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Posts Tagged ‘Too Many Princes’

For point-of-view, that is. I know you all wanted to know my secret for making the perfect mint julep. Sorry, that will have to be another blog.

When approaching a new project, I do some research and planning ahead of time. I draw maps and sketch out the cultures. However, beyond the initial 2 to 3 plot events, I go by the seat of my pants. The way I make that work is my secret strategy. Are you ready?

I will never have just one POV character. This is something I learned from my first novel, The Magister’s Mask. When you only have one POV, that person has to be present for everything that happens. Each conversation, battle, espionage, journey… That same character has to be there.

It would be exhausting for one person. It also would be limiting in some ways. For instance, that one POV cannot be killed, or there is no way to go on telling the story. Many authors cultivate multiple POV characters so that they can really threaten some of them, while still keeping a cast at hand.

Personally, I like to go more deeply into characters, but I always have at least two points of view. Often, the two are on opposite sides of some central question, but they both are basically good people who readers can sympathize with. Each POV knows some things that are happening, but not all. Because they are in tension, they don’t bring their knowledge together until quite late in the story.

I developed this technique with my second novel, Too Many Princes. Brastigan is the bad-boy prince, and his brother Lottress is more bookish. They both get sent on a quest, but then there’s a coup back at home. I ended up bringing in their sister, Therula, as the witness to all of that. So when the princes returned home, the reader knew there was an ugly surprise waiting. It really cranked up the suspense.

How it works is, as I’m writing, I take turns between the POVs. When I get to a good point of tension with one, I switch to the other. Sometimes I get stuck on which POV to use in a certain scene. Sometimes they overlap and you get the same line of dialogue from both POVs. Ironically, the reader knows more than either character, yet I can use this technique to keep them from guessing the outcome too easily. The information they think they have can change in the other POV.

That’s it. My secret strategy for POV. How do you use POV to build your stories?


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Something I’ve noticed recently is how often the stories I write involve someone going on a journey. In Too Many Princes, the title characters went on a quest. In The Seven Exalted Orders, two of the characters were running away from the others. In the sequel, The Eighth Order, which the publisher has been sitting on forever, they also chase someone across the countryside. In The Grimhold Wolf, a character was abducted and the other ones went to rescue him. In Masters of Air & Fire, the characters’ home was destroyed and they had to search for another one. In The Weight of Their Souls, the characters were traveling home after a war. In The Tower in the Mist, soldiers are taking their prisoner to a special prison — on the other side of a haunted forest. In The Grove of Ghosts, the MC is traveling to break a curse.

Only in The Magister’s Mask, The Necromancer’s Bones, and The Gellboar did everyone basically stay at home and do stuff there. That’s three out of eleven tales involving some sort of travel.

I must confess, I feel like I’m starting to repeat myself with the journeys. My current WIP, Fang Marsh, starts with the main character on a journey. Now that I’ve thought about it, I’m going to have her arrive at a destination and stay there. This will make some other parts of the plot easier. For one thing, the villain and her henchmen will be able to find her!

What do you guys think — am I worrying too much about this?


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First, I want to thank David and Craig for responding to my initial call for feedback on what exactly my genre is.

When I reflect on the things my stories have in common, it comes down to two concepts: family and magic. Almost every one of my books has had some kind of family issue at its heart. After all, who knows you better than family? Who can hurt you with a word, or lift you up? In Too Many Princes, the brothers Brastigan and Lottres go on a quest, but the story is really about how their relationship is threatened by conflicting goals in adulthood. In Masters of Air & Fire, a sibling group of young dragons struggles to stay together after the death of their mother.

I get a lot into the magic with my world-building. If magic was real, how would that shape society? In The Gellboar and The Seven Exalted Orders, mages are separate from other people and there are restrictions on magic for the public good. In The Magister’s Mask and The Necromancer’s Bones, magic is common and well understood. They use it for things like preserving food, where we would use refrigeration technology.

In both of these, perhaps, I do follow more closely to High Fantasy than Low. Grapping with ideas and consequences around magic is High Fantasy. Family might not be as obvious at first, but you can’t deny the importance of family drama in series like A Game of Thrones.

So maybe that’s where I land — but I’d still like to hear from more of you. And if you’ve read my books, why not take a minute to leave a review? It will really make a difference!


