As we enter the middle of the year, I thought it would be interesting to examine the middle of a story. For those that don’t know, most stories are split up into a three act structure. The first act serves as the introduction to the story, its characters, the world, and all the other elements that are needed to orient the reader. The first act also sets the plot into motion. The third act…acts… like you’d think an ending should. It ends things. Whatever conflict the main characters are facing will ultimately be decided and the consequences of those actions are played out.
The second act is where things get real. Now that the reader is oriented in the world, the conflict can truly begin. Sure, Frodo and his friends may have left the Shire with the One Ring in their pockets, but that was just the beginning of their adventure. Act two of Tolkien’s “Lord of the Rings” starts with their trek to Rivendell where, along the way, they face some trials.
“The second act is really the heart of your book, the section in which your protagonist’s abilities and resolve are put to the test and his goal is most at risk,” Joseph Bates writes in his book “The Nighttime Novelist” and goes on to say that “It’s also the part of the book most consider the story proper.”
He lists Captain Ahab chasing Moby Dick, Dorothy navigating through the wonderful land of Oz. Frodo making that pledge to take the ring to Mount Doom.
If you’re planning out your novel and you’re stuck when it comes to the second act, here are some questions to ask:
What kinds of conflict will stand in the protagonist’s way?
What is your protagonist willing to do to achieve his goal?
What would happen if the protagonist fails?
Every good middle should have the following:
First Culmination, the midpoint of the story where the protagonist has his/her sights on the prize.
Darkest Moment, where the protagonist hits rock bottom and seemingly fails in his/her quest.
Plot Point Two, where the protagonist finds a new direction which then leads to Act three’s conflict and resolution.
Each conflict the protagonist faces should be harder than the last. This is what’s called rising action. Bates compares the second act to a roller coaster.
“A strong second act has the inevitable momentum of a roller coaster, something you white-knuckle your way through and enjoy the ride,” he writes.
Throw all of these ideas into your middle and you’ll have the good bones for your middle.
Take Marvel’s “Avengers: Infinity War” (2018) for example. For the purpose of this example, you’ll have to view Thanos as the protagonist. I know, I know, but trust me when I say that Thanos is the hero of this movie. Spoilers for those that haven’t seen the film yet, but come on that was two years ago.
The second act starts after Thanos sends his kids out to collect the rest of the stones. This begins the rising action. Stark, Strange, and Spider-man (all those S heroes) are attacked by Squidward (another S). The Guardians fight Thanos and Gamora gets taken. The midpoint is when Thanos finds out that Gamora has the location of the Soul Stone. That was the only stone that was truly hidden from the big purple dude and now he sees victory.
For Thanos, the darkest moment is when Scarlet Witch destroys the Mind Stone. This robs Thanos of his long sought quest for galactic balance. The audience believes (celebrates because who really wanted Thanos to win… certainly not me) that his quest is done and he failed to collect all the Infinity Stones.
“Now is not the time to mourn,” says Thanos and he’s right. This is where Plot Point Two comes into play when Thanos utilizes the Time Stone and reverses what Scarlet Witch did.
That leads into Act Three where Thanos gets his chest caved in by Thor, but it doesn’t matter because Thor didn’t go for the head. That’s another rant for another time.
That’s a summary overview of the middle part of a story. Having said all of that, you don’t necessarily have to do it this way. You’re a writer and rules are made to be broken. However, there’s a reason why most of books, movies, and other media utilize the Three Act Structure. It works.
Also, if you haven’t read Joseph Bates book, I’d recommend it. It’s a very good tool for those that can’t write for a living.
For my first Book vs Film, I wanted to write something epic. Really kick off my entry into this series with something big and bold. With this in mind, I was sorting through my book collection and my eyes settled on George R.R. Martin’s “Game of Thrones.” At first, I thought it was too big, too epic. The books aren’t even finished despite the television show having just ended. How could I compare the books to the television show? Do I go through season by season? Since the source material runs out around the fifth season, BvF: GoT would only have about five parts to it.
That’s not epic at all. If I compare each individual episode to the books, now that’s something epic.
Plus, it’s something that will definitely kill time until the last two books are released (knock on wood). Now, for your enjoyment, I present to you BvF: GoT: Season 1, Episode 1.
