Today I discuss the experience of writing the action climax to the book, and how I was able to solve some big problems by finding the answers within the book-to-date, including some unexpected twists. I also talk about how the Heinlein Juveniles have a bifurcated story structure in the final third of the book, why that happens, and how I accidentally emulated this feature with Hadrian’s Flight.
“How did you learn the stuff for the flying suits in Hadrian’s Flight? How to I research without losing writing time?”
We continue our journey through Hadrian’s Flight. Now we’re at the pinch point in the novel, where our main character goes from being reactive to proactive, and as a result the world changes around him.
Today I explain all about McGuffins, how they are, and how I chose my McGuffin for Hadrian’s Flight.
Today I talk about the Boot Camp phase of Hadrian’s Flight, which is that part of any YA novel where the character’s identity is broken down and rebuilt to meet the demands of the story. I explain why this is important, how it works, and how I did it to Hardiran.
Is worldbuilding ever appropriate as a focus for a story? How much do you really need characters?
When writing a sequel, how much knowledge of the earlier stories should you assume on the part of your reader?
What do you recommend for organizing your worldbuilding and writing projects?
Sgt Mike asks:
How do you make the setting its own character? How do you avoid spoon-feeding setting to the audience?