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What are you writing about now?

A merism is when you don't say the word or phrase that means what you are talking about. Instead you name all of its parts. This wedding vow is chock full of merism: "to have and to hold from this day forward, for better for worse, for richer for poorer, in sickness and in health, ... till death do us part" etc. You could toss out all that bolded text and it would mean the same. But it wouldn't be as interesting and it wouldn't be as descriptive, either.

A blazon is a merism that's gone off the deep end. Imagine a love poem where the poet enumerates each of their love's body parts and compares them in turn to rubies, peaches, ad nauseum. If not horribly overdone it can be quite memorable, though, and not in a bad way.

Synaesthesia mixes different senses in the same description. For example, colours are described as smells, smells as sounds, sounds as tastes, etc. Examples include: a harmonious colour scheme, colours being loud, melodies can be bright, one can have a gravelly voice (touch and sound mixed up), and so on.
 
I don't know how much I can say without spoiling the whole plot honestly.

As I've said before, it is a somewhat apocalyptic world, flavored with necromancy and undead.

I wanted to add elves and dwarves too, bringing it closer to my own favorite genre, High Fantasy. But I couldn't find a way to connect them to my world without getting too far from my plot.
So, instead of elves or dwarves, I have fairies, but not the typical ones. I've changed them to match what I needed and lacked in my world and a way for me to explain the magic. They're a little like a mixture of Tolkien's Valar and elves, being looked upon as deities by men, but they're more humane than men realize.

None of my main characters are fairies so far, but again, I've just started, so it can change at any point.

The scene I'm writing now is the first scene of chapter 1, where my main character meets my supporting female character for the first time.


I'm planning for this to be a trilogy, hopefully, because knowing myself, I can't summarize a plot this big in one book. The place where I'm thinking of being my first cliffhanger is almost a third of the whole plot, but I don't have enough content to fill the gap between the first chapter and this scene. I'm hoping they will come to me when they should.
 
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I don't know how much I can say without spoiling the whole plot honestly.

As I've said before, it is a somewhat apocalyptic world, flavored with necromancy and undead.

I wanted to add elves and dwarves too, bringing it closer to my own favorite genre, High Fantasy. But I couldn't find a way to connect them to my world without getting too far from my plot.
So, instead of elves or dwarves, I have fairies, but not the typical ones. I've changed them to match what I needed and lacked in my world and a way for me to explain the magic. They're a little like a mixture of Tolkien's Valar and elves, being looked upon as deities by men, but they're more humane than men realize.

None of my main characters are fairies so far, but again, I've just started, so it can change at any point.

The scene I'm writing now is the first scene of chapter 1, where my main character meets my supporting female character for the first time.


I'm planning for this to be a trilogy, hopefully, because knowing myself, I can't summarize a plot this big in one book. The place where I'm thinking of being my first cliffhanger is almost a third of the whole plot, but I don't have enough content to fill the gap between the first chapter and this scene. I'm hoping they will come to me when they should.
I had a screen play idea that sat fallow for over 20 years because I had a great idea and first paragraph, and couldn't figure out the innards of the story.

The Fabula Deck from Sefirot was EXTREMELY helpful in breaking that mental log jam.
 
As I've said before, it is a somewhat apocalyptic world, flavored with necromancy and undead.
That definitely sounds like a different take on typical high fantasy, and I'm excited to see where you'll go with it!

So, instead of elves or dwarves, I have fairies, but not the typical ones. I've changed them to match what I needed and lacked in my world and a way for me to explain the magic.
Fairies can mean just about anything, so I get what you mean. In some mythology and folklore, they're the cute, pretty, tiny nature spirits. In others, they're trickster spirits or sometimes almost demonic. I would highly recommend reading Tolkien's essay "On Fairy Stories" which is really just about the fantasy genre and mythology as a whole. In it, he describes "Faerie" as not even just a magical creature, but more of that Other Place a fantasy book takes you to. Faerie is a world full of danger, adventure, and magic. It's really quite fascinating.

I'm planning for this to be a trilogy, hopefully, because knowing myself, I can't summarize a plot this big in one book. The place where I'm thinking of being my first cliffhanger is almost a third of the whole plot, but I don't have enough content to fill the gap between the first chapter and this scene. I'm hoping they will come to me when they should.
My advice to you, as someone who has worked on fantasy for the past 13 years, is not to worry too much about whether or not it will be a single book or a trilogy or a series or whatever. I don't even know if my book will be a single book or a trilogy, and I finished my first draft and had beta readers read it and am now editing! A fantasy novel takes a toooooon of time to develop. Like I said, 13 years of work on my book and it's still nowhere near done. Though in all fairness, I scrapped the work entirely in 2017 or 2018 and started over. But I kept my main characters and world. It takes so much time to think about all the things you need to put in a fantasy world. So just focus on developing a little more and writing a little regularly and it will come together eventually.
 
