Showing posts with label on the midnight streets. Show all posts
Showing posts with label on the midnight streets. Show all posts
Let me begin this post by saying that this decision terrifies me.

WARNING: EXTREMELY ANGSTY POST AHEAD
[credit | leslie ann o'dell]
The title says it all: I've to decided to start my WIP On the Midnight Streets over. For the second time. According to Google Docs, I'm essentially throwing out over 22,000 words. (Obviously I'm backing them up and not throwing them out entirely, but still.) Here are the things I'm planning on doing, to put it bluntly.
  • Throw out my current plotline and replace it with one that flows and actually makes sense
  • Make changes to my characters and develop them better
  • Flesh out my worldbuilding so that my settings are logical and dynamic
  • Make OtMS unavailable for public viewing while it's in drafting stages (i.e., take it off of Wattpad and Figment)
I'm rebuilding this book from the ground up, more or less. I'm keeping essential things that have been working for me, and I'm still (hopefully) keeping the spirit of the story that made me love it in the first place. But anything that isn't necessary or coherent? It will be changed.

Why on earth am I making myself go through this agony, might you ask?

The fact of the situation is that I've been working on this novel for almost three years. In that time, I haven't even finished a first draft. I haven't even hit the 50,000 word mark. I always peter out at around 20,000–25,000 words. I tend to make light of that by joking about my "poor long-suffering WIP" and getting guilt-tripped by my friends (we know which one I'm talking about, and yes, you should still love her because her guilt-trips are awesome and absolutely warranted). But if I'm being completely honest with myself, I'm incredibly frustrated and bitter about the fact that I haven't been able to finish this book. It's eating away at me. I feel like it's going nowhere, and consequently, I'm going nowhere.

The logical thing to think about, then, is what my main roadblocks might be. And I believe that I've boiled them down to three main points.

  • I'm not making time to write consistently.

I'm a high school student. My sophomore year is starting soon. Being academically successful is very important to me; therefore, I spend a while on my homework. I also practice piano for around three hours every day and have other extracurriculars to do besides. So I won't be able to sit down and write every day for hours at a time. I realize that. Most first-time novelists don't have that kind of gap in their schedule to fill with writing anyway. If I'm going to finish this book, I need to manage my time and dedicate myself to making sure I can write on a regular basis. The truth is I haven't been doing this. I haven't really been making the effort to stay productive. But my hope is that this year, I can change that. I'm hoping to focus more on my work every day so that I can also get at least a little bit of writing in on a regular basis. I'll need to work hard at this. I'll need to keep myself accountable, and only time can truly tell if I have it in me to do this. But I need to believe that I'm capable of this.

  • I'm pressuring myself too much for the first-draft stage.

This point breaks down into two subpoints.

A) Online posting. I've been posting half-chapters of OtMS on Figment and Wattpad as soon as they're written. Don't get me wrong; I love these online writing communities and I think they're a wonderful, vibrant new force in the literary world. I also love getting immediate feedback—who doesn't, really? And the serialization approach works for some writers, I know that. But I think what I haven't been realizing these past few years is that serialization doesn't really work for me. It leads me to pressure myself into trying to produce work that my online readers will like rather than giving my story room to breathe. Rather than allowing my draft to be terrible so that it'll be a load of rubbish but at least it'll be done. To fix that, I'm going to be taking OtMS off of Figment and Wattpad.

But never fear! I'll be looking for beta readers if/when (let's make that an optimistic when) my manuscript is ready.

B) My own personality as a writer. I'm very driven by writing style, so I spend a lot of time worrying about my style instead of throwing words down on the page. That makes me a very, very slow writer, and it also gives me a crippling fear of just dragging myself to my draft and going BICHOK (butt in chair, hands on keyboard). To try and remedy that, I want to try Alyssa's sparse drafting technique—make a draft messy, hilariously bad, bare-bones, and likely full of snarky notes to myself in [brackets]. Hopefully this will make edits easier (and more funny!) when (I'm sticking to the word when now) the time for them comes.

