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From a chat with Mariesue
Jul. 12th, 2007 09:53 pmre: redemption in writing
Let's see. In most books, there are at least two complimentary plot lines - one for the events of the book, and the other for the relationships. At the climax, the two should come together, and the characters use their relationships that they've been developing, and the traits that have been portrayed through the relationships, as the basis for their decisions that result in the resolution of the event conflict. The climax of the relationship plot line should lead to a massive, counter-intuitive choice for most or all of the main characters. Their history leads the reader to believe they will do A, even though they've been getting closer and closer to doing B - but B is what they need to do to solve the event conflict. You're on the edge of your seat wondering if they'll make the RIGHT choice or the one to which they are predisposed.
The redemption comes in eschewing the old them, and making the choice based on the character growth they've experienced. Without the character growth, you've got, at best, a fable. With it, you have the capacity for literature.
Let's see. In most books, there are at least two complimentary plot lines - one for the events of the book, and the other for the relationships. At the climax, the two should come together, and the characters use their relationships that they've been developing, and the traits that have been portrayed through the relationships, as the basis for their decisions that result in the resolution of the event conflict. The climax of the relationship plot line should lead to a massive, counter-intuitive choice for most or all of the main characters. Their history leads the reader to believe they will do A, even though they've been getting closer and closer to doing B - but B is what they need to do to solve the event conflict. You're on the edge of your seat wondering if they'll make the RIGHT choice or the one to which they are predisposed.
The redemption comes in eschewing the old them, and making the choice based on the character growth they've experienced. Without the character growth, you've got, at best, a fable. With it, you have the capacity for literature.