I would highly recommend reading Tolkien's essay "On Fairy Stories" which is really just about the fantasy genre and mythology as a whole. In it, he describes "Faerie" as not even just a magical creature, but more of that Other Place a fantasy book takes you to. Faerie is a world full of danger, adventure, and magic. It's really quite fascinating.
While I have not read this essay, I have my own example of Tolkien's land of Faerie in the story The Smith of Wootton Major(I think that's how it's spelled). That story made my heart ache with such a homesickness it made me weep. Still does every time.
 
Resuming work on my tale of Amandil. I've left it hanging a long time, and I don't want to forget about it. I still have a lot of work to do to make it worth publishing, anyway.

There's so much to consider about the perspectives of those who lived under Sauron's rule during his years of power. Amandil will come into contact with many of these on his journey to fulfil the mission given him by Ulmo(I don't remember if I've talked about that part before or not...) and a major part of his story will be contained in his interactions with these people. They will hold the key to both his downfall and his rise from shame.

And now I am off to lay out the steps of his journey for him.
 
I wrote the opening chapter of Volume I some 30 years ago. I was very proud of it then. As I've learned more about the craft of writing, I've become more and more unhappy with it. It needed a rewrite. The story it contained was excellent, but the writing needed to be better.

I just finished re-writing it and editing it. I'm much happier with it now. It's much more readable. It flows better. There's less repetition in word choices. And, as a bonus, I'm using the correct verb tenses instead of inadvertently switching between them!

Progress!
 
Just finished the chapter! It leads into the next, already partially written chapter quite nicely.

It provides evidence of several things without explaining them. So the readers will know something is up but not all of it.
  • They learn that our heroine is heroic by nature but has something she does not want to discuss or wishes to hide, something that happened during her brief captivity by Olgfaen.
  • That she has a new love interest in someone that key elves know about, and they don't want that love to succeed. But not why. What's more, they've been actively keeping the two apart even before our heroine met her knew love interest.
  • That those key elves know something about our heroine's parentage that she doesn't know.
  • Popped in a song I wrote decades ago that was part of this story. It was about a dwarven friend and companion of hers and their shared exploit against a troll. It becomes important in Volume II.
  • Set the stage for why she's so determined to strike back at Olgfaen, which she does in the next chapter. (The next chapter reveals why he becomes so determined to strike back at her in a variety of hellish ways.)
 
I'm finishing up the 2nd draft of the chapter. I re-read the first draft. Several scenes felt flat. They lacked the verve they need.

So, I re-wrote those portions and fixed a few small continuity or action-transition errors. I've done a pass through Grammarly to catch grammar issues and unwieldy sentences, and fixed those.


I've also been able to pack a few more salient facts into the chapter. I'm listing those plus a few that were already there but which I didn't mention in my last post.

Forgot to mention this scene is set in 3rd Age 1389 in Eriador. The scene is described in a letter from Elrond to Galadriel.

  • Elrond writes to Galadriel and includes family news. (He's her son-in-law.) He doesn't address it to her by name or mention their relationship (besides friendship) in any way, shape, or fashion. The letter is addressed to "The Lady of the Seaward Tower" in Lond Ernil, the name of Dol Amroth at this time in Middle-earth's history.
  • It's clear that he and Galadriel had met our heroine in the past, at a time when she was gravely injured or ill from some malady. (The details are not mentioned as both parties already know them.)
  • It's also clear that our heroine has no knowledge of ever meeting or seeing Elrond before as she mentions how honoured she is to meet him.
  • That our heroine's new elven man-at-arms is smitten with love for her and she has no clue.
  • That our heroine is unpretentious, charming, and was befriended by Arwen because of that. (And, like all visitors to RIvendell, she doesn't know Arwen's true lineage. Elrond is very protective of Arwen.)
  • That our heroine can't eat meat after her captivity. Something happened that makes her physically retch when she tries to tell that portion of the tale. We don't know exactly what, but we do know she was held in a chamber full of rotting and dismembered corpses.
Time to get back to my autocrit edit of the chapter. So far, the pacing & momentum, cliche, unnecessary filler words, generic descriptions and showing vs telling reports came up pretty clean. Each was pretty quick to fix. Still have a few more to go in the morning followed by another consistency and grammarly edit.
 
Status Report:

Volume 1, Shadow War in Middle-earthLots of progress248,000 words
Volume 2, House of Finrod in the War of the RingFinished156,000 words
Volume 3, A Long-expected MeetingStarted24,000 words

I restructured the chapters since the last report, I have many more chapters but they are smaller. (I had some monstrously long chapters beforehand!)

56 chapters are completed.
25 chapters have a solid amount of work in them
17 chapters are just stubs with a few notes, if that.
5-10 chapters will need to be added, I'm just not sure exactly where yet.

