-Tessa Hadley. Valentine. The New Yorker. April 8, 2013.
Tuesday, April 30, 2013
Monday, April 29, 2013
Friday, April 26, 2013
In a larger sense, the action prologue, and all tweaks to the simple chronological story structure, are about enhancing the impact of plot and character moments. For example, a love story told from the moment a couple meets to the moment they break up might be sad. But if the writer starts in the middle of the relationship and only flashes back to the first meeting after she details about the breakup, the hope and happiness of those early moments acquire a tinge of tragedy because the reader knows what the characters themselves do not: this story ends badly.
The characters in Alaya Dawn Johnson's The Summer Prince know that their story will end badly. Or at least, they should. June and her best friend Gil are in love with the new Summer King, but in their home city of Palmares Tres in future Brazil, the Summer King is always killed at the end of the year. Johnson uses an unusual narrative structure, mixing voice and time, to both solidify this event's inevitability and call it into question.
***WARNING: I deploy mild spoilers in order to discuss this book's structure in detail***
Wednesday, April 3, 2013
A feeling, activity, or discussion topic that, despite causing pangs of shame in the participant due to being spiritual or inspirational in the style of talk show host Oprah Winfrey and physician and author Deepak Chopra, is nevertheless effective at spurring the participant(s) to happiness and positive action.
Original Usage: "After I don't know how many miles, I stopped thinking. I know this sounds all Oprah-Chopra, but everything got in synch: the beat of my breath, the flow of my feet, the rhythm of the road, the bursts of color blurring by."
-Sloppy Firsts by Megan McCafferty
(2001. Crown Publishers, New York. p. 84)