ThePoetSky Archive

Archive of the old content on my site that I don't update anymore. The full site is here

Something I’ve learned while writing is that the best time to come up with stories is when you’re body is occupied, but your mind isn’t. Folding laundry, washing dishes, cleaning the bathroom, and going on walks are all great for this. Thus, several of my poems and stories come from thoughts I have while doing chores.

One day while washing dishes, after scrubbing a pot down, I noticed some food stuck to it. I continued washing it, but thought “how do I know it’s not clean?” The answer seemed obvious; I could still see food on it. But what about the food I couldn’t see? I figured I’d have to assume I got everything and hope for the best.

Being the weird conglomeration of thoughts and emotions my mind is, it moved to parenting. “Isn’t that basically parenting?” it asked me. “Doing the best you can and hoping you got every spot?” I supposed it was.

I’d been sitting on the idea for at least two years before I finally put it into words with Raising Children. My son turned nine at the end of June, and it’s been a difficult nine years. There was a time in third grade when I got confused by a “thought question” – a question that didn’t have a right answer, but was meant to start a class discussion. I got confused, annoyed even, because I like having a right answer, like knowing what I’m doing. With parenting, there is no right answer. I was thrown into unfamiliar territory from the start, and got upset when I thought I was failing.

It brought me comfort to think of raising children like washing dishes. No matter how tough it gets, no matter how badly I think I’m doing, I remember that it’s impossible to be perfect. I’m going to make mistakes, but that doesn’t mean I’m a bad parent. It just makes me human.

#StoryBehind

© 2023 Sky Starlight CC BY-NC-SA

When I started Girl in Red, I knew Rose was overpowered. That was the point, to have fun with her solving problems in unnecessarily complicated or violent ways. As it went on, I wanted more drama, more tension, and that was difficult with her being so powerful. This is a problem that I’ve seen come up in various media – mostly anime – so I’m going to discuss the different approaches to this problem I’ve seen.

Remove Their Power

The first approach is removing the power of the character, temporarily or permanently. I find that, unless done with subtlety and care, the direct approach is often the wrong approach in writing. Like using adverbs over and over, it’s lazy, and there are better approaches.

The example of this going poorly in my mind is the show Heroes, a show that ran back in the late 2000s about a group of people that discovered they had superpowers. One character could copy the powers of people around him, but as the series progressed, he was stripped of his powers. This isn’t necessarily bad, but the way they did it was. In the span of an episode, they took him from being one of the nicest characters to being one of the meanest, using that as the justification for taking his powers. When you make a drastic change like this, it risks alienating your audience. I still enjoy the first season, but if I had to pick a point where the show started going downhill, it’d be that moment.

An example of doing this well was in the book series Earthsea. Early on in the series, it’s established that it’s possible for a wizard to lose his power if he overuses it. Sure enough, this happens to one of the main characters later in the series. While this was a drastic change, it came at the end of one of the books, and wasn’t done in a way that felt like the author was just trying to get rid of this character, whereas that’s exactly how it felt in Heroes. Such a change should feel natural, inevitable, even if takes the reader by surprise.

Remove Them

Another approach that can get old is removing the character entirely. Removing a main character for any reason, even if it makes sense for the plot, also risks losing part of your audience (I lost half of mine when Rose left Girl in Red for a few books). Like removing the character’s power, it should be done well, and not look like you’re getting rid of them because you don’t know how to handle them.

An instance of this being done both poorly and well is in Dragon Ball Z. The main character often drops out of the show, leaving the other characters to bide their time waiting for him to arrive and handle the newest big bad for them. It goes poorly because this happens so much in the franchise. It goes well because at the time, it’s not obvious that this is being done intentionally. Characters are fighting all the time; the franchise is known for that. Thus, characters are knocked out of the fight. Once again, it feels natural until you look back and think “have you been doing this the whole time?”

Throw More Obstacles at Them

The series Scorpion focuses around a team of specialists solving problems “only they can handle”. The writers used this next approach on almost every episode to keep the plot moving, rather than having them solve every problem in minutes. That is, they kept having something else go wrong. When someone is actively fighting against the main characters, this is understandable. When bad luck happens over and over again, you can only hold onto your audience so long until you lose suspension of disbelief.

Apart from not doing this all the time, a better approach is to hint at the oncoming problems early on. For example, having someone mentioning that a door keeps sticking, then having it jam shut later. Or that the roof’s been leaking before it breaks apart from a torrential downpour. Otherwise, something’s just going to go wrong out of nowhere, and while it will work for the first 50 times, your audience will get tired of it eventually.

Improve the Antagonists

Sherlock Holmes wouldn’t be nearly as interesting without an opponent like Moriarty, someone who can challenge him on his level. When you focus around one central character, improving the antagonists to match their talent or power is a good way to go. It creates good conflict.