I decided to look at word count for the first three of the above 4 groups but it was more work than I decided it was worth.

I'll need to prune out some things to keep Volume I within a printable size, or split it in two. I think I'll prefer to cut material. I suppose I'll find out. :)

I have one chapter with over 16,000 words in it that will probably end up becoming about 4,000 words. That's because I originally started that material as a role-playing game aid for a Middle-earth campaign. I can pull bits of it out for a collection of short stories later, if the mood strikes me.

I have a detailed timeline and list of characters and places that's 9,000 words. That can probably be condensed to 1,000 words once the material in it is transformed into story chapters.

I've got about 5,000 words in an unstructured catch-all for story ideas. So, it will disappear as the ideas get moved into chapters.

I'm hoping I'll be able to keep the book under 250,000 words, but 275,000 to 300,000 may be more realistic. Right now it's at 627 pages, which is still smaller than A Game of Thrones at 694 pages.

That scene at Bilbo's birthday party, where he makes a comment about a hobbit wife being very prolific in having children, seems apt here.
 
An online writer's group I signed up for had someone post they were really discouraged because their opening paragraph wasn't great because it didn't establish all the necessary context. They were all hung up on this and couldn't move forward. And worse, were thinking of discarding the book idea.

This was my answer:

Don't worry about it. And write.

If it's interesting enough, your readers will read more to learn the full context.

If it's not, it doesn't matter now. What matters now is to write the book, to get the story fully developed and written down.

THEN you go back and re-arrange as needed. That's called structural editing. You fix the stuff you realize is out of order, or missing proper context, etc. THEN you do line editing for grammar and word-smithing.

And unless you're a whiz AND seasoned pro at this, you'll probably have to repeat that editing process a number of times until you're satisfied with it. (And if you're satisfied with it before all that extra editing effort, the odds are you shouldn't be.
🙂
So get editing advice.)

Keep writing.

Write it wrong. Write it right. Write it interesting. Write it boring. Write it clearly. Write it incomprehensibly. It simply doesn't matter until the editing is done.
Keep writing and then keep editing until it is right.

Hope you find that helpful!
 
The attached file has Volume I's Title Page and Table of Contents (TOC).

If a TOC entry has a Blue mark on it, that means the chapter has a lot of material written in it, but it's not yet done.
If the TOC entry has a Yellow mark on it, it's a stub with (maybe) some notes or a few paragraphs written.
Otherwise, that chapter is done.
The fact that there's a Preface to the First and Second editions in a book that hasn't even been published yet is a practical joke. If this book ever becomes really popular (Hey, people win the lottery!), it means people will want a first edition copy, but there won't be any because they're all marked as 2nd editions. You read it here first.

(Though I might actually make a few first edition copies just for fun. It remains to be seen. Hopefully, enquiring minds will one day really want to know! :)

The first major section, "The History of This Historian's History" provides an introduction to the two main characters, Carnemírië Galentíriel of Lórien and Sir Fëalin Eldarion of Gondor as they are in the middle of the story, and learn that Fëalin has lost something truly important to him, but we don't know what. It also introduces Ellotar Eldarion, Fëalin's nephew and the compiler of this history, and the mysterious person Ellotar calls «Cousin», who's dying and "knows things."

The next major section, Cold War in Arthedain, focuses on the early life of Carnemírië, her first encounter with Olgfaen (the bad guy), her second encounter that gets Olgfaen really motivated to go after her, her life as an intelligence operative for Arthedain, hints about her first love, her betrayal by a colleague, and her slavery. These are all fairly brief because Carnemírië isn't talking, and these events happened 500 to 750 years before the history was compiled. There is a lot of foreshadowing in these chapters and a good bit shouldn't be obvious at the time they're read.

The next major section, Gondor Lives (not happy with the name, but don't have a better one yet), introduces young Fëalin, who becomes a page and squire to the elven knight Voronwë Astaldo, who happens to be a dear friend of Carnemírië. (That's how Fëalin & Carnemírië first meet, but Fëalin was still very young, just a page.) It also details how Carnemírië first starts working in Gondor and makes friends with key people there.

The next major section, A Life Up-Ended, covers what happens when Carnemírië's life in thrown into turmoil. She loses her king, her welcome in her homeland, her home in Arthedain, the orphanage she founded in Arthedain, one of her best friends, and her love interest. And she's got to deal with a traitor. She goes mad for awhile and flees to lands faraway in the hopes of some relief from her inner turmoil. Makes a new friend she can't trust (but wants to, and vice-versa), finds the real love of her life, marries him, and returns to Lórien in hopes of re-establishing herself there with the new management of Galadriel and Celeborn. (Celeborn was very clear about his dislike of her, her first love interest, and the fact that she has had dwarven friends.)