  • I'm clinging to unnecessary aspects of my book.

Let's face it: I was twelve years old when I came up with the idea for this story. I'm fifteen now. In those years, I've changed more drastically than I ever have in my entire life. It turns out that's how adolescence works. *weeps forever* 

When I was twelve, I wanted to write this book because I was overexcited about the Victorian aesthetic and Cassandra Clare's Infernal Devices series. I basically set out to write a clone of Clockwork Angel with some unsubstantial Les Mis mixed in—complete with love triangle (mine was ill-conceived and not entirely necessary), revolution (mine was incredibly underdeveloped), and magic system (which has since been eliminated because it was so poorly done). I plunged headfirst into this book with some half-baked scene ideas, a whole lot of enthusiasm, and no real inkling of what this story really was. 

Needless to say, OtMS has changed a lot since then, at least in my mind. It's become something more, something real, something that matters to me and that will matter to other people (I hope). This book has seeped into the very fabric of who I am; you could say it's grown along with me. I know that I need to tell this story, that I might very well explode if I give up on it, but I'm still figuring out how it needs to be told. But some of the more questionable twelve-year-old Christina aspects of the book, things that aren't necessary and don't make sense, have still stuck. And I'm not sure why. I think I need to root out those things so that this story reflects its true self and myself better.

The point is, I love this story too much to let it go. I need to write it. But I think it's time to build it the right way and push through so that I can finally give it to the world in the best form that I can get it to. Right now I feel like I've failed miserably—failed my readers, my characters, myself. But there's hope somewhere. There always is. 

I've decided to call this Brave New OtMS. I'm thinking that I'll post on this blog about my progress (in a new post series of the same name) in order to keep myself accountable. This is going to be a painful journey, I know. It's going to be full of anger and insecurity and work, and it'll most likely show me some of my own worst traits as a writer and individual. It's a gamble at best, a complete waste of time at worst. 

Thank you for sticking with me so far. I genuinely appreciate each and every one of you and I can't say it enough. But now I think it's time to turn over a new leaf. 

Here goes nothing everything.

So what do you think? Have you experienced something similar, and if so, how did you deal with it? Do you think this is the right choice, or do you think my brain has turned to mush at last? I'd love to hear your thoughts.

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Beautiful People has returned to the blog! If you don't recall, this is the monthly linkup where writers get to talk about their characters. It's hosted as always by the incomparable Cait and Sky. Unfortunately, I missed it last month, but this month is Friendship Edition. (I'm going to be quoting Figment/Wattpad commenters all over the place because I can.) Cool, don't you think? Which means...
I'M SORRY I HAD TO
This month, I'm featuring best friends Finnegan Lyle and Renton Fuller, from the ever-present novel-in-progress On the Midnight Streets. They do highly illegal things together and love to snark all over the place. A short rundown:

Finnegan Lyle (usually called Finn) aka the hat boy aka the Midnight Hatter aka James: You can probably tell that Finn is a boy of many faces. His past is inextricably linked to that of protagonist Chantilly and also that of Resident Dork Charles, making for some very awkward character dynamics. (Actually Finn, Charles, and Chantilly are all dorks. Don't tell them I told you that.) He's eighteen years old and an incorrigible hat-wearer. He's what people in Peralton (the city the book is set in) call a 'thief lord', and the most notorious + successful one in the city at that. Additionally, he's basically the leader of a brewing revolution. Why? Because there are people who break the law, and then there are overachievers who break the law. A description from my always-on-point friend Alyssa (at this point you don't even really need the link to her blog but I GAVE IT TO YOU) (this is from a Figment comment):
[...] when he [Finn] was set up in the previous chapters, he's this cool-as-cucumber character and here he's a hilarious, colloquial mess of emotions [...] pretty phenomenal.
I also have a (slightly spoilery, make sure you're caught up on Figment/Wattpad; also, warning for language) description of Finn from my friend Sophia:


Renton Fuller aka Chauncey: Renton is kind of like Finn's criminal right hand. He's pretty much second-in-command when it comes to their thieving ring, and he's also a brilliant smuggler. He was kind of a no-name Lower City boy with no shelter or way to make a living until he met Finn, so he's very grateful to Finn for that. (He and Finn are actually friends because they met when Finn first came to the Lower City and they started looking out for each other—because Renton didn't have any power and Finn didn't have any street smarts.)