This can be a problem when there are other central characters that aren’t as talented. This is a problem I have with Dragon Ball Z, in that the other characters become irrelevant to the plot because the villains are so powerful so that they challenge the main character. That’s opposed to the franchise One Piece (another anime/manga), where not only the main character is improved, but so are the other characters.

If they’re not going to be improved to the level of the antagonist, then they need to have something else to do. In the finale of Girl in Red, while only one person could challenge the main antagonist, the others weren’t all sitting on the sidelines cheering her on. They were all busy doing something else important. This was something I always did for the finales; everyone had a part to play.

Challenge the Protagonist Outside Their Expertise

In my opinion, this is the best solution. In Maniac in Maroon (book three), there were Dementors at Hogwarts. Rose could’ve destroyed them easily, but Dumbledore reminded her that it wouldn’t help, that this wasn’t a problem she could solve with brute force. Rose had to work to find another solution, forcing her to think outside her normal approach.

This is commonly used in horror stories. It wouldn’t be exciting if the protagonists could fight the serial killer. Instead, they have to find another way to survive, while they keep getting picked off. They might all be smart or talented in other ways, and that could serve them well in their fight for survival.

Of course, eventually the audience will probably want to see a character break out of their shell and fight back. At the end of Maniac in Maroon, that’s exactly what I did with Rose. Especially when the audience knows how talented this character is, they’ll eventually want to see them use that talent.

Conclusion

As with every approach, there are ways to do it right, and ways to do it wrong. No one solution is perfect. If you’re going to make a drastic change to the story to manage the power imbalance, it should be surprising, but inevitable. If you’re going to improve the antagonists, don’t forget about the other protagonists. Challenge the characters on different levels, rather than throwing more obstacles at them without consideration for how challenging it’ll be. Many things in life require finding the right balance, and writing is no exception.

#Essay #Characters #Drama

© 2023 Sky Starlight CC BY-NC-SA

Way back in the before time of 2012, a software project of mine called Aris was accepted into the GNU project. Briefly, the GNU project is a collection of software packages claiming to respect the freedom of users and developers. Such software packages publish their source code and allow modification for any purpose.

I was excited about this at the time. I still look at the free software movement and see it as a positive. In my mind, free software respects its users by making a promise that it will favor users over money. As a professional developer, there’s a lot I can learn by studying other developers’ code. Releasing source code – human-readable code, vs. the binary files you run that are machine-readable – allows information to flow freely.

In 2018, and again in 2019, the developers of the GNU project broke into an argument. The same argument both times: should we do more to include other developers? In particular, women. This went around in circles for months. As a developer, I will tell you that before making a huge change, ensure you know it’s a problem. Many of the developers share that mindset, but in this case, some were asking for numbers on how many women have left or shied away because of the way they saw people acting. Others protested having to do anything beyond their normal development duties. Others still asked “what, are we supposed to accept bad code because a woman submitted it?”

I stayed out of this argument because I lacked the emotional stamina to argue with them. Any argument would be subjected to scrutiny. Any statements that were poorly phrased would be crumpled up and ignored. When I saw another email come up, depending on who sent it, I could predict what they were going to say. There was a clear divide among the developers, with most of us staying out of it. But some of what they said stuck with me. Like “why do we need to help women at all?” Those aren’t exact words, but that was the idea.

Jump ahead to 2020. Protests over police brutality and mistreatment of black communities has broken out. And like any parent who’s gotten fed up with their children not listening the first hundred times, they’ve raised their voices. Once again, other people are saying “that’s not my problem” and “police lives matter too”.

I know. All lives matter. But our society was designed to oppress certain people. What the black community is asking for is equality. It’s easy for me to sit and speculate about this, because I’m white, but I see the same things happening in this conversation as I did two years ago within the GNU project. People in power are asking “why should I care?”

Why You Should Care is my response to the arguments I’ve seen. The line “We should judge them solely on their merits” comes from that argument from the GNU developers. Now I keep hearing people say “All lives matter”, as if we should ignore the voices of the oppressed, but we shouldn’t. Everyone suffers in some way, but that doesn’t make it any less real, nor does knowing that ease the pain. It just means we’ve got a lot more work than we realized.

#StoryBehind

© 2023 Sky Starlight CC BY-NC-SA

As I enjoy a good action scene, there are several fight scenes throughout Girl in Red. Having no experience with writing them, they started out so-so, but improved as I got more practice. This is a common issue with writers, so many others will give you different advice. What I’ve got here is just what I’ve learned.

Before writing the fight, ask yourself if it needs to be there at all. If the main character is a spectator, then minimal detail is sufficient. The important part then is how the character reacts to the fight, not necessarily who wins or loses. If she has no investment in either side, then make sure there’s something else for her to be doing. Whether it be finding a way to stop the fight, or walking away because it’s beneath her, she should have something.

When you decide the fight’s going to take center stage, start by listing everyone involved. The easiest fights are – of course – between two people. Even then, the next step is to make a map of the area in which the fight is taking place. Make sure you know everything in the area that could possibly be used as a weapon. Characters shouldn’t be pulling a table out of nowhere (unless magic was involved). The same goes for powers; never have your characters pull powers out of thin air because you wrote yourself into a corner.

