Kureshi Ironclaw

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  1. Yeah Jordan definitely does a lot of the other type and I'm picking up on more of it in my current WoT reread. I'd hesitate to call it 'Sanderson style' foreshadowing as I don't think I could definitively attribute it to him. I think it's potentially more accurate to call it a 'modern' style of foreshadowing, but I don't have a lot of sources to support that. It just seems to correlate more with how foreshadowing is delivered in the current day as opposed to in stories from the last century and before. I'm talking even back to gothic/victorian era literature and myths where dreams and visions seemed to be a primary vehicle of foreshadowing; though again I don't have a bunch of sources. Have you looked at the foreshadowing in Lord of the Rings at all? I'd be curious to see how Tolkien's style matches up to Jordan and Sanderson and whether that shows any trends in the prevalence of different types of foreshadowing in fantasy.
  2. I actually find the foreshadowing through visions and stuff in Wheel of Time (and other stories) to be a bit trite or on the nose. Most of the time they're just vague pieces of symbolic imagery that don't actually give enough information to use actively in riddling out future events. The scene they relate to simply happens and I usually just go "huh, well I guess the author used an outline, good job", but I don't feel as involved with it as much with Sanderson style foreshadowing where you gradually get pieces of information that eventually come together with a punch. I think part of the subtle difference between those two styles is that those visions (when they're not so on the nose that they give away future events completely) only foreshadow that an event IS going to happen in the book, as opposed to the other style which gives you the information to piece together WHAT is going to happen. The issue I have with the first is that it's unnecessary to foreshadow that something is going to happen. It's a story; of course something is going to happen. And knowing enough about how stories are structured means I know pretty much when in the book something is going to happen so it makes it redundant. Which is not to say I think Jordan's foreshadowing is bad, he does plenty of stuff beyond the visions that I really enjoy. My favourite piece of foreshadowing in all of WoT was that Mat would give up half the light of the world to save the world, because it was a riddle I could work on puzzling out before the Tower of Genjei sequence occurred.
  3. Interestingly enough it's the fact that I see so much of myself reflected in Jasnah that I'm not as interested in her as other characters. In this way I relate to @HSuperLee saying her character feels sort of 'obvious', but that is mostly because she doesn't challenge my worldview in the same way other characters that I feel less ethically/intellectually aligned with do. I have enormous respect for her, and I LOVE her reforms to Alethi culture, but I don't find her that compelling to read at this stage. I think we are still in the stages of getting to know her though and once Brandon allows us too see more from her POV she will become truly fascinating. My favourite moments from her so far have been the moments when we see the cracks beginning to show in her, and also the moments of her extreme pragmatism that for me come across with a sense of unease. I'm interested in truly seeing her come face to face with the ramifications of her highly utilitarian ethics. We saw a little bit of that with Renarin, but I also want to see situations where she makes the 'wrong' choice and has to deal with the costs of it. I think a situation like that would truly challenge her and either force her to change herself or stand by herself. Either option is hugely compelling to me, and really comes down to what sort of message Brandon wants to convey about her worldview.
  4. I recall that he posted a breakdown of how he structures stormlight books on either reddit or his newsletter. I found it pretty interesting, but I'm not sure how to find it again.
  5. I loved them back when I was in high school and Wise Man's Fear was my favourite book of all time. But I've reread them as an adult and they fell pretty flat for me. I think that I relate to Kvothe far less now than I did back then. At this stage I have very little hype for the next book. I'll read it when(if) it comes out, but I'm not that excited for it. Haha yes
  6. Thanks, the cucumber consistently makes me laugh too. I did some digging for some more, but didn't find any with Dorian and Eiten that worked without the context of entire chapters dealing with their dynamic. Here are some others though.
  7. This is a fun idea. I have trouble removing things from context because I like to lay setup for a while before delivering a punchline, but here are some (I think) funny moments that work pretty well without setup. If you like my jokes I will go digging for more, and potentially find motivation to write some new ones.
  8. It depends how you weight each POV. Nine equally weighted POVs rotating on a chapter by chapter basis probably isn't going to work because the pacing will feel like its resetting each time you switch POVs, especially towards the beginning of the book when you're trying to establish the characters. A better way to weight it would be to have 1-3 primary POVs that have the greatest interaction with the plot and the majority of chapters, then a few secondary POVs that have a chapter or scene here and there to show things that the primary POVs can't, and finally some auxiliary POVs which are usually one off scenes from a character's perspective to show the reader something plot important that the main cast isn't around for, usually to raise the stakes. You can get away with having more auxiliary POVs because they are usually shorter, action oriented scenes where you don't need to do deep characterization to give the reader any lasting connection to the character. This sort of breakdown gives you the time to give your primary POVs complete and satisfying on-screen arcs within a reasonable word count, while being able to show snippets of arcs for the secondary characters. If you try to do 9 equally weighted character arcs you'll either end up with a ridiculously long book, or a book that doesn't have time to explore any characters in depth. This is the approach Brandon uses to manage his large casts. It's important to remember that a character doesn't need to be a POV character to have an impact on the story and be well characterized. Think about how most first person novels are from a single POV but can still have a large cast of loveable characters. For an example of the above breakdown, my book which is about 300k words has two primary POVs which have around 55 scenes each that are roughly 2k-3k words long. There are three secondary POVs that have about 20 scenes each, then 10 auxiliary POVs that usually only have one very short scene. There are main characters that get a lot of screen time but are never POV characters, but that doesn't lessen their impact on the story. None of these are hard and fast rules though. It is a lot of fun to write different POVs and that's the reason my book has so many throwaway auxiliary POVs. There are plenty of authors that head-hop a bunch through large casts and make it work, so do what you want to do.
