Why Do Some Author’s Insist on Writing a Lousy Ending?

Photo by Andrey Zvyagintsev on Unsplash   Good Morning, SEers. John is with you today, and I wish you a happy Friday. As you can see by the headline,…

Why Do Some Author’s Insist on Writing a Lousy Ending?
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Poetry Day: Careless Infector

(Well . . . This poem was disturbingly prophetic.)

I hear you coughing

With nothing in your way

Spraying toxic spit

In the air I breathe

Forcing me to join you

In a fevered bed of pain

No one to care for us

Because we are too ill

You refuse to fight the virus

Hiding in a whimpering heap

Leaving me to push myself

Prolonging my disease

While you recover fast

And run off to join the world

Abandoning me to suffer

With the virus you have left me

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The Haunting of Chatham Hollow

Let’s all welcome Mae Clair to Entertaining Stories today. She’s here to tell us about her latest release, The Haunting of Chatham Hollow. Mae is one…

The Haunting of Chatham Hollow
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Leading from the Back

What is leading from the back?  It’s exactly what you think.  This would be a military leader who stays away from the frontline.  They give orders while analyzing information and listening to advisors.  They’re still in charge, but not in as much danger as your average soldier.  Sound familiar?

This is the type of general we see a lot in reality-based stories.  It’s because modern generals don’t physically go into battle.  Not typically anyway.  Keep in mind that this isn’t a negative thing.  It’s simply how war is waged in this global culture.  This style requires that leaders aren’t the more physically aggressive or badass, but the ones who are smart enough to properly direct armies and resources.  It could also be wisdom or some mental ability that makes them the best for the job.  Think of them as the chess masters who are trying to outthink an opponent who isn’t in the room.  Not easy and requires a lot of mental flexibility.

Generals who lead from the back are difficult to put in a main hero role.  It’s because they’re not in the action that the author will have trouble maintaining tension.  Movies and television can be easier with the more visual development of tension.  You can also shift to action there with more ease than in a book where the general is the main POV.  It can make stories clunky and disjointed even if you’re showing the proper reactions towards the events.

Another issue is that many readers might not think the general has anything at stake.  A person may see a leader who stays in a safe zone as weak and not worth the respect that they’re given.  This stems from how our culture pushes fictional heroes who are tough, aggressive, and violent.  A real general isn’t likely to go charging into battle with two machineguns firing and a rocket launcher strapped to his back.  General Nick Fury isn’t a real person!  People tend to forget this, so seeing a modern general in action on the page will come off as boring.

Thankfully, there is an audience for this type of story.  People who enjoy the strategy side of war would be interested in seeing things from the generals perspective.  Also, anyone who is curious about the psychological impact on a person who is aware that their decisions cause others to die.  Both routes require that the author show the mindset of the general, so you may be looking at a first person POV tale.  They aren’t always the same people too.  The first group might not be interested in the toll such decisions take on the psyche since they’re focused on the ‘art of war’.  The second group might not care about how the war goes so much as how the general handles wins and losses.  So, it can be a challenge to hit both marks.

The key to making an effective ‘lead from the back’ general is research.  There are plenty of books and interviews out there.  Generals have talked about their job for so long that the biggest challenge is to decide on whose mindset to follow.  That’s the other part here because we’re dealing with humans.  Generals aren’t cookie cutter leaders.  Each one has unique strengths, weaknesses, morals, viewpoints, and strategies.  For example, some generals will prefer bombardment to reduce their own casualties while others will have no problem throwing their armies into harm’s way.  So, pick a general whose mentality and tactics fit with what you want then start from there.  It doesn’t have to be a perfect match, but it can be a jumping off point, especially if the person has talked about the mistakes they’ve made.

So, what are your thoughts on this type of general?

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HEALTHY WRITERS—LESSONS FROM SCHOOL

Hi SEers! What does it mean to be a healthy writer? Do you eat lots of broccoli, run marathons, or write a lot? It’s mixed in there somewhere. To …

HEALTHY WRITERS—LESSONS FROM SCHOOL
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Teaser Tuesday: Do I Need Supporting Characters?