It gets vastly harder when there are multiple combatants. I’ve ran into this multiple times, but the big two were the Triwizard champions vs. the Adamantine Clockwork Horror in Cherry Champion, and the Hogwarts heads of house vs. Rose in Villain in Vermilion. In both cases, I drew a grid, drew a letter for each character, and started writing out each combatant’s actions turn by turn. Arrows would indicate where they moved. Of course, that’s not how it ended up in the final draft; that’d be dull. But it helped me organize the entire scene before writing it up.

When writing the scene, I also learned not to overdescribe the action. As a reader, I don’t need to know absolutely everything each person is doing. That goes for any description in the story. Leave some room for the reader to imagine it. And as with any action scene, the focus should be on the action when the main character is directly involved. If they’re watching, as Hermione did when Rose fought the heads of house, then they should be feeling something. When Hermione entered the fight, I toned down the emotion.

When it’s over, remember to give a breather. Let the readers catch their breath before going into another scene. The characters still standing can take a moment to recover, since they are people (not necessarily human, though). And know when to end it too.

Fight scenes can be tricky to write at first, but like anything, practice makes perfect. I wouldn’t say I’m perfect at it, but certainly a lot better at it than I used to be. It’s important to keep trying if that’s what you want to do.

Remember, this is for your writing. It’s worth the effort.

#Essay #Drama

© 2023 Sky Starlight CC BY-NC-SA

When I reached the fourth book in Girl in Red, Neville Longbottom and the Cherry Champion, I had a choice to make. It was the Triwizard Tournament, one of the biggest events in the series. At first, I was going with the obvious approach: Rose would be entered into the Tournament, disassemble the tasks with relative ease in ever more ridiculous ways.

But as I wrote different ways for it to go, I found that I didn’t really like any of them. I talked with my friend, who’s been my patient beta reader throughout the series, and she suggested “Why not have Rose build the tasks instead?”

Thus, I had my new path forward. As I recently finished reading Harry Potter and the Goblet of Fire with my son, I keep thinking back to everything I’ve done to handle the Tournament, so I wanted to write a post about it for my wildcard week.

Champion Selection: The Chosen Ones

“What’s your name?”

“Fred Weasley.”

“How old are you?”

“Obviously sixteen,” Fred said, then clapped his hands over his mouth.

“You’re not old enough,” Alavel said. “Clear away from the goblet, or we’ll have to forcibly remove you.”

“Which I’ll enjoy, so it’s up to you,” Taltria added.

With Rose helping with the tournament, I thought I’d go the extra mile and have her help with the goblet as well. So there were a few extra precautions for someone entering.

In Luna Lovegood and the Maniac in Maroon (third year), Rose constructed a pair of animated suits of armor called Nimblewrights. They don’t need to sleep, so Dumbledore asked her to have them patrol the goblet of fire, providing a constant set of eyes in case someone tried to get around the protections.

Dumbledore still drew the truth line, but Rose added another layer of protection: a spell called zone of truth. It’s exactly what it sounds like; you can’t lie when you’re inside it. The Nimblewrights asked three questions: “What’s your name?”; “How old are you?”; “Who are you entering?”. If they didn’t like your answers, you weren’t allowed to pass.

Despite this, Barty Crouch Junior came up with a workaround. Controlling his father (Pettigrew had been caught, meaning someone had to watch Voldemort, so Junior couldn’t directly be involved at Hogwarts), Junior had him put a name in the goblet, transfigured the parchment so it would look like the bottom of the goblet, then set a rune on it that would fade over time. The instant the goblet was activated, the rune finished fading, the transfiguration spell wore off, and a name was registered.

However, Crouch fought back against his son and got enough freedom to change the name. It had to be someone at Hogwarts, and there were few names he could think of, so he picked the first one that popped into his head.

Harry met Professor Dumbledore’s gaze, but Professor Dumbledore slowly shook his head.

Harry frowned, then realized that he was sitting between Professor Dumbledore and someone else. Someone that was always so quiet that even Harry often forgot he was there. He slowly turned around and realized whose name it was that was on that parchment.

Professor Dumbledore wasn’t looking at Harry; he was looking at Neville.

First Task: Orb in the Arena

“The first task was originally going to be dragons. Dragons! Come on! How boring is that?”

“I can see why you would think that’s a bad idea,” Hermione said.

“I know, right? I’ve seen this world’s dragons, and they’re pathetic. In my world, they’re the stuff of nightmares. Little children are told tales of dragons to scare them into following the rules. If you saw a dragon flying towards you, you didn’t stop and check if it was one of the nice ones, you just ran for cover and hoped it wasn’t hungry.”

As with any transformative work, you’ve got to set yourself apart. Why am I reading this instead of the original? What’s different? Choosing Neville for the champion instead of Harry was a good start, but the first task had to be original, more or less, while still sticking to the restrictions of the story.