By the way, if you’ve never read the books or watched the show: Spoiler Warning! Plus, why are you reading this if you have an interest in reading or watching it?
The first difference I’ve noticed happens less than five minutes into the episode. The three men of the Night’s Watch are sent to track the wildlings. In the book, Will is sent to scout ahead for the wildling camp. He finds the camp and all the wildlings are dead. He reports this back to the leader, a highborn guy by the name of Royce. Royce asks for proof or a reason why they’re dead to which Will couldn’t really give so they decide to go investigate. In the show, Will finds them all brutally massacred and positioned in some macabre design.
Another small detail, in the book only Will and Royce went to the wildling camp. In the episode all three went. Just a small change, nothing to blow your skirt up about.
Another detail that I’m sure the show cut for time limits. In the book, Royce defends Will and tries to attack the White Walkers. Will climbs a tree and Gared’s fate is unknown. In the show, we see no fight with the walkers and we see Gared get beheaded. RIP Gared.
If I had to say which I’d prefer, so far, I’d say I liked the show. The initial scene is short, to the point, and sets up the obvious threat that will loom over the rest of the show. With the brutal nature of the bodies and the beheading, it shows two things:
–The White Walkers don’t mess around when killing humans.
–The White Walkers are warrior artists. They kill and then decorate the battlefield. When they don’t enlist dead people, they use them as artwork.
I will never skip past this beautiful credit scene simply because of the GoT theme song. Sorry book lovers, point goes to the show for this one!
Stark Intro and Execution Scenes
Another big difference from the books. In the books, each chapter follows a different character. In the show, it blends together a lot of those storylines to conserve time. In this scene we are introduced to the entire family of the Starks in just one minute and twenty seconds of screen time. In that time we are told:
–Robb is the older and more serious brother from his stance.
–Jon is a more nurturing and teaching brother, giving Bran some archery tips. We also know he’s a bastard when he says “so’s your mother” indicating that Catelyn Stark is not his mother.
–Sansa is the more beautiful sister that’s better at needlework.
–Arya is the exact opposite of Sansa and is better at puncturing men with arrows than puncturing needles into fabric.
–We see Catelyn and Eddard (Ned) Stark watching over the boys as they train. This indicates that they are interested and involved in their children.
–Rickon. Almost forgot about that brat. Well, everyone else did so I won’t say more to that.
In the book we don’t see any of this yet. We go to the execution of the deserter. In the books it’s Gared. In the show, it’s Will. Both talk about White Walkers and everyone believes he’s looney.
The major difference is the way Ned Stark is portrayed. In the show, you first see Ned as a family man. You see him giving Bran encouragement and nurturing alongside his wife. In the book, he’s first shown as the Lord of Winterfell having to do his duty and execute the deserter. As Martin writes in the books, “He had taken off Father’s face, Bran thought, and donned the face of Lord Stark of Winterfell.”
That simple sentence does what most of the show does. It shows that Bran’s father isn’t always the stern, duty bound Lord Stark of Winterfell. He’s also a loving father.
Another minor difference is that Theon Greyjoy laughs at the most morbid things in the book. During the execution scene, Theon laughs at the decapitated head and “put his boot on the head, and kicked it away.” In the show, he did none of those things.
Direwolf Pup Scene
Very little is different. Bits of dialogue are changed and a few characters less in the show, but other than that much hasn’t been altered. In the show, Jon Snow doesn’t claim his direwolf for his own, however. That honor rests on Theon calling it “the runt of the litter.”
Great Hall Feast
The book portrayed the feast in the great hall of Winterfell following Jon and his quest to find the bottom of an ale mug. This is where the show’s narrative style is more advantageous. Game of Thrones shines when it comes to character interaction and the show has more characters interacting with each other than the book in this particular scene. Point goes to the show.
