How Do You Feel About The Fact That Book 1 Of Unsounded Written In Prose Would Be Like One Or Maybe Two

Good stuff.

You're not going to believe what I'm about to tell you - The Oatmeal

This is a comic about the backfire effect.

Read it.

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I HAVE BEEN FUNDAMENTALLY CHANGED BY YOUTUBE FISHING VIDEOS

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Blue Birch Marsh, 2024 by Jef Bourgeau

Oh yeah I forgot that was a thing that existed. Quite understandable, considering I’ve only read the first chapter 8, 9-ish times. Poor Root, it didn’t ask to be burned up by virtue of Sette’s foul mouth and Duane’s pig-headedness. Rest In Pieces

"Empathic trees" I cannot recall any empathic, or even sentient trees in this comic as of yet. Would you be so kind as to clarify?

The Wand’ring Root in the first chapter!

"Curiosity Killed My Beia" A comic I did for The Spinoff's Comic of the Month

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Hello Ashley! Returned to an old story of mine and trying to rebuild large parts of the plot that didn't satisfy me. I figure it's best to detail all the major story beats before I fill in all the icing around them. From chapter 1 to chapter 15 (so we're not considering spoilers!), what major story beats would you say you finalized first? Was it hard deciding which little bits needed to come up and when, even after you had scripted the major steps?

–You’re definitely on the right track, I also used that method. I had a beginning and an end point for the first book, then looked backwards from there, mapping the major beats in each chapter. It’s also personally important for me to know the WHY of everything. I need a Why for everything I write and do, I find it motivating.

So it’s been a while and my memory is foggy, but I believe the broad outline was like:> Duane & Sette have misadventures that help them understand each other. Why do they need to understand each other? Because they are lonely, broken people and the goal is to better them.> They make it to her cousin’s along with the macguffin, which results in a climax, but macguffin escapes. What is the why of the macguffin? The macguffin isn’t just an antagonist; it’s all antagonism. It is the ultimate macguffin, and is motivated by the misery and misdeeds in the story itself.> They chase the macguffin and wind up isolated in a situation that forces out the best of Sette and the worst of Duane, with disastrous consequences. Why is the worst of Duane important to see? Because if there’s hope for the worst of us, despair is only an excuse. Why is the best of Sette important to see? Because it’s not so very Best, and she needs to see all the room she has to get better.> They reunite with the macguffin for another battle.

Easy-peasy. But now let’s flesh out that first step and mark out the milestones:

engage and fight the wand’ring root, introducing their respective characters in very broad strokes

encounter the RBB, enter the crypt, still in-character, but each gradually starts to crack. Duane goes super violent, Sette shows fear

fight each other at the waystation, Duane’s veneer of civility is fully shattered by admitting he’s a closet cannibal with control issues, Sette’s veneer of roguishness is shattered by admitting she’s scared of failing her da

True selves semi-revealed, Sette has an adventure in town, starts trouble, leads to…

Duane battling Quigley, coming face to face with Alderode

Sette sneaks Duane over the border, enters his memories

By seeing who Duane truly was, Sette fully understands who he is now

During their fight the next day in the toyshop, Duane fully understands what Sette needs of him (he doesn’t fully understand who she is, he’s not as insightful as she is)

And bam, that’s how I outline. It’s a pretty simple structure when you lay it out like that, but then you start adding in B and C plots, two dozen secondary characters, and it becomes deceptively complex!

Otherwise yeah, figuring out where to move the plot forward, where to cut away to other storylines (and how much to devote to them), where to pause and meander for character building - that’s all the most difficult stuff. Most of us can sit around and write cute dialog or character studies all day - fanfiction is FULL of amateur writers who can do this marvellously - but the BEST and most successful writers are able to tell an engaging narrative with lots of moving parts and suspenseful story turns. Maybe they get panned because their prose isn’t elegant or maybe their characters are hackneyed - but they still sell mountains of books because they know how to keep readers turning pages by structuring a suspenseful story.

Good luck with that, ‘cause it’s the hardest part! And personally, I have particular considerations I have to make that you probably don’t have to in prose, particularly prose meant to be read all at once. I need to try and make each page at least mildly engaging and end on a hook wherever I can, since there’s no guarantee the reader is going to come back to progress the story in two days :D

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