The main restriction was that the champions would still retrieve something that would later provide them a clue.

At first, I thought about other creatures I wanted to use. I didn’t think of anything that interested me, so that ultimately led to a dead end. My inspiration for the task really came from a friend of mine. I had mentioned I thought the dragons would be boring, to which he replied (sarcastically) “oh yeah, dragons aren’t enough. Why not make the walls dragons?”

A note to anyone that sarcastically makes suggestions for my work: I will always consider them.

The walls didn’t end up being dragons, but I liked the idea of the walls firing on them. But that wasn’t good enough; I decided I wanted the object they grabbed – an orb – to be airborne. Even then, I wanted more. So I let my mind wander, and eventually came up with more: let’s have it move.

So here’s what we ended up with:

The arena wasn’t anything special. It was mostly stone, with the crests of each school engraved in the center around a giant “T”. A blue orb sat in the exact center of the insignia.

The moment he stepped inside the insignia of the three schools, the blue orb turned red, and the field came to life.

Red cracks bled out from the orb and slithered towards the outside of the insignia. They branched out around the crests, reaching past Neville, as the orb left the ground, followed not long after by the chunks of stone formed by the cracks.

As everything took to the air, it all spiraled and whirled around the orb. Even the platform beneath him flew around the orb, nearly throwing him off balance.

Most of those chunks of rock fired either lightning, acid, or fire towards the orb, which itself had a field around it pushing out anything that got near. Those specific threats were chosen because in the world of D&D, those are three of the main energy types. This gave a hint to both Neville and the reader that Rose had built this.

Also, as Neville found out, once you grab the orb, the entire thing collapses.

Neville grabbed onto another boulder, then leapt towards the sword. He nearly reached it when another boulder fell onto him. He leapt back, then looked at the field. All around him, the storm was collapsing. He tried to escape, but another falling rock knocked him onto his back. He climbed to his feet in an attempt to escape, but with the falling rocks, he couldn’t get out in time. All he could do was grab the sword in one hand, and the orb in the other. He returned the sword to his glove and curled up around the orb.

The Orb: Problem Solving

“[The orbs] activate tonight, so it won’t be long before they start to work them out.”

“Are you sure? You didn’t exactly make it easy for them.”

“Still easier than the eggs would’ve been! How were they supposed to guess water?”

“Well–”

“They’d guess! It’d take them forever to work it out, and it all came down to blind luck! This way, they’ve got to work together, and I know they’ll figure them out!”

I went through a few iterations with figuring out the orbs. The idea was that I wanted a riddle still, but it wouldn’t be more or less blind luck figuring out to put it in water. So instead, the riddle appeared on its own after a certain amount of time, and they had to solve it in order to activate the orb fully.

But after looking at the completed book, I realized I could do more with it. Dumbledore wanted to bring the champions together. Rose would honor that, but in an unnecessarily complicated way, because that’s what she does.

So when Neville’s activated, this is what he saw:

P os lacx ophn crzxx Iiz E nvowy kkap Z ysks oj tyx dpunp Blm lofore zg los jwrb Bx fca herkf tm ozeemaam O sice kocc uol rgbf taxk mszy

That is a Vigenère cipher. It’s outside the scope of this, but you can look it up on Wikipedia if you’d like to know more. Basically, you take a keyword, repeat it as many times until it covers the entire message, then add it to the message to get new letters.

The keyword in this case – at least for Neville’s and Cedric’s orbs – was Hogwarts. For Krum, it was Durmstrang, and Fleur, it was Beauxbatons. In Rose’s head, that meant they’d have to compare notes and work together to figure it out. The boys did, but Fleur was too busy being competitive to want to help. With help, they worked it out (Although as Hermione pointed out, Rose could’ve made it easier and just given each of them every fourth word of the riddle).

Here’s the solution:

I am pale with grief But I never weep I fade in the light But thrive in the dark If you learn my identity I will show you your next task

I needed something that would work for an activation. That one was straightforward: the moon. Bathe the orb in moonlight and you’d get your answer. That one would arguably be easier to come across by accident (which again, never would’ve occurred to Rose), but fortunately, no one did.

Instead of them only knowing that it was the lake, they were shown images of what they’d have to handle. Specifically, I wanted the path to the center to be revealed to them, otherwise it’d be blind luck (again) that they made it to the right place.

First, he saw a clock indicating eleven o’clock, which faded to an image of the Great Lake. In the image, he descended into the depths of the lake, coming to an abandoned underwater civilization. A platform stood at the middle of the ruins, upon which there were four people tied to poles. He couldn’t see the faces of the people, but they weren’t struggling, so he assumed they were unconscious.