Different approaches to the narrative
The first big branch from the book comes 18 minutes into the episode. After the direwolfs are adopted by the Starks, it cuts away to a beautiful scene of King’s Landing. In the books, we don’t travel to King’s Landing that quickly. First there’s an interaction with Cat and Ned in Winterfell’s godswood. The chapter follows Cat as her character is fleshed out a bit more. We’re told that she is a Tully from Riverrun and that they don’t worship the old gods like the Starks still do. This sets up the lore. It also sets up the lore behind Brandon the Builder, the First Men, and the woods having faces carved into them. Cat and Ned share some dialogue about the children and their newly adopted pets. They also talk about the growing number of deserters. Cat delivers the news about Jon Arryn dying and that the King and his entourage are traveling for Winterfell. This scene is shown in the show only after the King’s Landing scene.
In the show, Ned and Cat don’t share that much dialogue. They don’t discuss the children. Cat skips right to showing Ned the message they’d received from the King.
The book takes an interesting turn. It changes narrative and goes to Daenerys (Dany) and her story. Dany and her brother Viserys are exiled Targaryens. Their family used to rule the Seven Kingdoms and all that jazz. Viserys wants to retake the Iron Throne and is going to wed off his sister in order to acquire an army of Dothraki in order to do it.
Going back to the show, this scene in King’s Landing is not shown in the book. It starts with the bells of the Sept ringing and the funeral of Jon Arryn, Hand of the King taking place. This is also the first time you see the Iron Throne. This is also the first time we’re introduced to twins Jaime and Cersei. Soon enough, we find out through dialogue that Arryn knew something about Jaime and Cersei.
So, before I say anything else, I know that the show is made by HBO. I also know that sex and violence sell. But, there’s a scene with Theon, Jon, and Robb and their all shirtless. Theon and Robb talk about getting shaved for the queen. They also talk about the prince, as said by Theon, getting to “stab” southern girls with his “royal prick.” That’s the whole point of the scene. Point to the book for not including this because it adds absolutely nothing to the plot.
The first time we see Tyrion, Jaime and Cersei’s brother, in the show is when he’s with a prostitute. Such a great character and the first we see is him drinking and receiving a sexual act. In the book, we see Tyrion entering the Winterfell great hall and we’re given a description. The first actual interaction with Tyrion is with Jon Snow. Tyrion gives Jon some good advice. In the books, he’s not the whoring, drunk that the television show portrays him as. It’s truly a shame, but like I said, it’s HBO. Now, in all fairness to the show this portrayal sets Tyrion on a moral low note in order to build him up in later episodes. But still, I don’t like the show’s version.
There is a lot of nudity in this episode. Ninety percent of it is not needed, but there is one scene that warrants it. That scene is with Dany and Viserys. He’s inspecting her body and you see her breasts. In the book we see Viserys and his cruel nature as he twists one of his sister’s nipples. We don’t see that in the show.
Interesting thing to note when it comes to nudity. In the book, Cat and Ned are naked when Maester Luwin comes with news from Cat’s sister. Ned dons a robe, but Cat doesn’t mind that she is naked in the Maester’s presence stating “Maester Luwin has delivered all my children” and “this is no time for false modesty.” I find it funny that the show will show young women naked, but not an older lady when the book allows it.
One last bit about the sexual content in this episode. It deals with the difference in the consummation of Dany and Drogo’s marriage. In the book, it appears to be consensual. Dany objects, but then consents after a bit of foreplay. In the show though, it’s anything but consensual. In the book, it’s written romantically, and you can tell that it’s the start of an honest romance. In the show, Drogo is forcing himself on a crying Dany.
As far as narrative, much has stayed the same. Plot points in both book and show are still there. However, the television show takes a more linear style. Instead of bouncing around to different characters in different parts of the world like the book, the show sticks with locations more than people. The exclusions to this are when Robert mentions in the crypts that there are still Targaryens left in the world. The narrative then shifts over to Pentos with Dany and Viserys as detailed above.
Unfortunately, this is Book vs Film. There has to be a winner. The show and book are parallel in almost every way. The book has an advantage because there is more lore and detail in every section that the show cannot possibly portray. The show also has too much sexual content that detracts from the overall story and plot. The thing that sticks out over the book are the character interactions. Jaime and Ned talking to each other during the feast. King Robert berating Queen Cersei when they first arrive in Winterfell. Many others that I don’t have time to detail. The actors do an impeccable job which makes the decision clear. The narrative style is also easier to digest in the show than it is in the book simply because it’s linear opposed to moving from character to character in different locations.