Renton descriptions from Alyssa:
[...] Renton is still awesome (have I mentioned I enjoy his snark? I have, haven't I?).
Renton's dark humor is perfectly on spot and I love love love his characterisation. 

How long have they known each other, and how close are they?

They've actually only known each other for three years—since they were both around fifteen—but they can no longer really remember a time when they weren't looking out for each other. Since they more or less live with each other, Finn and Renton are incredibly close—they have inside jokes with each other, have the same arguments over and over until the arguments themselves become inside jokes, and tell each other things they wouldn't dream of telling anyone else. Their bond is one that's been forged over the course of many run-ins with many very dangerous people and places in the city, along with grudging cooperation that eventually evolved into a steel-boned trust, and it's not one that'll easily be fractured. They're both very aware that the kind of friendship they have is a rarity in a place as cutthroat as the Lower City, and they're grateful for it and each other. 

What’s their earliest memory of being best friends?

Finn and Renton met when Finn almost got himself murdered on his third day in the Lower City and Renton happened to be by—Renton saved Finn's life, and from then on they stuck by each other. Renton taught Finn to fight, and Finn learned scarily fast, so it quickly became a mutually beneficial relationship. Although true 'best friends' status definitely came later, that's where it all started. And it hasn't shown any sign of ending since. 

Do they fight? How long do they typically fight for?

Oh yes, they fight. They clash a lot, but they've never been able to stay angry at each other for too long. Usually they've made up within two days, and in extreme cases, within a week. The reason for that is twofold: a) arguing too much when they're pretty much heading up the top criminal operation in the city creates instability that others can exploit, and b) they realize the importance of their friendship and they're not ever going to let a trivial disagreement jeopardize that friendship.

The things they usually argue over are more or less consistent. The biggest one is Finn's persuasion methods—Renton thinks Finn could afford to get his hands dirty, use force, but Finn doesn't want to. He can't be a ~nice~ person if he wants to keep the power that he has, yes, but the thought of going overboard with violence or bloodshed is honestly kind of sickening to him. Renton thinks that Finn's merciful streak may end up getting him killed. This excerpt from OtMS, from Finn's PoV, says it best (cuts and brackets added):
My methods, I know, aren’t traditional for this part of Peralton—Stiefvin [another thief/good friend of Finn's] says it’s my Middle City upbringing in its death throes—but I have to believe there are better ways [...] We should deserve to be helped before anyone helps us.

Are their personalities similar or do they complement each other?

On the surface, they're very similar; typically, Finn and Renton both exude a deadly, devil-may-care kind of confidence that comes in handy in a surprising variety of situations. They also share a near-caustic sense of humor, which they use liberally and to great effect. Even their street fighting styles complement each other, especially since they've worked together so often. Their external personalities and certain parts of their inner ones are so similar that they've become attuned to each other's movements. 

But when something really strikes Finn to the core and rattles his nigh-unshakeable composure, or when Finn's around certain people who confuse or fluster him (*screams* CHANTILLY, the protagonist), it's possible to see where his and Renton's characters diverge. By nature, Renton is much more flamboyant—his soul just has a flair for the dramatic, and he's very extroverted. He's larger than life, if you will. In contrast, Finn is actually naturally inclined to be an introvert: much more reserved and soft-spoken, with a mess of internal emotions to sort through. In those instances (though they're a rare thing, mind you), when Finn's walls have been broken down, Renton tends to take the helm a bit, steering conversations with his sly wit and infuriating flirting habit.