  9. I guess a mixture of both. I'm using some horror elements but I'm not trying to make it totally terrifying.
  10. Thankyou!
  11. I recently rewrote a short story I'd originally written in high school with the intention of making the rewritten version the new prologue to my novel, Prophecy of the Vengeful. I found it interesting how much my writing has changed and improved, so wanted to make a thread showing a comparison between the two and encourage other writers to do the same. I'll post both versions and do a little breakdown of what things I decided to change, then hopefully you guys will give feedback about what you like and share something of your own. The point of this is to reflect on how our writing has evolved and show that even if practice doesn't make perfect, it makes better. So here it is, probably seven years old now, The Field of Flame. (Disclaimer: this was written with a 1000 word limit for a local writing comp, but I doubt being allowed to use more words would have made it any better) And here is the new version, written and edited over the course of the last few days. No word limit this time. I don't think I could have done it within the same word limit. (Pasting messed up the paragraphs but I hope it is still readable) Woah boy, a lot has changed. Let's start with what I decided to keep. Aside from obvious aesthetic elements and plot beats from it being the same scene, there wasn't much I really wanted to keep aside from some key pieces of dialogue and some descriptions that I liked. Still, my prose is clunky in the original and I reworded what I did keep to make it all flow better. Onto differences. My focus for the rewrite was largely on characterization, which was something I was very inexperienced at seven years ago but consider myself fairly capable with now. I wanted to really pull the reader into Rybeth's head and use that to ground the entire scene. As a result of being firmly within Rybeth's head the gods also have more human characterization, and the attempt at an epic and lofty tone in the original was replaced by one much realer and grittier - much more in line with my current style. I spent further time to develop the chemistry between Rybeth and Daena, and to set up characters that have an impact in the later story. Without really needing to be conscious of it, my writing became more show-y instead of tell-y and this expanded the word count dramatically. The sequence with Rybeth moving through the battle was a function of showing the battle and having Rybeth intimately interact with it rather than observe it. It also gave me the opportunity to raise the stakes by having Daena injured. I think there is a bigger sense of urgency because of this. The Deus ex Machina involving Faelioc is an issue from the original that carries into the rewrite, but it is a moment that is canon to the world so I saw it more as a limitation that I had to make work. The first fix was to add a little bit of foreshadowing so the audience was at least partly aware that Faelioc existed before he appeared. The second fix was that Rybeth's character arc for this scene isn't complete when Damoc is defeated, so the scene could not end at that moment like it did in the original (though it ended there mostly because of the word limit in the original). Damoc's defeat ends the central conflict, but Rybeth's arc is not complete until he convinces Jezioc to leave during the denouement, because his motivation from the beginning was always to be rid of the gods. Hopefully this makes the scene's resolution a bit more satisfying. If it doesn't, let me know. I'll try to fix it. That's all the significant stuff I can think of at the moment, but I'd like to mention some things I don't love about the rewrite compared to the original. The biggest thing is that the rewrite is long. I like the flow of it as a whole, but it is very long for a prologue that is mostly full of characters that are rarely seen in the later story. Another thing is that I'm worried the denouement is too long, though it is the part of the scene most full of important setup for the later story; the early stuff with the battle is mostly spectacle to set the tone. Perhaps I should have tried harder to mix the spectacle with the setup. I think that's all I can manage right now. It would be awesome if some other people could post something similar to this. Perhaps give rewriting an old scene a try; it doesn't have to be as long as this, maybe just a page of two. You'll be surprised by how much you have improved.
  12. Nice stuff! I like it a lot. Highlights for me are the way you write dialogue. I think you're really good at conveying plot, setting and character through the dialogue. I think you could improve on your language just in the plain narrative. A few of your descriptions of character actions are a tad passive and could be improved so they do just as much heavy lifting as your dialogue. Good job!
  13. I performed a song in my graduating recital that I wrote about Words of Radiance, called The Storm Lights My Way. Basically I liked the way bands like Blind Guardian had lyrics about fantasy books but I couldn't find any about the cosmere so I decided to write my own.
  14. Thankyou! If you want, I can DM you a copy of Prophecy of the Vengeful.
  15. My first introduction to fantasy was Emily Rodda's Deltora Quest books. I was obsessed with those and they were the first things that inspired me to start creating worlds. After that Eragon was a massive part of my childhood, I think the Inheritance Cycle books were being released at the perfect time for my gradual maturing as a reader. I also read a lot of Garth Nix, starting with the Keys to the Kingdom series and then moving to the Old Kingdom later. I haven't read any of these books again as an adult and I don't think I want to. I'm a much more critical reader now and I want to keep the magic of those books in my memory.