That being said, Episode One is better than the book.
Am I right? Am I wrong? Let me know in the comments below. Make sure to follow my website to find out what I thought about the other episodes!
If I had to define my writing style, I’d have to say that I’m a “pantser.” If you’ve never heard that term before, it means to write by the seat of your pants. If you’re still confused, it means to typically write without having things planned out. A “plotter” is someone that typically writes only after fully plotting the story out. While there’s nothing wrong with either types of writing style, I have to wonder about the significance of story and plot when considering the “pantser” and “plotter” writing styles. If a “pantser” writes by the seat of his/her pants, then where does the plot factor in? Is there even a plot?
Well, duh, plot still exists within your work regardless if you detail every little thing. While moving around some things in my office, I came upon some of my old college text books. When I was in college, I would sell back the books that weren’t in my major and would keep all the text books that were associated with English and writing. One book in particular, “Imaginative Writing: The Elements of Craft” written by Janet Burroway, had me opening it to this definition:
“Humphry House, in his commentaries on Aristotle, defines story as everything the reader needs to know to make coherent sense of the plot, and plot as the particular portion of the story the author chooses to present – the “present tense” of the narrative.”
Look, I know what you’re thinking. Who is Humphry House? Believe me, I was wondering that myself. After searching the reputable site Wikipedia for a while, I found absolutely nothing. How disappointing. After googling the name, I found that he was a “pioneer of modern literary-historical scholarship of Dickens, a popular teacher at both Oxford and Cambridge, and frequent presenter of talks on the BBC.” He sounds like a cool dude. But what does Burroway and House mean?
Simply put, the plot is absolutely everything you wish to present in your book. Your main character might be left handed (shout out to those that are) or maybe has a restriction to only one cup of coffee a day. However, it’s your decision as the author whether to allow the reader to see those details.
I know that’s hard to understand. Frankly, I think it’s sort of weird too. I mean… how do you just have one cup of coffee a day? There are people out there that do… you know who you are.
So what is the use of story if we know plot is what is presented to the reader? Going back to House and Burroway, we know that story is everything the reader needs to understand the plot. If your main character’s coffee restriction doesn’t play into the events of your book, is that detail something that should be presented to the reader? Maybe yes, maybe not. The detail could be served to create more character depth. Quirky behaviors and other details like coffee restrictions serve to create a fleshed-out character. People that have similar coffee restrictions might feel connected to the character. However, if you do write in that quirky detail, then make sure to either have it connected into the story or not play into it too much.
Now that I’ve explained just a tiny bit about what House and Burroway say about story and plot, how does that effect the writing styles of “pantsing” and “plotting?” Obviously, if you’re one that plots every little detail in your work then it doesn’t really affect you. If you’re like me and don’t do a lot of planning, does it really effect you?
I’ve always looked to Stephen King when I needed author advise. I mean, not personally because he doesn’t know we’re really good friends. We are though, he just won’t acknowledge it in public. Or in all my emails to him. King says “come to a book as you would come to an unexplored land. Come without a map. Explore it, and draw your own map… a book is like a pump. It gives nothing unless first you give to it.”
When I first began to write, I would interpret this as King being a pantser with no plot. Having matured as an author, I’ve come to realize that the unexplored land is the entire world inside of the book. The parts of the land that are explored is the plot, the parts that are presented to the reader. The story would be the tools that are used to explore that land.
I used to abhor plotting my work and relished in the fact that I plotted nothing. Now I understand that plot and story go hand in hand. You can’t have one without the other. Next week I plan to continue the idea of how story and plot are woven together to form a cohesive story.
At least, that’s what I’m plotting.
I only picked up this book because of the Netflix film, of the same name. I’d seen the film and thoroughly enjoyed it. Having seen the Netflix film, I knew what I was getting into when I started the debut novel written by Josh Malerman. Having said that, I’m glad I picked it up. Both versions of the story are equally great.