The people became smaller as the view changed to show the ruins again, revealing underwater mines around the ruins. The four prisoners vanished from the platform, and a large vortex descended on the ruins, taking the mines with it. It all grew smaller and smaller as he returned to the surface, then the clock reappeared showing twelve o’clock. The moment the minute hand struck twelve, the whole thing was washed away, leaving the orb as it was.

Second Task: Girl at the Bottom of the Lake

“It’s regarding one of your ideas for the second task.”

“Which one?”

“The one that’s less likely to get them killed.”

Rose frowned and tilted her head.

“The one that doesn’t involve monsters from another world.”

“Oh, that one!”

This one is the most similar to its counterpart in the original book. Its still the Great Lake, they still need to retrieve someone from the bottom and bring them back within an hour. I’d considered the Forbidden Forest instead, but there’d be some issues. My issue with it was that Neville had already spent tons of time in the forest while Rose got him ready for the first task. She wouldn’t have been allowed to do this if the second task was in the forest. The issue Dumbledore would’ve had would’ve been that relations with the inhabitants of the forest would’ve been strained by Hogwarts deliberately dropping people inside.

So the lake it was. But Rose, being Rose, couldn’t make it that simple for the champions. My first thought was mines. My second thought was a maelstrom. My third thought was a kraken. I liked them all, but knew Dumbledore would not let her use them, so I got rid of the kraken. Fetching the hostages was still too straightforward, too simple, especially since the orb had shown them the way (again, removing part of the guesswork from this task – Harry only figured it out because Myrtle pointed the way). I wanted another challenge to it.

Back in first year, I’d invented something I called a “dimensional prison”. It’s an experimental spell developed by Professors Vector (Arithmancy) and Babbling (Ancient Runes) that takes a slice of the world and puts it in another dimension. In order to escape it, one must counter the runes that hold it in place. While this is going on, the prison is drawing its power from its occupants, slowly draining them.

I’m sure you can guess what’s coming: the hostages were put inside this, but with some modifications. It activates once a champion draws near, and puts him or her into a separate prison. The only escape is to leave with your hostage, but there are still apparently four hostages.

The four most important people to each champion were conveniently missing from the second task, reappearing as they all dove underwater. Once they reached the prison, one real hostage was there, and three fakes. The fakes all had something wrong with them: missing freckles, not wearing their signature jewelry, etc. It was up to the champions to decide which one was which. If they chose wrong, the prison would sap more of their strength.

I had another issue with the second task: it was boring. Not for the champions, but for the audience who are staring at an empty lake for an hour. They can’t see below; the merpeople had to tell Dumbledore that Harry had tried to save the other hostages. So I asked “Can Rose fix that?” Of course, as Rose would say “I can fix anything!” There’s a spell in D&D called Scrying, and more importantly, a stronger version of it called Greater Scrying. It displays an image of a person as they are at that moment on some sort of reflective surface. Like a lake. The greater version of it lasts for well over an hour. Rose cast this on the four champions and had the image come up on the lake, allowing everyone to see what was happening.

Once all four hostages had been saved, the maelstrom started. I didn’t want to put them in a maelstrom the entire time, because I couldn’t see any of them surviving it. Even then, Neville ran into some complications. Unlike in the original, Neville doesn’t have anyone helping him along. Rose knows what’s going to happen, but she promised Dumbledore she wouldn’t tell anyone. He isn’t good with magic, so he wields the Sword of Gryffindor, which he’s allowed to use in the tasks in place of his wand. He got a vine of Devil’s Snare that he attaches to the hilt, with the other end tied to his wrist. For this task, he has a piece of leather that attaches to the hilt. The leather has runes carved into it, enchanting it so that when he squeezes it as hard as he can, the sword will fly until it reaches air. This is how his hostage, Luna, Cedric, and Cho escape.

With the maelstrom pulling him back, Neville has to release himself from the sword so the other three (all tied to the sword with the vine) can get to the surface. Neville himself fails this task. The gillyweed wears off, and he drowns. Unbeknownst to everyone except Luna, Rose brings him back to life before anyone can verify that he’s dead. This decision I made for two reasons. First, I wanted it to feel more like it was challenging him. In the original, Harry feels too talented. He’s a fourth-year, but he’s beating six- and seventh-years. That doesn’t seem realistic; it seems like he’s using his main character powers to win. Second, I wanted to underline how out of touch Rose was getting. Sure, the other three had managed to make it to the surface, but Rose was more excited about the task than she was worried that her friend had died.

D’so Thorthen alhel.

Luna caught Rose’s voice over the sound of the crowd and Professor Dumbledore informing them that there was no need to worry. A moment later, Toad started coughing and spluttering, and Madame Pomfrey rushed to extract water from him.

Toad climbed shakily to his feet, aided by Madame Pomfrey. As he joined the other champions and scores were announced, Luna and Rose exchanged glances. Luna knew no one else knew what Rose had said, but she did. She’d heard almost the exact phrase in one of her dreams. Except Rose hadn’t been standing over Toad, she’d been standing over Princess.

