The link takes you to a Youtube video, with Cogpunk Steamscribe (in her Steampunk Sunday persona) discussing the delightful gadgets of the Steampunk cosplayer.
I have been working on the end to my Steampunk Work-in-Progress (yep, I’m WiP-ped). In the past week, some serious thinking and research helped me come up with the logical progression for constructing the ending. This will mean more re-writes, but not huge structural edits.
I see research as part of the process of feeding the muse. My main problem is that I can never predict what is going to inspire a good (or even great) idea. So, I do a lot of research. I read news stories, science articles, textbooks, anything and everything gets fed into the files for the muse to sort through. Sometimes I wish I could just click my fingers and the best idea would swim to the front of the pile, but that isn’t how it work.
Sorry, but feeding the muse takes effort, just like anything else. This is why I am a little cynical when I hear a writer claim that he/she doesn’t do any reading.
The muse is unforgiving. It just ins’t a case of ‘Garbage in, garbage out’. No fuel, and the flame splutters out entirely.
Currently, I am reading up on Victorian-era model villages. These were both a great concept and a really bad idea, depending on who was in charge. On one hand, these were developed to create ideal living conditions for a planned community. creating comfort for families and a guaranteed population base for businesses. On the dark side, these were nearly gulags for imprisoning a workforce to labour under unpleasant and dangerous conditions. What a perfect setting for both a hero or a villain!
This is the last piece I need for the puzzle that is my book. It is almost a frightening thought. I’ve worked with these characters for so long, that I will miss them once the book is complete. However, I’ve been through this ‘breaking up’ period a few times now, when you have to distance yourself from your creations. The best solution is have a new project in the wings, a shiny new toy for the muse to play with.
I read an article about Competent Sidekicks on Vox, and saw this table. I don’t completely agree with it, as Luke did blow up the Death Star, but Leia certainly gave him access to the Death Star plans and his torpedo-firing spaceship. But I do think this table makes a valid point; why do these competent women not get their share of the credit at the end of the day?
This cliche is as old as television. Look at 99 and Maxwell Smart. Smart was extremely lucky to be teamed up with Agent 99, as she did most of the thinking and the hard work while he got most of the credit. What made him survive was luck – not to be underrated, but it can’t be depended upon. Even in the modern reboot, Agent 99 has all the training and skills. Max and 99 are the extreme example of the trope, with Starlord and Gamora from Guardians of the Galaxy coming a close second.
This occurs quite a bit in literature too. So,how do I avoid this happening in my Steampunk novel.
Well, for starters, my protagonist is a competent woman. And – at the end of the story – she will be getting her credit and her reward. Yep. I finally figured out the reward that would make her happy … a free pass into Kew Gardens. For life. No restrictions. For a woman academic of the 1870s, that is like winning Olympic Gold.
So much more satisfying that marrying her off into a faux ‘happily ever after’.
I will start out by saying that this isn’t usually the type of novel that I would pick to read. For starters, the very first chapter really bored me and made it to where I kept putting it off. Secondly, I can’t get a good feel on what genre this novel would/could be classified as. […]
When I imagine changing places with her I get the feeling I do on finishing a novel with a brick-wall happy ending – I mean the kind of ending when you never think any more about the characters . . .
Dodie Smith; I Capture the Castle
I am currently rereading I Capture the Castle. It is one of those novels that always reveals something new when you read it. This time round, I can see where, on page 324, the author, Dodie Smith, is foreshadowing to the audience exactly how she will be ending her book. In case you’ve never read it (and why not?), it doesn’t have a ‘brick-wall happy ending’. She wanted her audience to think about the characters after the book has finished, and this has contributed to the continuing popularity of the novel.
Why am I bring this up?
I am rather terrible at writing endings.
I’ve never been a woman able to write a brick-wall happy ending, where they “all lived happily ever after.” Is this because I don’t like ending the story and leaving my characters behind? Is it because real life never has a neat and tidy ending? Is it because an ending is sort of sad and melancholy, and I am avoiding those feelings? It is probably a mixture of these reasons, among others. Endings are complex.
What makes a good ending? Tidying away all the plots and subplots satisfactorily? Vanquishing the villain and leaving the protagonist victorious? A slap-up feast with a roast boar and gallons of ginger-ale? Do you prefer a tragedy; seeing everyone sitting in the ruins of their lives? Or – like me – do you prefer a drawn line in the sand, with the expectation that the characters still have an important part of their lives to go on with?
I prefer being able to peep over the wall, rather than slamming up against it. Yet this means that I have to make hard decisions about where to leave things for the characters. I do tend to punish my villains and antagonists, but I am less inclined to ‘reward’ my protagonists with a tidy ending. I prefer to infer they go on to have further adventures.
There is plenty of time to rest after you are dead. Who wants to laze around for the rest of their life? Where is the fun in that? It is fine to take a breather and relax after an adventure, but no one really wants the adventure to end.
In I Capture the Castle, Dodie Smith ends the book well before the ‘happily ever after’. It is left up to the reader to decide whether or not the protagonist and the romantic lead end up together. I’ve spent many a happy daydream giving them a range of happy endings, and wondering which one is the correct one (from Dodie Smith’s hints throughout the text).
In my Steampunk work-in-progress, I’ve got two areas in the timeline when I could end the story. Neither will provide me with a neat and tidy ending, but one of them is ‘tidier’ than the other. However, that ending also brings a better resolution to the end of the adventure. At one point, I was tempted to end the story sooner, and that second ending was going to be a whole new book. The problem was … there wasn’t really enough story left to write a whole new book, at least, not without adding in more subplots. I prefer not to add subplots for the sake of adding to the word length. It feels like you are trying to stuff more clothes into drawers that are already full, and just makes everything cramped and crushed and creased.
I think too much of my current story to do that.
But it still leaves me with the problem of how I am going to end my story in a satisfactory manner.