The story begins with the main character, Malorie, standing in the kitchen thinking. It’s been four years since the apocalyptic event that swept across the earth killing untold millions. What follows is a forty-three chapter game of tennis. Malerman switches from the present to the past almost every chapter. In the present, Malorie is gearing up to travel on the river with her two children, Boy and Girl. The destination is a promise of a safe place from the insanity inducing creatures. In the flashbacks, the reader gets the full story of why Malorie is alone and why she has two children of the same age with her.
This is one of the charms of the novel because when a chapter ends, it’s typically a cliff hanger and the reader won’t figure out what happens until a few chapters later. There were moments when I would reach the end of a chapter, look at the clock knowing I need to be somewhere, but couldn’t wait so I continued reading.
Another charming thing that Malerman does in his novel is never show the monster. The apocalyptic event is this creature that causes insanity in those that view it. So, reasonably, the reader never gets even the hint of a description other than it might smell bad. Even when the characters see the creatures, they don’t see the creature. For some writers, that might be a hindrance, but for Malerman he writes it really well. The way characters live in the world where vision is a danger, they wear blindfolds. This natural isolation makes even a leaf falling on the characters shoulder spooky. Is it a leaf? Is it a crazy person taunting the character? Is it the creatures? The characters don’t know and that’s when their imagination is the enemy. Even though it’s a leaf or a random twig breaking is intense to a reader because they don’t know either. They are, literally, in the dark like the characters.
The one thing that bugged me about the story was the lack of technology it employed. Presumably set in 2014 when Malerman wrote it, there isn’t much use of technology. Characters use phone books to call numbers using a landline. They don’t access the internet even though their power is still on. There is no GPS and the characters have to use mileage on their cars to judge distance. It felt like I had picked up a book from the early 1990’s. Which isn’t a bad thing, but for younger readers it may not be a relatable literary experience.
Bird Box is an interesting tale of survival and what a mother would do to protect herself and her two children. It’s an intense novel that’s a true page turner. Even though you know the fates of the characters, you’ll be cheering for the ill-fated characters during the flashback chapters. If you’ve never seen the Netflix film, give it a watch because it’s really pretty good. If you’ve never read the novel written by Josh Malerman, give it a read because it’s equally as good.
If you want to read an apocalyptic novel that doesn’t include the normal amount of blood and gore that is commonplace in most books of this genre, Bird Boxis the novel for you.
Last Saturday, I was at the weekly Bible Study and one of my friends asked me a question. Some of you might already be saying, “Stop right there. You’ve got friends?” To which I would respond, “Why yes, I keep them in my basement that way they can never leave me.”
Hopefully you all know I’m joking right? I’d never kidnap my friends and keep them locked away in my basement. That’s what my garage is for after all.
Joking aside, my friend also happens to be a copyeditor and asked how one would expand into the world of book editing. I told my friend that question would make for a novel idea for Mastering the Craft (Pause for laughter to subside).
So I did some research and here are my findings about how to break into the novel editing biz.
Some of you might not know that I have edited a few books for other authors. I’m currently editing one for Burning Willow Press, the home of my own books. The first tip I have is this: get some writing of your own out there so employers can see the quality of your writing. This will show them that you know how to write character arcs, build tension, craft a scene, write dialogue. You know, the basics of storytelling. If you don’t know how to write a story, you shouldn’t expect employers to hire you to edit a story.
If you don’t want to wait to get a story published, then the easiest way is to place it on your own personal website. Having your own website is a great way to market yourself. A good freelance editor’s page should include your experience, qualifications, prices, testimonials, and any other piece of information that would sway your potential employers to hire you. If you’re looking for a good example, check out http://www.thejohnfox.com.
Once you have your website up and running, it’s time to build up your social media presence (if it’s not already). Having an account on Instagram, Twitter, Facebook, Goodreads, Amazon Author Page, and LinkedIn will be your primary way of networking with not only potential employers, but also with other editors. Don’t think of other editors as enemies, think of them as resources. If you’re new to the business, reach out and ask them for advice. They were once in your shoes (maybe they still are).
Now, here’s the biggest piece of advice in terms of social media and your website. Maintain and update them as much as possible. If a potential client finds his/her way onto your site and the last post is from a year ago, it’s not going to make them get excited about hiring you. It doesn’t necessarily have to be about your business. People love seeing posts about your pets, your newest video game addiction, what you’re reading, what you’re writing, and just life in general.
