And yet the world of the Arthur tales is one steeped in magic, as well. That combination of historical truth with the wonderful potential for magic was what most of all drew me to the Arthur stories when I first studied them in college. And it was what delighted me about living in my own version of the Arthurian world while writing Twilight of Avalon and the next two books in the trilogy.
The fifth century, when scholars agree a historic Arthur might have lived, was a brutal, chaotic time in Britain. It was in many ways also a crucible in which the British identity and sense of place was forged. I was fascinated by this possibility of a real King Arthur, and fascinated by the world in which he might have lived.
So I decided to set my story there, to make my particular Arthurian world grounded in what scraps of historical fact we know of Dark Age Britain.
And yet I wanted, too, to honor the original stories and their magical, legendary world—a world that after centuries of telling and re-telling, is as real in its own way as historical fact. My Isolde is the granddaughter of Morgan sometimes known as Morgan le Fey in the original Arthur stories; a healer and enchantress of great renown. Isolde is gifted through Morgan with both the knowledge of a healer and with the Sight, which enables her to receive visions and hear voices from the Otherworld.
And yet, too, there were those elements of the original Trystan and Isolde tale that were harder to fit in with any degree of historical verisimilitude. There were those cases where I could take a more symbolic approach to the legends—as with the famous love potion, which in the original legend causes Trystan and Isolde to fall helplessly in love. I decided that a love potion like the one Trystan and Isolde accidentally imbibe can be viewed as a metaphor for the overwhelming, all-consuming nature of passionate romantic love. So in the second book of the trilogy, Dark Moon of Avalon, Trystan and Isolde do journey together by boat, as in the original tale, and it is over the course of the journey that they deepen and develop their relationship, which again is true to the original legend.
But the purpose of their journey is based on what scraps of historical fact we can gather about the shaky political situation of sixth-century Britain. But then there were other cases when honoring the legends seemed to me to demand a factor that simply did not exist in 6th century Britain.
For example, the fortress at Tintagel, where Twilight of Avalon is largely set. Learn more at Author Central. Previous page. Kindle Edition. Next page. Blog post. The Stress-Free Relationship. In a previous post, I discuss how authors create romantic tension. Every now and again, a novel will present a fictional relationship that is entirely free of tension. This is not the same as "chick lit". As discussed in a previous post, lots of tension occurs in chick-lit, even if it is mainly tension about how the couple will spend Valentine's Day or who they will bring to a family reunion or whether they should move in together.
The type of ten. Working Hell: the Centre in The Pretender. One of the most brilliant aspects of The Pretender is how the main characters perceive the Centre: An everyday workplace. Obviously, it isn't. It's a secret agency with impressive funds that operates outside legal mandates. Yet Miss Parker and Broots--and a large number of ancillary characters--treat it like a day-to-day workplace. The secrets and lies and assassination attempts, the back-biting and constant maneuvering may be troubling.
They may cause interdepartmental. In "How to Keep Characters Apart" I point out that past trauma is one way to sustain romantic tension. However, it is inherently problematic. When "degree of misery" equates to "degree of love," one wonders how the relationship will fare during times of, well, normality.
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One problem that I note in these types of romances is that the knight-to-the-rescue motif morphs into "you ca. In her commentary to an episode of Angel, Jane Espenson half-jokingly comments about a mistake on the screen, then adds, "But the fans will explain it away.
In a not-bad Next Generation episode "Suddenly Human" the Enterprise rescues a group of teens from a Talarian training ship. One of them is human. He was taken as an infant when the Talarians attacked a Federation station which was in their territory.
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I've written elsewhere about why I dislike the movie Grease so much. It isn't just the thematic implications see above link , it's the poor writing. As I state about the Ring from Lord of the Rings, either the story's problem is a problem or it isn't. End of the World Rhetoric Continued The Problem of Demanding Utopia. Throwing money at the problem--not a solution. The ultimate problem with end-of-the-world rhetoric, no matter who is using it, is that it utilizes a "get into heaven" paradigm.
The "get into heaven" paradigm is antithetical to the "prepare for heaven" paradigm although the two often exist in tandem. The "prepare for heaven" paradigm states that the purpose of a social structure or a religious ritual or a lecture or a group meeting.
Competitive Couples. Early CSI includes an episode where a husband deliberately alters his wife's mountaineering map, so he could beat her time. Romances, of course, need happier endings. So how does the competitive couple. End of the World Rhetoric. The world is a complicated place filled with many voices and opinions and viewpoints.
In my twenties, faced with all this complication, I began to listen to how people talked.
Stories — Lilly Woodbury
This is about the time I formed the opinion that the rhetoric of the left and the right mirrored each other. It may be. The Stable Primary Couple. Otomen is another where the main characters' practicality and stability allow for allthe other characters' eccentricities.
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In a previous post, I discuss when the secondary couple of a series is more stable than the primary couple. This is mostly true of television shows. Many romance books and manga series, on the other hand, start with one couple, then expand beyond that couple to include others. The first or primary couple become the "parents" of the series. The process of uncovering information or identities or truth is what brings us back to stories again and again, even when we know the outcome.
The actual uncovering delights us at a fundamental level. I actually read the above years ago in a book whose title I can no longer remember. I wholeheartedly agree! Summary: In order to resolve a water contamination issue on Beta. The Power of the Secondary Couple. Many television shows--Jags, Bones, Friends Occasionally the secondary couple becomes a bigger deal than the primary couple Monica and Chandler, for instance. Even when the secondary couples are just a blip on the radar, th.
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Lessons from Fan Fiction: Time is a Factor. By necessity, television shows create short-cuts. We don't really want to watch a person search for a parking space for ten minutes.
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