Luna also knew that the maelstrom had been Rose’s idea. So for the second time that day, Luna looked at Rose and wondered if she were still looking at her sister.

Because “d’so Thorthen alhel” was Dwarven for “I wish Toad were alive.

Third Task: Horror of the Clockwork Maze

The Triwizard Cup stood in the middle of the Pitch. It shone blue light in an aura around it, but none of them saw a maze, just an empty pitch. What they did see was Professor Dumbledore next to a red button that was bigger than Dumbledore himself. As they walked to a clearly marked boundary, he pushed the button, and the whole pitch began to shake.

Solid black blocks erupted from the ground and flew into the air. One by one, the blocks collided with one another, then began to shift around. They encircled the trophy, blocking it from view. Entire groups of blocks shifted at once as more joined to form a larger block. The way the blocks moved with one another reminded Neville of something. Neville couldn’t tell exactly how big they were, but he guessed they were exactly five feet by five feet by five feet, since that was how everything seemed to break down in Rose’s world.

The large block rose into the air as more blocks joined it. As they did, Neville realized why they seemed familiar. He’d seen the same motion hundreds of times since his first year at Hogwarts. Staring at a peculiar girl playing with a toy her best friend had gotten her for Christmas.

It was a puzzle box. The final task, the grand maze, was a giant puzzle box.

I LOVED THIS TASK!

Throughout Cherry Champion, the characters commented on how Rose had been absent for most of the year. With Hermione absent from Hogwarts, they’d assumed Rose was spending time with her. Hermione, to whom Rose was generally honest, knew the truth: Rose had been obsessing over this task.

That being the case, it had to be something spectacular, something that screamed “Rose made this”. The only requirement I had on it was that it had to be a maze, and the Triwizard Cup had to be inside.

At first, it was going to be a simple maze, filled with constructs made by Rose. To start with, that was good enough, until I got there. Then I started to think bigger.

In Dungeons and Dragons, there are creatures called clockwork horrors. They look like large beetles, with saws or pincers. There are four types, getting progressively more difficult. The strongest of the bunch is called an Adamantine Clockwork Horror. I’ve seen this thing nearly wipe out an entire party before. Instead of using a variety of monsters for Rose to make, I went with the horrors. As you get deeper into the maze, they got stronger, culminating with the Adamantine Horror. My original idea was to have it guarding the cup, but I thought “No, I can do better”. So I put the cup inside the horror.

Then there was the maze itself. When I put thought into it, I realized making it 3D would be perfect. But I went one step further, doing exactly what Rose would do: I made it a puzzle box, shifting and sliding while the champions were inside, filled with deadly constructs that made the other traps look like nothing.

But it’d be boring if they were wandering a maze forever. The inside of the maze is bathed in light. It starts purple, and, as the champions soon realize, it changes through colors of the rainbow, ending on red (Rose’s favorite color) in the center. So you know when you’re getting closer by the color, and the bigger constructs trying to maim you.

Neville meets with Fleur part way through the maze, and they work together to reach the center. When they get there, they find the cavern with the Adamantine Clockwork Horror. The four champions had to work together to beat it; it could (and did) easily take them on individually.

I worked through several iterations of this scene alone, trying to get it right. Having five moving fighters made it tricky. I won’t go into the details of writing a fight scene; that’s another post.

I did have to work out how Neville won this fight, because he does win the tournament, but it couldn’t be too easy for him. I went through several drafts until I got it right.

Unlike Harry, Neville struggled with each task. The first task collapsed on him. He pushed the rocks away and dragged himself to the starting tent to complete the task. He had to be pulled out of the second task after drowning. I wanted this one to be just as dramatic, making the readers wonder if he’ll make it out.

Fleur went down after Cedric stunned her. She was so determined to win, she was going after them rather than the clockwork horror. The horror took out Cedric, then disarmed Neville (not literally). While trying to work with Krum, Neville got stabbed in the side. He tried dragging himself back to the sword. He – and I – knew that if he could get within 30 feet of it, he could summon it to his hand (thanks to an enchantment Rose put on it).

I wanted him to fight for every inch. Not only did that show how much he’d grown through the book, but it gave more weight to his victory. I had an advantage that the original did not: this was Neville’s character arc for the story. It came to a dramatic finish, rather than feeling flat in the original. I believe this is because the original didn’t end with the tournament. It was only a stepping stone to Voldemort’s resurrection.

“I survived,” Neville breathed.

He drove the sword into King Bug.

“I lived.”

With a loud grunt, Neville forced the sword through King Bug’s body.

“And I win.”

King Bug stood motionless in the cavern, but after a few seconds, it began to shake. Pieces fell off its body, one by one, until the gem on its head fell. Once it hit the ground, the gem shattered.

The cup sat among the wreckage, casting a bright blue light on the red of the maze. The glow got brighter, and Neville saw his wounds heal. He reached down and picked up the cup. When he did, blocks shifted around and formed a pathway out of the maze. He and his recovered companions walked out into an applauding crowd.