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My featured book for May and June is Too Many Princes, published in 2007 by Dragon Moon Press. Of all my novels to date, Too Many Princes features dragons in the most prominent role.

These dragons are long-lived, though not truly immortal. In addition to their terrifying physical attributes as dragons, they have great magical powers. Among the most important to the story, they can change their shape at will. However, there’s a catch.

The dragons’ curving horns are the seat of their power, so they can’t change the horns without risking their power. Thus, although they can impersonate humans, there must be some way to hide their horns or their true identity as dragons will be plain to see.

Some dragons regard humans as friends, to be nurtured. Others view them as chattel to be conquered. You’ll meet both sorts in Too Many Princes.

At ten years old, this book is out of print. However, I have a few copies in my personal inventory if you’re interested. To whet your appetite, here’s a brief excerpt that introduces one of the principal dragon characters, Yriatt.

She seemed to be another Urulai, clad in a brown leather dress, but her garment was stitched with some shiny stuff, and she wore a fabulous head-dress of two great, twisted dragon horns. Sheer veils fell behind it and passed beneath her chin. Those horns and her night-dark hair were draped with beads and fine chains that winked as she moved. She had an angular face, not beautiful but arresting. Her eyes were the deep gray of wet slate. 

“Welcome.” Her voice was deep for a woman’s and her Cruthan was perfect. Like her attendants, she gave no smile of greeting, but remained stern and calm. “I am Yriatt, mistress of Hawkwing House.”

Eagerly, Lottres began, “I am Lottres of Crutham, and…”

The woman interrupted his fawning. “I know.”


A few of my other books:

Aunt Ursula’s Atlas, Lucy D. Ford’s short story collection

Masters of Air & Fire, Lucy D. Ford’s middle-grade novel

The Grimhold Wolf, my Gothic werewolf fantasy, and my epic fantasy, The Seven Exalted Orders.

 

 

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Hommana hommana, I peer into my crystal ball
And learn the most mysterious thing of all:
What are dragons grateful for?

Ikartya of the Emerald Scales — Gratitude, what’s that?

Ysislaw, Emperor of Sillets — My hoard.

Fruq the Furious — My flames, which destroy my enemies.

Tetheus of Shoredance Island — Delicious sheep.

Gnawrath, Most Malign — That my family is far, far away.

Cazarluun the Wraith — That I killed Sir Whatsizname before he killed me.

Carnisha of Mount Cragmaw — That humans are so easily deceived.

P.S. — Ysislaw, Cazarluun, Tetheus and Carnisha are all characters from my stories! Ysislaw is from my second novel, Too Many Princes. Carnisha is in my story that appeared in The Dragon’s Hoard anthology last spring. Tetheus and Cazarluun are in short stories that are thus far unpublished. However, their statements here don’t necessarily represent their roles in the stories.

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For someone who loves dragons as much as me, you might think all my books have dragons. Well, I blush to admit, only one of them does. That’s my second novel, Too Many Princes, published in 2007 by Dragon Moon Press.

In this book I discovered one of the problems in combining humans with dragons: scale. Dragons are so much larger than humans, it’s difficult to fit both in the same space. In a dragon-sized space, humans rattle around like the last cracker in a box. In a human-sized space, dragons don’t fit at all. If they are outdoors, standing side by side, the human only comes up to the dragon’s elbow. They can’t look each other in the eye unless the dragon crouches and pretzels its neck around.

To combat this, I gave my dragons the power to change their shape, as they do in Asian lore. So they could disguise themselves as human, fit into human-sized spaces, and hold conversations that didn’t involve humans shouting up at their gigantic friends. Also as in Asian lore, I made them master wizards who trained a few carefully selected humans to follow in their ways.

In Too Many Princes, two of the three viewpoint characters have a connection to the dragons. I was surprised how that grew out of my first vague ideas for the book. If you’re interested, my web site has more about Too Many Princes.

What really intrigues me, though, is how other writers have handled the differences in power between human and dragon characters. How do you handle conversations when one character is physically bigger than the others? (Conversations with giants would apply just as well, I suppose.) Do you give your dragons magic, or are they tough enough just with flame breath and plate armor?

Let me hear from you!

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