply floats along whether she’s human or faerie, accepting whatever situation she’s placed in, fearful only of losing Roiben.
How often are we telling our teenagers not to wrap their entire lives around one other human being? To have their own hopes and dreams, because someone who truly loves them will love those dreams and help find a way to achieve them?
Love can be a powerful force in a fantasy, to be sure.
But so is hope.
So are dreams.
Which fictional hero or heroine inspires you to dream? Let me know in the comments below!
Thanks, too, for your encouragement during my saga over the full-time slot at the university. I didn’t get it, but I’m hopeful for the next time. 🙂
And if you’re a fan of dreamers (and stories of dreams gone fantastically awry) I hope you’ll check out my novel, Fallen Princeborn: Stolen. It’s free on Kindle Unlimited, and my short story collection Tales of the River Vineare all free to download from Amazon, too.
Looking back, I must admit I didn’t reach the summit on this Whole30 climb.
Dairy: I kept my distance! No milk, yogurt, cheese. I never once desired a shake or sundae. The only bummer came when it was time for chili and I couldn’t have sour cream. Honestly, that’s the only dairy I truly miss. Even the clarified butter’s grown on me so that I don’t miss the typical wad of butter thrown into veg or mashed potatoes.
Gluten: Another success. It helps I had started cutting down on grain intake since Christmas. Sure, I like cookies and brownies. I loooooove tasty banana or zucchini or rhubarb bread. And PIE! Ah, sweet, sweet pie.
But these aren’t “typical” grains, like bread or pasta. Those I never missed, not one day. I used to eat oatmeal in the morning, but some reheated sweet potatoes have become an excellent substitute.
Sugar: So about those pies and other sweet treats…
Yes, I’ve successfully avoided desserts. This month has shown me just how often I’d dip into those cookies, brownies and jars of oh-so-honeylicious creamy peanut butter. But my one “cheat,” my one thing I just couldn’t give up, was coffee creamer. Almond milk, coconut milk, cashew milk–the consistency messes with my brain, and the taste feels like it’s embittering the coffee more than anything.
For a guy who used to shrug at health issues with the mantra of “We’re all doomed to die anyway,” he made this amazing mental 180 and has not only stuck to the Whole30 FOR the whole 30, but he has every intention of sticking to many of its guidelines. Yeah, we’ll probably award ourselves with pizza tomorrow to celebrate his completion, but we’re talking a slice, not a whole pizza. Sure, Bo’s going to enjoy creamer in his morning commute tea, but he’s sticking with salads, protein, and fruit for work instead of returning to sandwiches. He can feel the weight loss in how he sits and moves; I know it by how little he snores. It’s a change that was hard, will continue to be hard, but he’s not giving up.
No, I didn’t complete the sheer climb up the Whole30.
But Bo did.
I am more than happy to wave to him from my own road to the summit, whistling as I go, knowing that Bo’s more than ready to encourage me every step of the way.
So, this concludes my 30-day blog-a-thon! Now I’m going to spend the next few days climbing a new mountain–a far sweeter mountain–of likes and comments from you, kind readers. To each and every one of you who has followed my Whole30 journey in words: thank you so very, very much for walking this road with me. Cheers to you, Kind and Noble Company. May the Road ahead be one of adventure, laughter, and hope.
For me, at least yesterday, it came as a question.
“Where do you see yourself in five years?”
Innocent enough question, right? Routine interview question from the panel, right?
Yet there I sat before the faculty, tears welling in my eyes.
I apologize for my reaction. I understand the question. It just calls me back to…well, I should be honest. It calls me back to when my children were infants and I suffered postpartum depression.
Very, very bad postpartum depression.
I would tell myself over and over that all would be better in five years.
In five years, when the kids were out of colic and not fighting so fiercely, all would be better.
And here I am these days, telling myself that in five years, when my sons are older, things will be better…
In regards to the University, I like it here. I want to continue teaching here, whether it’s full time or part time.
I want to help our students succeed because I know how hard it is for them because I’ve lived that insane balance of raising a family, caring for loved ones, and maintaining a job.
I want to make our curriculum meet our students’ needs because so many just don’t see how important writing is to their success.
I want to help them learn that, see that, for the next five years and farther.
So that should sum up how the interview went this week. I didn’t have many professional, verbose, academic answers for them.
Just a lot of heart.
Maybe that’s enough. Maybe not. No matter what, I’ve done my best and will continue to do my best. With the love of my family and dear friends like you, I won’t stop running with the wind, leaping as a wild child, never quite grown up, never quite done learning. And always ready to share that magic with others.