Conclusion

Writing the Triwizard Tournament took a lot of time, but it was one of my favorite parts of Girl in Red. It still is. That’s not even mentioning everything else that went on in Cherry Champion.

I’m keeping that in mind as I go forward. All the work I put into my new stories will be worth it, like Cherry Champion was.

#Essay #GirlInRed

© 2023 Sky Starlight CC BY-NC-SA

Back in 2018, I started going to the local literary center in Rochester, Writers and Books. When you go in the front door and turn right, you’ll see the front desk. Throughout 2018 and 2019, I spent my Saturday mornings there, and at that desk, a woman named Mardy would be sitting there.

Mardy was one of those who had life pretty well figured out. She’d run past you on her way through life, and if you were lucky, she’d call back “keep up!”

One Saturday morning in August of 2019 while I was at W&B, waiting for a class, Mardy called to me.

“Ian, I need to go make some copies. You’re in charge.”

So for a few minutes, I was deputized. Those to whom I’ve told this story that knew her were not surprised. She was always a little silly, and completely happy.

Jump ahead to October, and she wasn’t there. I asked, and found out that she wasn’t feeling well. Beyond that, I knew nothing. I figured people get sick, and it’d been long enough after losing two family members so close together that I wasn’t worried.

Besides, I saw her again in November, at the Holiday Bazaar. We talked for a moment, and she asked if I was keeping an eye on things for her. I smiled and said I was. After all, she’d deputized me.

Jump ahead to February 1st, 2020. I’d been thinking recently at that point that it’d be nice to run into Mardy again, happen upon her working the desk. We could’ve talked for a while. Her cheerful demeanor, mixed with a healthy dose of sarcasm, was always a welcomed addition to my day.

I found out that day that not only was Mardy sick, but she’d been given days to live. One day, actually. She passed away February 2nd, 2020. I got the text that morning.

Her funeral was the following week. I didn’t know until I got to W&B. My day cleared up, I ran home after my class, changed, and went out to the funeral. It finally sank in that she was gone when I got there.

I wrote Passing the Torch from those moments I shared with her. The most precious moments we have of someone are the memories we shared with them that no one else knew. It’s our small piece of them that they gave only to us. Those moments, that torch, are mine from Mardy.

#StoryBehind

© 2023 Sky Starlight CC BY-NC-SA

I find that one of the hardest parts of writing is writing the first draft. Whenever I look at it, it’s hard not to keep comparing it to a final draft of something, or even to the idea in my head. On top of that, I keep thinking that it’s only the first draft, so there must be a second, third, and fourth. Which means this one will likely be tossed. Does that mean this time is wasted?

The point of a draft is to get ideas onto paper. It doesn’t have to be perfect the first time. If you think your entire draft is perfect, you probably need to raise your standards and expect more of yourself. That’s not to say parts of it won’t be, but you can’t expect perfection of yourself every time. Especially with the first draft, it’s important to get words on the paper. You can outline it first, but I’ve found that, while helpful, I discover a different direction for the story while I’m actually writing. So instead, get words on the page, and don’t worry if it’s not perfect. You can fix it later while you’re editing.

Once a draft is finished, it provides you with an opportunity to look back on it. With Villain in Vermilion (year six of Girl in Red), I had a first draft done long before I had to post it. This gave me the opportunity to make necessary changes before I had to post it. In Cherry Champion (year four), I was able to stretch out a few plot lines, rather than have them scrunched up at the end, as they had been in my original draft. Finally, there’s the ending to the series. I’ve written several different endings, finally settling on the one that made the most sense. That’s not wasted time, that’s what it took to get to the end for me.

But there will be times when your original idea isn’t working. On my current work, I ran into that problem. Specifically, my main characters were boring. They each had exactly one mood, and each scene was a repeat of the one before it because of that. I rethought the entire story, and realized that my antagonists were not only redundant, but both were unnecessary. I got rid of them, then added more depth to my main characters, which allowed them to grow in different ways. It means a lot of what I wrote can’t be used, but that wasn’t time wasted. What would’ve been a waste was if I’d realized there was a problem, but carried on as though everything were fine.

While writing drafts may feel like a waste of time for little reward, they’re necessary for a good finished product. I look back at Girl in Red, and the parts with which I’m the most happy are those that got first and second drafts. Not all of it did, and the series suffered for it. But I learned from my mistakes, and I hope other people will too.

Remember, this is for your writing. It’s worth the effort.

#Essay #Advice

© 2023 Sky Starlight CC BY-NC-SA

I’ve mentioned before that I always write down ideas when they come to me (at least, I try). That includes poems, although in that case, that usually means the title. Something will come to me – a single line, a word, a phrase – and I’ll write it down for later.

