Publisher: Fiery Seas Publishing, LLC
Release Date: 7 November 2017
Description of the book: With his family’s talisman in his possession, Kristan Gemeta is ready to face the Wichelord Daazna – but he has no inkling of the scope of Daazna’s power, nor the depths of his hatred.
With the recovery of his family’s protective talisman, Kristan Gemeta has found hope, courage – and perhaps even the first stirrings of love. With the aid of Heather Demitt, her band of rebels, a shipload of Northern brigands and the legendary Kentavron, he readies himself to face the Wichelord Daazna. But neither he nor his comrades realize the strength of Daazna’s power and hatred. The Wichelord’s first blow comes from a direction Kristan least expects, with horrific, lasting consequences.
Today I would like to share with you a great guest post written by Donna Miglianccio, the author of the book “Fiskur”. She will be sharing a post about how she is feeling when she has to delete her favourite scene. So sit back, relax, and enjoy Donna’s post.
Deleting a Favorite Scene, or My Writing Bleeds When I Cut It
By Donna Migliaccio
One of the hardest lessons I’ve learned as a writer is when to acknowledge that a scene isn’t working. I’m not talking about when the scenario doesn’t flesh out properly, or the writing is forced and clumsy. That happens all the time, and I hack that stuff out quickly and without remorse, and start again. No, what I’m talking about is when a scene is good, and the writing so polished that it shines, but the scene just isn’t serving the story as a whole. Sometimes it’s just extraneous material that’s bloating the word count, but more often – at least for me – it’s when the scene isn’t moving the plot forward with vigor.
I remember one instance of this particularly well. In an early draft of Kinglet, the first book in my fantasy series The Gemeta Stone, I opted to start the book with a scene from the point of view of my antagonist, Daazna, as he arrives on the shores of the kingdom of Fandrall. Beginning with the antagonist is a departure from a traditional opening, which introduces the protagonist. I was happy with the opening and it’s how the completed book starts, establishing tension by displaying Daazna’s skill with magic, the ruthlessness of his character and his nefarious motives for being in Fandrall in the first place.
The very next scene introduced Robert, the king of the realm and father of the series’ main character, Kristan Gemeta. It was a beautiful scene, with Robert on the battlements of his castle on a clear spring morning, Robert is admiring the view, and for sheer pleasure, throws out his arms as if to embrace it. He’s interrupted by Maxwell, his senior knight and oldest friend, who ribs Robert about making love to his kingdom. The two chat about Kristan and how well he’s grown up, and together they descend to the council chamber, where the character of Kristan is finally introduced.
It was a nice scene, with solid character-building and good descriptions, and I was in love with the image of the king standing high above his realm with his arms outflung. The problem? It was too nice. All the tension I’d established with Daazna in the first scene had completely dissipated. Yes, there was a conflict coming in the scene with Kristan and Robert, but I’d have to rebuild the tension I’d already lost. And with Kristan being introduced by Robert and Maxwell singing his praises before the reader ever met him – well, shades of Mary Sue.**
So I cut that king-on-the-tower scene. It hurt. I’d lavished a lot of descriptive energy on it but it was simply not serving the story as a whole. After a lot of trial and error, I settled on a completely different second scene, which began with Kristan and his horse Malvo and introduced the upcoming conflict with Robert Gemeta in a much more interesting and effective way. I’d been pleased with the original scene, but I was delighted with this one, so much that when it was finished, I said out loud, “Yeah, that’s the stuff!” ***
Still, I mourned the loss of that king-on-the-battlements image. Even though it was cut, it refused to die. It was not until several years later, when I was working on the fourth book in the series, that I finally had the opportunity to use it – in a slightly different and even more interesting way (you’ll have to wait until that book comes out to see how). Not every cut scene gets a chance at resurrection, though – an early draft of Fiskur: Book Two of The Gemeta Stone had a great frolic-in-a-waterfall scene that got cut as well. It’s still breathing, though, and waiting for its chance to be in a story.
Maybe in Book Five.
* Or, in the case of thrillers and mysteries, someone who is about to get killed off.
** For the uninformed, a Mary Sue character is one that’s idealized to the point of nauseating the reader.
*** I talk to myself when I’m writing, but most of the time I say things like “well, that sucks.”
About the Author:
Donna Migliaccio is a professional stage actress with credits that include Broadway, National Tours and prominent regional theatres. She is based in the Washington, DC Metro area, where she co-founded Tony award-winning Signature Theatre and is in demand as an entertainer, teacher and public speaker. Her award-winning short story, “Yaa & The Coffins,” was featured in Thinkerbeat’s 2015 anthology The Art of Losing.
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