Alcatraz Chapter Eleven
Authors like to torture people.
If I had to pick, this would be my second-favorite rant. The mousetrap one is fun, but this one actually says something. It offers commentary. Even if it is ridiculous.
I've wondered about this concept. Why, exactly, do authors do what they do? Why do I write books, and why do I get a thrill every time I see a character in as much pain as I put Alcatraz through in this chapter?
I acknowledge that I'm probably not a sadist. It's more that I love seeing good character development. Books are about emotion, and I get the greatest satisfaction from a story when people become so attached to the character that they feel like they know them. Then, when something bad happens, it's heartwrenching, and the book gains meaning. Not because of what it says or its grand philosophy, but because it means something to that reader at that moment.
And when there are victories, they really feel like victories. Nothing is better than that.
The something hard I was lying on turned out to be the ground.
There's a small Douglas Adams nod in here, by the way. That's what the "No, it didn't want to be my friend" crack is about with the ground. My editor tried to cut it, since she didn't get it, but I insisted that it remain. Maybe nobody will get it, but it makes me laugh—and sometimes, that's what humor is all about.
I made them hate me. On purpose.
This chapter was the one where I really started to delve into character. It just might be my favorite in the book. Now, maybe, you can see why I had to take out the self-awareness at the beginning of the book. This chapter has real power because Alcatraz is being forced to admit uncomfortable things about himself.
From the very get-go, my goal in this book was to write something funny that also had a strong character with a good character arc. That's why I started the first chapter with Alcatraz burning down the kitchen. He was a solid character in my mind—a combination of a lot of different sides. The kid who wanted to be loved, the sarcastic teenager who pushed people away, the cynical older teen who is writing these books. He's a guy who's been through a lot, and I hoped that with this chapter (and the next) I could show some depth in a book that otherwise might be dismissible as a simple farce.
We also start to get into Bastille's character here, though a lot of what I'm going to do with her is reserved for later. In my mind, this series is about her almost as much as it is about Alcatraz.
She single-handedly ended the drought in Kalbreeze during the fourth-third century.
By the way, the fourth-third century thing is intentional. They keep track of years a little differently in the Free Kingdoms. There are certain epochs of time. So the first-first century would be kind of like our A.D. 0–100, but the first-third century would be like A.D. 200–300. On the other hand, the second-third century is more like A.D. 1200–1300. (Though the dates are a little off—they're not analogous. The first-third century is more like 2000 B.C. our time. More in later books.)PreviousNext