In short: Renton's panache is simply who he is, while Finn's is a front he's developed in order to hide what a sensitive, awkward, nice dork he is (because being a sensitive, awkward, nice dork is a very quick way to get robbed and murdered in the Lower City). The lovely Adelyn said it best in a Wattpad comment:
I like James' [Finn's] reserved nature and how it complements Chauncey's [Renton's] bravado.

Who is the leader of their friendship (if anyone)?

It's probably safest to say that Finn is the leader, since he runs their crime ring and is the Midnight Hatter. Yes, I know what you're thinking—odd as it might sound after reading my answer to the previous question, Finn (and not Renton) is actually the notoriously flashy thief lord known as the 'scourge of the city'. Besides, although Renton has a much stronger natural presence than Finn and is much more bold, he almost always defers to Finn because he knows that Finn has a better mind for strategizing and adapting and picking up new skills. Finn's also much better at reading people and dealing with them effectively, as well as cultivating his external image to make himself seem like the picture of lethal, snarky condescension. While it doesn't fit his natural personality at all, Finn's grown into an unflappable thief lord, handling both allies and enemies with ease. Renton's content to let his friend take the lead because he knows that he's in thoroughly capable hands. Most of the time, anyway, except for when Finn is being the dorky teenager that he is.

Also, don't tell either of them, but Finn would likely end up on top if he and Renton were ever to come to blows.

Do they have any secrets from each other?

To oversimplify things: yes. Unfortunately. They confide in each other a lot, but there are still things they don't talk about. I think just about every character in OtMS has a thing or two they don't talk about, to be honest.

Renton's secret from Finn: he's attracted to boys and not a soul has ever known but his late mother. This is for safety reasons mostly—the Mendlands overall is a horribly bigoted, backward kingdom that's strongly prejudiced against LGBTQIA+ individuals, and according to the deplorable laws there, same-sex relationships are capital crimes. (Which is part of why the government needs to be enthusiastically defenestrated.) Renton is also nervous about telling Finn about his sexuality because he's not sure how Finn will react; they've never really talked about anything remotely related to the subject. 

Finn's secret from Renton: there are a few. I think Finn has kept at least two big secrets from every person he's ever known. 

First, Finn's never told Renton about Chantilly. Those of you reading OtMS will be aware that Finn and Chantilly have actually known each other for around eight years, but in all that time, Finn's never told Renton about his Middle City bookshop friend. He's kept Chantilly a secret because he's felt obligated to keep her out of his life as a criminal in order to keep her out of danger (OtMS readers will be aware of exactly how badly that backfired on him, haha). It feels odd, yes, because Finn and Chantilly were almost as close as Renton and Finn are currently. But Renton still doesn't know about Finn's friendship with the strawberry-haired bookshop girl.  

Also, Finn hasn't ever told Renton the real reason that he came to the Lower City. (Finn is actually from the Middle City by birth.) It has something to do with a bit of backstory I mentioned in my last Beautiful People post about Charles Mareil and his family (brackets and emphasis added):
A few months later, though, his [Charles's] father decided it'd be advantageous to make it look like Talia [Charles's illegitimate half-sister] was a ward of the family, and she came to live with them. Unfortunately (or fortunately?), Charles's time with her was abruptly cut off by a... certain incident that forced the family to send her away again.

// can't say more because important backstory spoilers

// hint: may have to do with a certain hat-wearing rapscallion
I won't say more than that because yes, it's still a SPOILER (but you probably won't find out the truth until at least the planned sequel to OtMS).

How well do they know each other’s quirks and habits?

Again, they do more or less live together, so they know each other's quirks/habits a little too well, if anything. Renton knows that Finn likes to have things organized, so his room is always neat and rather utilitarian. Renton also knows that Finn's first love is books—Finn's always reading, especially novels and history books. Actually, Finn knows just about all there is to know about the Laceblade Uprising, the revolution that established the Mendlands. One of the Mendlands' first queens, Rosalind, is basically his hero. Renton's very aware of all this, as well as Finn's other habits. Finn knows that Renton really enjoys working with his hands: mending old machines, making knickknacks to give to people, even knitting. Renton doesn't show this a lot to people he doesn't know well, and he doesn't exactly put his other quirks on display, either. So Finn and Renton are in a very interesting position in regards to each other—each knows a lot of fascinating, startling, and sometimes embarrassing things about the other.