In the meantime, Bo’s ready to pour a glass of wine for me tonight because dammit, it’s been a long week, and I’ve already cheated the Whole30 code anyway.
Thank you for sticking it out with me, my friends. x
Oh! I finally got my newsletter out this afternoon, including a sneak peek at Fallen Princeborn: Chosen.Check it out!
blinks once, twice, to living color dancing about the library.
Yes, she’s sitting at Liam’s feet, having fallen asleep with her head resting on his knee. Liam’s fingers have wound themselves into her hair.
hearth is cold, and the stale food… unsettling. Shouldn’t Arlen be in the
kitchen by now, scolding Dorjan for raiding the fridge? Shouldn’t there be a
kettle whistling for the velifol tea? How
in brewin’ blazes are they going to defend Rose House against Campion and the Lady?
slowly slips her hand beneath Liam’s to free his fingers from her hair. Still
too many cuts and burns for her liking on his calloused skin. The Lady’s claws
must have struck near his neck, where angry red inflammation peeks out from
under Liam’s white tunic. The leather brace for his blood dagger seems to
restrict the rise and fall of Liam’s chest, so Charlotte holds her hand up to
Liam’s mouth and nose, and feels fitful breaths. Dreaming, maybe.
The teeniest, teeniest bit of space buffers her palm and his lips. She could close that space. Not, not too much: Charlotte’s thumb caresses Liam’s upper lip. Just once. It’d be nice to know his lips feel… oh yes, they feel so very different when not covered by musty facial hair. A dull violet glow emanates from just beneath Liam’s chair: the stone from Orna’s ring. Charlotte bends forward, chin on the floor, eyes almost crossing as she gazes deep into such a simple little thing, like marble, opaque with an inner shine. That shine’s got a power even Arlen doesn’t wanna touch. We better hide this, House, before a nasty Incomplete snatches it from Liam. She poises her thumb behind the stone, sticks out her tongue as she aims, and with a flick, the stone rolls into a little hole in the wall beneath the stained glass window. One eyeblink later, and the hole’s gone. Eight ball in the corner pocket. Thanks, House.
hugs herself against the chilly summer morning as her feet pad softly down the
corridor into the kitchen. No Arlen, no Dorjan.
clings to the Rose House’s walls, wary. Scared.
where are they?”
of silence. Then voices and distant footfalls: the third floor. But not Arlen
or Dorjan: the gravelly voice booming orders has got to be Devyn, leading the
other scouts to harvest the velifol flowers.
Charlotte checks the patio. It did sound like the uncle and nephew went outside
last night. Maybe they’re harvesting mint, or parsley, or whatever it is they
use for pies—Charlotte never really paid attention to the cooking stuff.
“Arlen?” She cups her hands to yell, “Dorjan!” Frost glitters upon the flowers beneath
Rose House’s shadow, but under Charlotte’s feet the frost feels different.
there is a rhythm.
run through the silent halls and out into the kitchen: Poppy as her mouse self,
going on?” Charlotte asks as Poppy changes before her. Though I think I can guess.
Miss Charlotte, Danger!” Poppy says before her whiskers have the chance to
vanish. “Terrible, terrible things below. Campion and the Lady, they got all
juiced up and stronger than before and they’re just totally super angry, and
they wanna get the Incomplete meanies up here, and they wanna just, they wanna,
oh, they wanna—”
“Retaliate.” The human version of Ember lands on a patio chair, feathers not fully transformed into orange patchwork fabric. Her skin reflects the early morning sun from the hall window, turning her white with the frost. “Something’s helped the Lady regain her strength. Eating an Incomplete, perhaps, heart’s fire knows, but she’s moving through the tunnels, and Campion’s at her side,” she says, her voice cracking under her former friend’s name.
“So Devyn’s getting the scouts to take the
thunder rumbles under a blue sky. Then Charlotte realizes the thunder’s not
from above. Oh. Shit. “Arlen and Dorjan,
where are they?”
Ember’s voice remains smooth, but biting her lip doesn’t hide the trembling of her chin. “Not in Rose House, we’ve looked. The wolf kin can protect Arlen, I’m sure.”