At the end of November 2019, I had an idea for a poem: Not Every Superhero has Superpowers. The idea was that I wanted to reach out to my past self and tell him that it was okay that he didn’t have superpowers. He didn’t need them to help people, or be special, or stand up for himself. I was always daydreaming of having superpowers and helping people. I was too afraid to do anything on my own, but I thought that if I had powers, I’d be able to use them to make the world a better place. At least, a better place for me.

That title sat there in my notes until the end of March 2020. I looked at it, wanted to write it, but didn’t think of anything to write in it. I looked at it again as the COVID-19 pandemic continued, and I thought of something new.

When I finally sat down to write it, I knew what to write. I know there are superheroes in the world. Even though many of them don’t feel like it now, it’s important that we keep supporting them. They’re working hard to make the world a better place for everyone, sacrificing more than anyone to do it.

The advice I’d give to myself isn’t just that he doesn’t need to have superpowers, it’s that there’s more to being a hero than that. It’s about making the tough choices. It’s having the strength to stand up for what’s right when everyone else runs away.

Support your heroes. They need all the help they can get right now.

#StoryBehind

© 2023 Sky Starlight CC BY-NC-SA

Last month’s post talked about figuring out what to write. Once you’ve got an idea in your head, it isn’t always easy to stop having ideas, even though you’ve already chosen one. Many people will tell you to record those ideas, because you never know what could be useful later, then continue on with your current one. But what happens when you like the new idea better?

First, ask yourself why you like it better. What about that new idea is catching your attention in a way the current one didn’t? Maybe you like the characters or the setting better. But if the only reason is that it’s new and different, then write it down, remind yourself you made a commitment to the current idea, and keep going. If you can, find a way to add those bits you liked about the new idea to the current one.

Second, remember that you’re in the weeds on your current idea. Writing always seems hard when you’re doing it, but easier when you’re starting out or finished. As I work on my current novel, I’ve been rereading Girl in Red, and enjoying it more than writing the new work. Fortunately, I still remember what it was like writing Girl in Red, and it was a lot like this. It’s like looking at the rain forest. It’s pretty when you’re far away, but once you go inside, it’s muggy, there are bugs bigger than your head everywhere, everything’s trying to kill you, and your water bottle ran out an hour ago. Once you get to the other side, you can look back and laugh about it later, but you’ve got to press on. If you stop at every turn and think that another path looks better, you’ll only end up walking in circles.

Finally, if you absolutely hate the idea you’ve got, and everything else looks more interesting to you, take a break. I got burned out writing Girl in Red more times than I can count. I remember a time, about a year before I finished it, asking myself “What will it feel like to have it finished?” It brought me down when I realized the answer would be relieved. I got burned out on it, and after a time, I reminded myself that I had committed myself to seven years at Hogwarts, so I started writing again. It can be hard to take a break when you’re working on something, because sometimes, it feels like you’ve given up, but you’ve got to let yourself have a break. If you don’t, you’ll end up with a bad final product, and that feels even worse.

It can be hard to stick with your main idea. I often had to put Girl in Red down, as I’m trying to do now with my current work. It paid off in the end, and I’m hoping to remind myself of that once more.

#Essay #Planning

© 2023 Sky Starlight CC BY-NC-SA

I wrote a few weeks ago about figuring out what you like to write. While doing so, I mentioned recording ideas. As a writer, it’s important to be able to record ideas as they pop into your head, as you never know what’s going to be a good idea and what’s not. There are two ways I record or capture ideas: a notebook and my phone.

I’ve always got at least one notebook and pencil with me. While my phone works just as well, this allows me to record ideas in the event that I’m not allowed to use my phone, or when I don’t want people to think I’m texting and not paying attention. I can quickly jot down the thought that popped into my head, then add it to my digital notes later.

The setup on my phone is a lot more complicated. Basically, I open up an app on my phone, type a few keys, type in the idea, push a few more keys (none of which is enter), then the note is saved and synced between my phone, my server, and my laptop. This utilizes Emacs (my favorite text editor), an app called Termux (lets me run Emacs on my phone), and Syncthing (synchronizes my notes files across my machines). The setup for this is outside the scope of this essay, because I’ve taken years to fine-tune it to my needs, often programming parts of it myself. For someone who wants something they don’t need to spend hours setting up and maintaining, there are better solutions.

There are tons of notes applications out there if you want to use your phone, but the one I used to use is called Orgzly. Orgzly organizes notes into notebooks, sorting them under headings that you can reorganize. It goes beyond just recording notes that you can look over later; you can schedule tasks, tag and search entries, give certain tasks priority, to name a few things. Orgzly utilizes an extension for Emacs called Org Mode, storing its information in Org Mode’s file format. Org Mode is what I use to capture and file notes (and most of my life), so Orgzly is a good option for people that want all of that, but don’t want to learn Emacs.

These are only my methods. I’ve seen other people with their own way of doing things. Some people just use a notebook and record everything later on index cards. Others go entirely digital using some program I’ve never heard of. Don’t force yourself to use a solution you don’t like. Find something that works for you.

© 2023 Sky Starlight CC BY-NC-SA