Alpennia Blog: Middle book syndrome?

[hrj]

I had a weird sort of realization yesterday when thinking about how complex and crowded Mother of Souls feels, and thinking ahead--several books ahead--to Mistress of Shadows, how relatively more streamlined and focused it feels.

Part of it is that I have only the barest beginnings of the plot of Mistress of Shadows. I'm sure it will get much more complicated when I begin to write. But part of it, I'm coming to think, is that Mother of Souls really functions as the "middle book" of the however-many-ology this series will be. To some extent, it's the book where I finish expanding the scope of the story-world and laying the ground for the conflicts to come. (At this stage I'm still only hinting at some of the fractures that will end in revolution, but that's due to the blind spots of my viewpoint characters.)

I have two books lined up in my mind before I get to Mistress of Shadows. Floodtide will hint at a few more of those fractures, but returns to a smaller, more narrow focus from an entirely different point of view. (Nothing quite like looking at great events from the point of view of a former laundry maid and part-time dressmaker's apprentice.) And the Tanfrit story (still brainstorming for a title I like) is really a complete digression, though it will fill in some background on the topic of "what makes Alpennia special?"

But Mistress of Shadows will pick up the story of the central viewpoint characters again, within half a year of the end of Mother of Souls, and continue pursuing consequences that are developing from the current book. And then, after Mistress of Shadows, there will be either one or two books (depending on how long it takes to get to the revolution). The shape is still a bit vague. So if one looks at the "main series" as 5-6 books, then considering book 3 as "the middle book" isn't all that odd.

After Mother of Souls, the books will focus on a smaller set of viewpoint characters, shifting around as to which subsets get the spotlight. I already know that Mistress of Shadows is going to follow Barbara and Serafina, plus one new character. It also feels like it's going to have more of a thriller/mystery feel to the plot. Definitely not a romance. After that…as I say, things are still hazy beyond the general shape. After Mistress I know of at least one new primary character, but I'm not sure if she'll be a viewpoint character. And some of the significant secondary characters will play major roles: Anna Monterrez, Akezze Mainus, Iulien Fulpi. But I suspect I'll keep the number of viewpoint roles limited, as long as I avoid slighting anyone by letting them take turns. It's easier, in some ways, looking at the broad canvas of the series as a whole. I don't have to fit everything and everyone into a particular volume. So…not a contraction of the story, nor even quite a fragmentation, but a diverging. An expansion of my principle that sometimes you tell someone's story best from outside their head.

Comments

[hawkwing-lb.livejournal.com]

Ooo. You are genre-shifting over the course of the series. I LOOK FORWARD TO ALL THE BOOKS. *g*

[hrj.livejournal.com]

Well, it would be boring to write the same thing over and over! I felt the need for a bit of darkness and peril. Just like, in Floodtide, I felt the need for characters who aren't rich and privileged.

[hawkwing-lb.livejournal.com]

It would be bad for you to be bored. *g*

[sabethea.livejournal.com]

An expansion of my principle that sometimes you tell someone's story best from outside their head.

I think that is very much a thing.

I also quite like the ability to change viewpoint characters, which it sounds like you're going to be doing - certainly within the series if not within books. Because what someone is thinking may be *totally* different to what's going on, and it doesn't matter how well you write, sometimes it's impossible to show that without moving out of that person's head.

[aryanhwy.livejournal.com]

Oh, yes. I'm finding this myself with a 1st person piece I'm working on, there are certain things that I want the reader to know and darned if I can figure out how to get them to when the PoV doesn't know them!

[hrj.livejournal.com]

It isn't always even a matter of what the viewpoint character knows or doesn't know. I find I prefer to show strong emotions by way of another character inferring the emotion by observation, rather than simply saying "Character X felt emotion Y." But as you note, when writing very tight third person, sometimes you need more than one POV to have access to the necessary events you want to show.

I think I've hit my limit with five, though! That's why I'm reducing the number a bit after Mother of Souls.