Charlotte nods, but this idea of the Lady of the Pits somehow getting out again and acquiring new power despite Liam slicing her face off and taking that magic violet stone from her ring…. How the hell does she find more power inside a bunch of tunnels? And Campion’s bones were broken to bits. Something is wrong, way too damn wrong. “Okay. You’re right. They can take care of themselves.” Because to say it out loud makes it feel more possible, more true. She will not allow her body to shake as Poppy’s does, even And Poppy’s shaking only makes it worse with the thunder rippling through the ground again, this time upsetting the patio stones. She will not let the fear freeze her as frost does a flower.
nods curtly. “We must hope Master Liam’s tree withstands the attack. Come,
Poppy, we need to carry what we can.”
grabs Charlotte’s arm. “But we can’t leave Miss Charlotte! She’s my bestest
friend, and she’s so nice, and she could come with us and be super helpful and—”
Charlotte shoves Poppy towards Ember. “No, stay together. I’ll get out with
right, Poppy.” Feathers tuft through Ember’s neck and hands. “Upstairs.”
rumble. A patio chair topples.
gulps a breath, then two, then takes off, changing as she goes.
takes a steadying breath. “You will hide,” she turns to Charlotte, “won’t you?”
Well what do you know. She kinda actually cares about the human in these here parts. A little. Maybe.
The frost thickens, latching onto Charlotte’s toes. “Long enough to see what that snake bitch’s hatched, yeah.” Another rumble bumps them both up and down. “You go, the House’n’I will buy you some time.”
Ember’s exhale mingles with the cloud of ash and feather already taking shape round her body. “We’re going to the far side of Lake Aranina. It is hopefully too far for the misshapen limbs of the Incomplete to run.”
wings, legs are shrinking. “Let us hope your luck carries us all through this
day.” The orange bird soars up, plucks something from the rooftop, and darts
south for the lake and beyond.
Ashes touch the air.
shriek, far and away.
entrances out of the Pits, both unlocked. One out in the woods.
And one inside Rose House.
“Liam!” Charlotte slams the patio
door, locks it—idiot, it’s fucking glass—and
bolts for the library.
yet to move, eyes closed, breath still slow.
you have to wake up!” Charlotte shakes him, cups his cheeks, brings her face
close—dammit, this isn’t time for that, so
she slaps his cheek. “Liam!” She yells in his ear.
pounding below her feet.
They are coming.
Any thoughts, comments? Please share them below with my thanks!
I’m going to pause before I even begin in order to say how amazingly patient you all have been for enduring this 30-day blog-o-thon. I’ve been doing my damndest to catch up on reading your sites, but I have a feeling it’s going to take a month of NOT writing just to see all that you lovely folks have done during this cold, snowy month.
During one pre-dawn hour set aside for morning coffee and blog reading, I came across an old book review by the amazing Chris Lovegrove. His closing nails the very topic I wish to discuss today:
I felt a little cheated by the end. The lack of resolution for one character felt manipulative. Increasingly, fantasies these days are clearly labelled Book One of a spellbinding new series or The first volume of such-and-such saga; it wasn’t till near the end that I realised that this wasn’t a standalone novel but that I would have to invest time and maybe more money in the sequel.
Indeed, what has happened to the standalone story? We are an audience of franchises and serieseseses to the point where filmmakers will divvy up a book and spread its material so thinly that a single story is transformed into a film trilogy. (cough cough HOBBIT cough cough)
When I study Diana Wynne Jones’ library (as every good and proper fantasy fan should do), I see 25 stand-alone stories. 2 duologies, 1 trilogy, 1 quartet (quartology?), and the octology of Chrestomanci. (I’m just making up number words at this point.) We won’t even get into the short fiction stuff here, or plays, or whatever else. Strictly novels. (If I missed any, let me know!)
If you go through all these novels, not one ends with a cliffhanger. Correct me if I’m wrong, but DWJ was one to practice what she preached:
My feeling is that the best stories leave the reader trying to imagine what happened after the story stopped.
As far as DWJ was concerned, the story she needed to tell began and ended in one volume. Even the DWJ stories considered sequels or parts of a series are only considered such because they’re in the same universe, NOT because they’re picking up where the previous plot left off. Look at the Howl trilogy: Howl and Sophie go from primary characters in the first book to making cameo appearances in the second. In the third book they appear halfway through the novel with some importance, but still, they are not the primary protagonists. One of the primary characters of Deep Secret returns in The Merlin Conspiracy, but again, he is not the main character. DWJ utilized the same universe for multiple stories, not necessarily the same characters. Heck, Chrestomanci’s rarely a main character in his own series! (But I already wrote about that.)
I started paging through other Young Adult Fantasy stories read from my bookshelf or local library to see which stories end on a cliffhanger, and which are capable of standing alone.
Celine Kiernan’s The Poison Throne:She was travelling at a good pace, though, and it was not long before she disappeared up the winding path, to be swallowed into the treacherous depths of the bandit-laden forest and the company of wolves.