Join in on internet book release parties. Authors typically have Facebook events to promote their latest releases. During those releases there’s normally what’s called “Author Take Over Events” where authors or others in the business take over for a time slot (typically half hour or hour periods of time). Hosting such a time slot is an excellent way to network. You could also have contests and give away editorial discounts. This might entice an author to hire you simply because your services are now cheaper. Remember, indie authors don’t get paid the same as Stephen King and James Patterson.
Having a bachelor’s degree in English, Journalism, Communications, or some other related concentration is advised. This shows the potential client that you’ve received formal training and should have a grasp on editing. However, if you don’t have the time/money to go to college then you can always receive informal training that may help to even the scales. Go check out your local library and see if they offer online courses like Lynda.com and Gale Courses. My library does and they’re free (at least at my library) to those that have a library card. Even if you’re a college graduate, sharpening your skills is never a bad thing. I’m taking an editing class through the library this March.
Along those lines of education, make sure you have knowledge of Microsoft Publisher and/or Adobe InDesign. They’re not absolutely necessary, but they’re a good bonus to have. Also, get some firsthand experience with Microsoft Word, specifically the Track Changes function. Most publishers now a days require you to have Office 365 and use Track Changes. But hey, look on the upside. That subscription to Office 365 is now tax deductible since you’re purchasing it for your new editing business!
The very last thing I can suggest to you, my friend, and all those others that consider the glamourous life of a novel editor. Focus on getting that first client. After that, focus on performing a good job. Bad reputations can cripple a career. Bad reviews are always easier to spread than good ones. When you do get good feedback from your client, ask for a short testimonial to put on your site. Wear it as a badge of honor.
Above all else, have fun. It’s always been my opinion that you should never spend your life at a career that you despise.
On Saturday, Feb. 2, my third book is being released by Burning Willow Press, LLC (BWP). They are a phenomenal company that cares about the quality of the books they publish. It can be purchased at a variety of places, but if you search “The Book of Ashley, James Master” on Amazon.com you’ll find it easily. Enough of the shameless promotion though.
I watched a video of Steve Harvey while hiding inside my home during the polar vortex on Wednesday. He talked about how you should follow your gift and not your passion.
“All of you have this gift, identify it. It’s the thing that you do the absolute best with the least amount of effort. That’s what you should be doing. You’re wasting your time pursuing your passion,” Harvey said.
If I’d watch this video a few years ago, I probably wouldn’t have understood this message. Up until a few years ago, my passion was playing video games. I’d spend hours playing them, didn’t matter what game it was. Admittedly, I was pretty terrible at esports or other competitive video games. That ruled out playing video games on a professional level. I was terrible at computer programming, ruling out creating video games.
I spent so much time and money trying to follow my passion instead of following my gift. Making the choice to follow my gift, my life has been changed. I have a better paying job, several published works, and an interesting side job with a really great publishing company.
Some of you may be thinking, “but Jim, don’t you work for BWP? Doesn’t that make you biased?” The answer is… sure, maybe a little. For full disclosure, I will state for the record that I am a contracted author for seven books with BWP as well as an editor for them. I also work in the submissions department which typically entails reading submissions and giving my opinion on whether they would be a good fit underneath the BWP umbrella.
Having said all of that, I don’t believe that it would change my view on the publishing company. If anything, this relationship has strengthened my view on BWP. If you ever get a chance to talk with Edd Sowder, VP of the company, you’ll come to the same conclusion I’ve reached. This man loves four things: his wife Kindra (author and BWP President), his company, his coffee, and his authors. You can typically find Edd on the Writer Imperfect Twitch stream that airs Monday, Wednesday, and Friday. If you don’t watch Twitch or don’t know what that is, then go to YouTube and search Writer Imperfect with Joshua Robertson.
Enough about Burning Willow Press, LLC though. Let’s talk about my newest release. For those that might be interested, The Book of Ashley is the third book in my series, The Soul Eater Chronicles. The whole series is based around demons, monsters, and the holy crusader that stands against the darkness. When people ask me what kind of genre the series falls in, I typically call it “Religious Horror.” Basically, if you like monsters, demons, and books about good fighting against evil then these books might be for you.