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Welcome back.  I was surprised to find that this was a question.  So, I had to touch on it and explain supporting characters.  Enjoy.

Do I Need Supporting Characters?

A story can be made or broken by the supporting characters who range from traveling companions to minor villains. Of course, you can have your hero go it alone and have a focus on how someone will carry on when isolated. This is more difficult than one would think because you create a supporting cast as soon as you introduce another character. It might not even be a speaking part. That troll? Supporting character even though it’s a monster. That shop owner selling cheap swords? Supporting even though he only shows up for one scene and has a few simple lines of dialogue. This is a fairly broad definition, but these are all characters who add more color and life to your story. Hence, they should not be ignored entirely.

On the other hand, you don’t have to go deep with these characters if they’re minor and closer to set pieces. Putting hours of thought into a healer who shows up and leaves on the same page is overcompensating. It’s clear they have a purpose, but not enough that the audience needs a full backstory. I would suggest that the amount of time you put into creating supporting characters really should be dependent on how much you are going to use them.

You can divide your cast into three categories to help here:

  1. Primary– This is your main hero and main villain. The story revolves around these characters, so they have to be the deepest. They are the most likely to change throughout the story too. Names, physical description, evolution, backstory, and focus are certainly required more than the other groups. If you are writing an ensemble story, you will have more characters in this category. Never think you can only have 2 characters as primaries if you have multiple heroes and villains who are heavily involved in the plot. That leads to favoritism and the story can be weakened by you reducing the importance of the others while they are truly critical to the events.
  2. Secondary– These are your mentors, independent rivals, allies, third party enemies, and other characters who are important, but not central. They influence the primaries and the story, but they are not the major motivators of the big events. When the battles and adventures hit the high gear, they are standing a few steps back and giving support. They might not be there at all. It helps to have some depth like the primaries including a backstory. Yet, they don’t need a big evolution or one at all because they are distanced enough from the story events. In other words, character development is optional and can be minimal here.
  3. Tertiary– I would put the store owners, key monsters, healers, nobles, and anyone else who shows up for a little time here. They don’t travel beyond their initial area because they serve a single purpose. In a series, you can eventually have them evolve to secondary if they show up more often. If not then you really only need a name, physical description, and a purpose. There’s no evolution here, especially if they’re around solely to be killed.

We are going to be focusing more on the secondary group for, what I think, are obvious reasons. Primary are too essential and tertiary are too temporary. Secondary is where you can find a lot of development catalysts for the characters, story, and world. This is because they aren’t the major movers of events, but influencers of those who will do it. I’d say the men and women behind the curtain if you didn’t see them act. Then again, some supporting characters do stay in the shadows until near the end for a big reveal. That’s a rather niche use though. Beyond the precious plot twist, you get tons of mileage from the secondary cast. I would say more than the primaries in certain areas, which is why it’s important to give these characters more attention than a passing fancy.

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Generals in Fiction: The Biggest, Shiniest Targets

I think this is another character type that gets overlooked or done with minor attention to anything other than the role.  Any genres that touch on there being a military force will note that there are generals.  Might not be much of a hierarchy beyond them, but you have military leaders.  They typically fall into these categories:

  1. Evil general who is trying to turn the kingdom into a military state.  Sometimes they’re being tricked into doing so by another villain.  Other times, they simply think the leader is weak and strength is needed.  We’re talking full authoritarian here.
  2. Loyal general who stands beside the leader through every event.  They will act as adviser and many times sacrifice themselves over the course of the story.  This is the total opposite of the first example.
  3. Mentor for the hero who either trains them at the start or does so at a midpoint.  A general is seen as someone with experience and discipline, which is what they are passing on to the hero.  This also establishes a neutral hero as having taken a side in some fashion and connects them to the ‘good’ kingdom.
  4. An arrogant adversary for the hero who will inevitably be killed in a battle.  Again, we see a polar opposite of the mentor here.
  5. Fodder tossed onto the battle as either an ally or enemy.  There’s nothing to them beyond being a superior warrior who the other soldiers listen to.  Sometimes it’s not even clear they’re the general other than they’re giving orders.