Cliffhanger. The protagonist’s clearly beginning another journey. Not only is the primary antagonist of the story is still in power, but we learn our protagonist is entering yet another enemy’s territory.
Suzanne Collins’ The Hunger Games: Out of the corner of my eye, I see Peeta extend his hand. I look at him, unsure. “One more time? For the audience?” he says. His voice isn’t angry. It’s hollow, which is worse. Already the boy with the bread is slipping away from me.
I take his hand, holding on tightly, preparing for the cameras, and dreading the moment when I will finally have to let go.
Both. This one’s a bit grey to me. On the one hand, the protagonist has survived the Hunger Games. The primary conflict of the story has come to a close. However, we read here that the protagonist’s personal journey is not over, so there is, in a sense, a cliffhanger, just not like the life-or-death situation the protagonist’s been in for much of the book.
Stephenie Meyers’ Twilight:I touched his face. “Look,” I said. “I love you more than everything else in the world combined. Isn’t that enough?”
“Yes, it is enough,” he answered, smiling. “Enough for forever.”
And he leaned down to press his cold lips once more to my throat.
Standalone. You read right. Yes, I’ve read the whole series, so yes, I know there are more books after this. But I’ll give Meyers credit for giving this novel an ending that feels like an ending. As far as everyone knows, the last of the bad vampires has left the region and the girl’s got the guy. All’s right with the world.
JK Rowling’s Harry Potter and the Sorcerer’s Stone(hush, I’m an American, THAT’S the title here): Harry hung back for a last word with Ron and Hermione.
“See you over summer, then.”
“Hope you have–er–a good holiday,” said Hermione, looking uncertainly after Uncle Vernon, shocked that anyone could be so unpleasant.
“Oh, I will,” said Harry, and they were surprised at the grin that was spreading over his face. “They don’t know we’re not allowed to use magic at home. I’m going to have a lot of fun with Dudley this summer…”
Standalone. When you consider the primary conflict (protecting the Sorcerer’s Stone from Voldemort) that conflict officially ends in this book. Yes, Voldemort gets away, but his plot’s been thwarted. Even the other school-friendly subplots of making friends, succeeding in a wizarding school with a muggle’s childhood, and so on are wrapped up. The Voldemort conflict does not start creating cliffhangers until the third book, Prisoner of Azkaban.
Cassandra Clare’s Clockwork Angel:Magnus reached behind himself and locked the parlor door. “Very well,” he said. “Why don’t you tell me what the problem is?”
Cliffhanger. Any time a story ends with a question, it’s an automatic cliffhanger–especially when that question pertains to a protagonist’s “problem.”
Peadar Ó Guilín’s The Call:Early in the new year, she tells her parents that she has to leave again.
“The Nation must survive,” she says. “I can help with that.”
She sits alone on the bus, her suitcase propped up on the seat beside her so she can pretend it’s Megan sitting there instead. And off she goes through the snowy roads, Agnes and Ferg waving her away, hugging each other, their pride so fierce it burns.
Standalone. The protagonist has survived her three minutes. The fight goes on, and so will she, determined to leave her parents and teach other children how to survive the dark land of the Sidhe. By this story’s rules, she cannot be summoned back into the Sidhe realm for another hunt, so again, by this story’s rules, our protagonist is officially free. Of course, Peadar totally subverts these expectations in The Invasion, but I appreciate how he made this novel self-contained. Had this remained a standalone, it’d still be awesome.
Off the top of my head…
Other good examples of what I feel could be considered standalone novels whether or not they’re in a series: Court of Thorns and Roses, Uprooted, Neverwhere, Chronicles of Narnia
Know any others? Let me know!
Other good examples of what I feel are cliffhanger novels:Cruel Prince, Mortal Instruments, Fallen Princeborn: Stolen
Ibid on the knowing and the letting of me knowing
Hey, what’s my own book doing there?
Yes, I must plead guilty. I was in a similar situation as JRR Tolkien; as you know, LOTR is one HUGE tome broken into three books for readability’s sake. The same thing happened with Stolen–my publisher kindly pointed out that people aren’t necessarily going to be drawn to a debut novel 650 pages long. Two novels, though, would split that length into readable installments. The result?
Her head nestles against Liam’s knee. The Voice in her heart sighs, too exhausted to notice a pounding, a drumming rising from deep, deep in the Pits.
So what makes a cliffhanger tolerable and not infuriating?
Somewhere along the way, SOMEthing must be resolved.
A series is bound to have many plot threads, and that’s fine. But if a few hundred pages cannot tie off a single thread, readers are going to get pissed.