This will be the third book I’ve had published. I’ve also had three short stories that I’ve had published in anthologies. All of them with BWP. Every time I publish something, there’s this triumphant feeling of accomplishment. It’s a feeling I’ve never experienced while playing video games.
I know that last week’s rant might have seemed like I didn’t exactly like my profession. Which is totally the opposite. I do not regret one word that I’ve written in the last five years of being a news writer/author. I am so grateful to be doing what I’m doing for a living. There’s nothing else I could possibly see myself doing. Well, maybe I’d be doing something in the dining service/gas station arena. I sure wouldn’t like it, whatever it would be.
“A writer is a writer not because she writes well and easily, because she has amazing talent, or because everything she does is golden. A writer is a writer because, even when there is no hope, even when nothing you do shows any sign of promise, you keep writing anyway,” said Junot Diaz, professor of writing and winner of the Pulitzer Prize for Fiction in 2008.
Even if I was still working in a gas station or as a supervisor of a café at a college, I’d still be a writer. Even if I received rejection after rejection, I’d still be a writer. Even if I had absolutely zero training in the craft, I’d still be a writer. Even if I lived in Michigan, I’d still be a writer (because if I lived there, I’d need something to take my mind off the fact that I lived in Michigan).
Identify your gift and follow it. It doesn’t mean that you must abandon your passion. I still play video games, but I’m not focusing my time on it.
Ken Liu writes an interesting anthology of tales that center around the myth of Luke Skywalker. The story is centered around some passengers on a transport barge on its way to Canto Bight. If you’ve seen the film Star Wars Episode VIII: The Last Jedi (2017) then this destination will be familiar. In fact, it really shouldn’t be a surprise because the book is included in part of the “Journey to Star Wars: The Last Jedi.”
To pass the time, the passengers tell tales of Jedi Master Luke Skywalker. This novel falls between Episode VI and Episode VIII as far as the timeline.
The first thing that I enjoyed about this book is the structure in which it was made. There are six stories about the Jedi Master with interludes in between. Also, the edition I read had fully colored illustrations of the story about to be told that were beautifully drawn by J.G. Jones.
The next thing that I enjoyed about the book was the fact that not all tales about Luke were true. Told by many different characters, the tales of Luke and the Rebellion vary from being saviors of the galaxy to just a bunch of con artists as told in the short story “The Myth Buster.”
If you’re a fan of Star Wars but have never really delved into the cannon/non-cannon books, then this one might be the one to try out. This book is considered cannon, but like I said earlier don’t really count on the legitimacy of what’s being said about Luke Skywalker.
Overall, the book is great in terms of writing. Author Ken Liu does an amazing job crafting these stories and making each sound different in terms of the tones of the narrator that’s telling them. My favorite story is at the very end. It’s titled “Big Inside” and is about Luke and the narrator being trapped in the belly of gigantic monster. In order to get out, Luke and the narrator must accept the sacrifice from another trapped group. “Big Inside” contains the most wisdom in the anthology stating that:
“It was one thing to sacrifice yourself for something you believed in, but how much heavier was the burden of accepting someone else’s sacrifice?”
The genius of this concept for a Star Wars book is that since each story is told by different people, nothing can be considered “true” even if Luke did the things that he did in the book. The writing trick of “the unreliable narrator” is used here to make the reader ponder what really happened in each tale.
As far as what I didn’t like about the book, there wasn’t much. If I had to nitpick and find one negative in this book of positives, then I would have to say that one of the stories dragged on and didn’t really capture my attention. “The Tale of Lugubrious Mote” was about the true brains behind the comedic genius in Jabba the Hutt’s palace. That story didn’t quite accelerate until Luke showed up which wasn’t until thirteen pages into the story.
This book can be read by children of all ages. As far as swear words, I didn’t catch any. If you’re looking for a Star Wars book that doesn’t really add to the canon of the films, but does provide some good tales to read then The Legends of Luke Skywalkerwritten by Ken Liu is your book.
If you’re wondering whether or not to purchase the book in hardback or ebook, I would recommend hardback. There is not a book sleeve on it and therefore is just a glossy cover, but the book is extremely durable and has a great feel to it.