Those are very broad, so you can say that any character could fall into those if you stretch things enough.  The difference here is that generals tend to be thrown into these categories with nothing else given to them.  Authors don’t typically give them depth unless they’re the main character, but that’s rare.  So, they are relegated to these roles that are exclusively secondary and tertiary.  Kind of a shame even though it makes senses.

The challenge with a general is that one doesn’t start out that way.  You need to work your way up to that rank, which takes years.  If that isn’t the main story then it’s going to be a slow and boring slog to the fun part.  Even if you start with the hero having the rank, there’s a risk of boring.  Generals are experienced and skilled, so they won’t be learning as they go like other heroes.  They can handle most combat situations in a way that blocks tension from being fostered.  You have a lower chance of mistakes or them facing a new situation.  It’s why many authors gravitate towards novice warriors and inexperienced youths.  These are characters that readers can relate to because they are learning about the world and how to grow as well.

Of course, you can always take a general who has lost his army and position.  The former general is a common mentor and villain.  Many times they’ve become bitter and depressed, so they join for a last bit of glory.  Maybe the hero has a spark that they remember possessing and they want to see if they can keep it alive.  I’m on the fence about this because it doesn’t really work off the general concept.  It would be like any other previous career that brings in experience, skills, and history, but might not have the biggest story impact.  Not when compared to a figure active in that role.

I’ll be touching on what I consider the 2 types of generals later this week.  For now, I’m going to open the floor.  What do people think of generals or any military leaders being used in fiction, especially fantasy?

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Check This Out: Big Bear and Little Fish

I’m so glad to welcome back to the blog the amazing Sandra Nickel, who is here to talk about her latest picture book, Big Bear and Little Fish. It …

Check This Out: Big Bear and Little Fish
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How to Use Prologues, Part 7, Unexpected Clues

Image courtesy of Tumisu via Pixabay Hi SErs! It’s a day of Harmony here at Story Empire 🙂 Today, I’d like to talk about Unexpected Clues in a …

How to Use Prologues, Part 7, Unexpected Clues
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The Tall, Long-Necked Ratites

Originally, I was going to do a post for each one, but I found that the subspecies all looked the same.  That was becoming an issue for previous posts where I didn’t know if I had the right subspecies.  So, I decided to simply make a big post about 4 of the 5 ratites.  One gets its own post next Sunday.

A ratite is usually a tall, long-necked flightless bird with the exception of the one we’ll see another day.  I’m sure someone will spoil it in the comments.  Anyway, this group includes the following animals:

  • Ostrich
  • Emu
  • Rhea
  • Cassowary
  • Moa (Extinct)
  • Elephant Bird (Extinct)

Early humans hunted the last two into extinction, so we only have skeletons.  This means we’ll stick to the four living ones.

Rhea, Emu, and Ostrich have all been sources of food and clothing decorations.  They have also been raised on farms to make sure they don’t go extinct.  Feathers have been popular decorations for centuries and their hide has been used to make leather.  Eggs have been used for food, water bowls, and art.  Their meat is fairly popular too.  I’ve actually had that and it’s surprisingly light.  Standing out, the Emu is also raised to make oil from their fat, which is used for medicine.

A few populations of the previous 3 are considered endangered, but they are not considered such as a whole.  Emus seem to have a history of being rather hardy and plentiful to the point where there was even a war.  In late 1932, the Australian government ‘declared war’ on a large Emu population and took military action.  The birds were destroying crops because of their large numbers.  Hard to sum the whole thing up, so check up the Wikipedia page.

You’ll notice that I haven’t mentioned one of the ratites.  The cassowary differs from the others in many ways.  First, it prefers jungles to open plains like the others.  They are also considered ‘the most dangerous bird’ because they are capable of killing dogs and humans if provoked.  Their weapons are the claws on their three-toed feet with the middle one being a 5 inch dagger.  The cassowary is considered endangered.

Let’s get to the pictures and videos then.

Ostrich

Emu

Rhea

Cassowary

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