Rightfully so, too. In a way it comes back to those expectations and payoffs: the patience of a reader lasts for only so long. The more you build, and build, and build, yet never follow through, the more readers will feel lost, disengaged, or both. Why spend time in a world that’s constantly tangled with characters never decently understood?
So sure, maybe the antagonist is still free at the end of Book 1. Maybe the hero’s journey has only just begun. Was a battle fought and one? Was an internal conflict resolved? Did a relationship come to fruition or destruction? So long as SOMEthing has been brought to a close, a cliffhanger ending will still bring some satisfaction to the reader.
Resolve nothing in that first book, and readers will resolve not to invest time in the second.
Tie a thread or two, and hold your world–your series–together.
I’m running around the house doing anything but prepare: laundry, readying kids for school, dishes–
Bo: “Know what you need?”
A sedative. A one-way ticket to Oslo. A chorus of Muppets performing a musical review of Animal Crackers.
“No. You need to go downstairs, breathe in those cinnamon pinecones on your desk, and pull out my copy of Isaac Hayes’ Hot Buttered Soul.”
But I can’t listen to it. It’s not Hot Clarified Butter Soul. Get it? Eeeeh? Get it? Whole30 humor!
Oh I’m going to fail on so many levels…
Well…I spoke like a juiced driver on the Daytona track, but I didn’t flub my points or the snippets I read from Stolen and “The Stray.” Thank the Lord I could use my old–slogan?–“Writer of Fantasy and Adventure in Her Own Backyard” to be the theme of my talk. I delved into Wisconsin’s landscape and how it inspired my fiction from little on, and that any writer can create worlds unique to their stories with a little help from the everyday environment around them.
Building the extraordinary out of the ordinary, as it were.
Afterwards, I had many colleagues tell me they felt really excited to explore the favorite places from their own childhoods as I had with mine, and to take a crack at some fantasy fiction of their own.
Gotta admit: I felt proud of that. Relieved, but proud. x
This moment with Blondie still pulls all those emotions of motherhood to the fore: guilt for writing instead of playing with her, pain for making her feel like work mattered more. Determination to make right, only to have my plans be too “scary” for her. Dammit, I’m going to cry again!
But the one good thing about tears while reading: it gets the listeners all teared up too. So never mind my editing snafus in the piece–I got the whole room cryin’.
Gotta admit, I’m proud of that. Of Blondie, of this day, of all of it, now. For once, I’m going to allow myself to be proud of myself.
Now I just need to survive that interview with the faculty panel tomorrow…
Oh! Before I forget: tomorrow is the LAST day my novel’s on sale for 99 cents. If you know anyone who loves fantasy, be sure to drop this title their way before March runs my sale out of town!
I’m pretty sure I’m not supposed to be drinking this much orange juice, but if I can’t over drink the coffee and I’ve already burned my tongue on tea, then I’m having OJ, dammit.
This post is the equivalent of me scribbling a note in the lecture hall in the midst of a talk on world-building. Yup–the literary conference of my university is in full-swing. I’m trying to hit as many talks as possible before I have to get the kids, because taking kids into a lecture hall–even a virtual lecture hall–is a pain in the patoot. So far it’s been a nice day, and reminding me that I better practice what the heck I’m saying for an hour, and then making sure I’ve picked the right nonfiction piece to read later in the afternoon.
Noooo pressure, Jean, no pressure.
A little wish of good luck would be deeply appreciated!
In the meantime, I’m digging this post from 2018 out of my pocket because the Oscars had Queen perform, and I do so love that band. Click here and enjoy!
Luckily a few attempts to open and close it jarred the thing free so I could still get Biff and Bash to school on time.
That early smack of stress, though, got me hittin’ the chamomile-lavender tea before breakfast. It doesn’t help my keynote’s in…48 hours. My final interview for a full-time teaching position is the day after that.
But I’m not complaining about all that again, because I’ve found the right music for a far better, far more productive mood.
Bo put this song along with many others into CDs he’d make for me to play on those long drives between home and graduate school. Now that the kids are into the Blues Brothers, we’ve been tapping the Motown, Blues, and R&B for family drives. Out of all the artists, the Four Tops remain on top for me!
Part of it’s the rhythm, upbeat and steady. How can you not tap your feet to these numbers? Part of it’s the ability to sing along–an excellent sensory distraction to keep anxiety at bay while I grade and prep school stuff.
The biggest part of all? They’re damn good songs.
If you’re feeling a little down today, pick up some Four Tops. Hum and dance those downer thoughts away. Like I tell my students, any step taken forward is one more step completed on the academic journey. For us, it’s the writing journey, mental health journey, parenting journey.