The next major section, The Children of His Lies, has Olgfaen finally able to strike back at her, and he does so with a vengeance. (In both the literal and figurative sense of the word.) It's vicious, cruel, and ironic, and she and Fëalin, now a knight, are scrambling to undo as much of the damage as possible. They're partially successful, some people are rescued, some are slain but freed from sorcerous torture, and others don't survive. Several more characters join this quest and become important going forward, but that's more detail than I want to write, other than to note Elrith, a human orphan raised in the orphanage she founded, who becomes her adopted daughter. Fëalin becomes Carnemírië's Champion, which we learned about in the first chapter, but now we know why, and what he lost. Part of Olgfaen's plan is foiled, but not all of it. In the process, Carnemírië is driven mad and loses 3 years of her memories, but recovers sanity in time. The quest ends but not the friendships that were formed. Carnemírië learns the truth behind her parentage.

The next major section, The Song that Cannot Be Sung, has Olgfaen strike back hard at Fëalin, who loses his wife and children. Then he strikes back at Carnemírië with a curse that causes her to lose her ability to sing and thus use the greater arts of magic through song. It's a hard price to pay for a bard. She finds the curse holds no sway on sacred ground and makes an item to strike back at Olgfaen with. But it's not a weapon, it's a gift, and only time will tell whether it bears poisonous or healthy fruit. Her adopted daughter's son and her champion's squire are slain defending her.

The next section, A Life Re-Forged, has her passing on the news to the parents of the two young men slain in her defense (No Heavier Burden), and then her plan to become knighted in Dor-en-Ernil whilst in disguise as a human male. She's taking up new skills to overcome the loss of from Olgfaen's curse.

The next major section, Scars to Heal, has Carnemírië' return to the far south to her husband. They have a daughter, Annarael (of her body, not her adopted one) captured by the Mûmakani, brutally tortured and scarred, and subjected to a magical ritual to enslave her soul. She successfully fights back and delays the completion of the ritual (it's only partially effective) and is rescued. The family move back to NW Middle-earth.

Fëalin dies and his nephew brings word to Lórien, after beginning his history.

Anyway, that's what's up. I figure I still have about 50,000-60,000 words to write and about 25,000 words to toss.
 

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I'm still stumped on who will be telling the chapter "Love Conquers All." It's part of the back-story and an essential part of it. It would also complete the telling of the backstory, which would make me very pleased, indeed!

The chapter before it, A Change in Direction, provides the motivation for our heroine going after the bad guy.
Love Conquers All provides the motivation for the bad guy's plotting against our heroine in devious and painful ways in such a determined manner.

Love Conquers All details an intelligence operation that, by its very nature, can't be chatted about. So very few would have known of it at the time, and those people wouldn't be blabbing about it. It was designed to make other bad guys take out this bad guy by making him look like a traitor to them. It worked, but the bad guy escaped his fellow bad guys and holed up somewhere, largely toothless without his network.

Almost 600 years later, Arthedain falls to the Witch King of Angmar and the kingdom is looted. Amongst the "treasures" are official, historical records of the shadow war against Angmar conducted by Arthedain. What spy wouldn't want to learn his opposition's techniques and secrets, even if the opposition had been defeated on the battlefield? That's when they discovered the bad guy had been set up and he gets rehabilitated. Now he's looking for vengeance with a twist of admiration and attraction for a woman who could pull this off against him.

So, my options so far are:

  • Some files were saved from capture, and they are revealed to the historian now that Arthedain has fallen. The report could have been written by our heroine, her chief bodyguard, or her superior. The latter case would be a pretty cut and dried document. The other two leave out any inner turmoil our heroine felt and still be pretty cut and dried. The file could have been revealed by Aranarth, the first chieftain of the Rangers, by a surviving member of the organization she worked for, or could have been filched by the defecting former agent of the bad guy.
  • Our heroine could be explaining this relevant backstory to the fellow members of the great quest they are on to undo the bad guy's second attempt at vengeance on her. Great for personal inner turmoil and detail in the telling of the tale, but she's talking to people the reader hasn't met and doesn't know about if I tell the tale in its proper order in the story timeline. Plus, people could ask her questions.
  • I could have our heroine tell the tale during the great quest, but there's other stuff between that where the reader would better understand what's going on if they already had this info.
  • She could tell the tale directly to the historian, who could place it in its proper place in the timeline.

On the plus side, I've figured out who will tell the tale of The Princess of Morthond, a later chapter. "Dear Diary," is the starting point. I may have a few other parts related by other participants in the tale. To be honest, the tale about The Princess of Morthond doesn't really need to exist in this book. But it's a rousing good tale and my son and grandkids like it, so I want to write it up properly. It might be moved to the appendices, or just summarized in place and published separately. It kind of depends on how long it ends up!
 

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