What kind of things do they like to do together?

Obviously, they like committing crimes together. (I mean, they've kind of made a career out of it.) They try not to get into fights when it's not necessary, but when they are forced into combat, they love fighting as a team. They're secure in the knowledge that they're looking out for each other to whatever end, and they move together almost seamlessly. They also like eating cake together—their personalities, as well as the hardships they've gone through, have left them with a deep appreciation of food. And another not-yet-introduced member of their crime ring, Esmeralda, bakes mind-blowing cakes when she can get her hands on the ingredients. So of course that makes eating cake together a Very Fun Thing Indeed.

(Also, being able to bake cake as well as Esmeralda is on Finn's list of #lifegoals. He's vowed that he will someday learn to bake like a pro. He hasn't made much progress, being a wanted criminal and all, but make no mistake, he's bent on doing it.)

But hmm, what about normal-person hobby things they do together?

Yeah, no, sorry. They don't really have normal-person hobbies. (Actually Finn loves to read, but he doesn't have as much time to find books anymore.)

Describe each character’s fashion style (use pictures if you’d like!) How are their styles different/similar?

Truth be told, Renton has impeccable fashion sense, whereas Finn isn't naturally inclined to give much thought to his appearance in general. Finn does realize the importance of style in making an impression on people, though. He prefers to just let Renton guide him when it comes to picking things to wear—when they can afford to pick, that is. Living in the Lower City, as well as not having a lot of money to spend, doesn't exactly give them a breathtaking range of clothing options.

So they do end up having similar styles. While in the Lower City, they ensure that they're dressed simply enough not to draw attention and that's good enough for them, but here's what they'd wear if they could choose whatever they liked. (And by that I mean if Renton could choose because honestly, Finn doesn't know a thing about fashion. Except hats. Finn has a weird thing for hats.)
ignore the face (neither of them would ever grow a mustache), but you get the general idea / [via]

How would their lives be different without each other?

They'd have such drastically different lives without each other that it doesn't even bear imagining. In fact, now that I think about it, they'd both most likely be dead. They're invaluable in keeping each other safe from the threats that run amok in the Lower City. They've saved each other's lives too many times to count. But even if they managed to survive separately without their friendship, Finn would probably still lack a source of comfort and grounding in his times of need, especially when his composure is shaken in front of others. Renton, meanwhile, would probably be rudderless without someone to talk to him or guide him. They'd be much lonelier and much more prone to fatal mistakes.

They're incredibly fortunate to have met each other, really.


So that's all! What do you think of these two? Did I overuse my parentheticals (yes, I did—look, I'm doing it again)? Did you link up with Beautiful People? Let's talk in the comments!

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Hey all! For this week's wordfest, I'm bringing you all some of my own writing again, in the form of two different excuses to share snippets of my WIP On the Midnight Streets.

First up, the lovely and ever-so-supportive Rachana tagged me for the 777 Challenge! Check out her challenge post here. The rules for this challenge are as follows:

Share 7 lines from the 7th page of one of your manuscripts. Then, tag 7 bloggers.

The following bit is the first seven lines of OtMS's third chapter, told from my heroine Chantilly's point of view. She and her family are being escorted to the Upper City (the wealthy neighborhood of their city, Peralton) from their home in the Middle City, as they've just come into an absurdly large inheritance and have to leave behind all they've ever known. 
The carriage has stopped at the wall.

I’ve heard tell that Peralton’s walls were built over the bones of Clarabel and Rosalind’s fallen supporters, and I can believe it now, seeing it tower over us like the entrance to a grave.

Again I have to fight the urge to shrink down into my seat, ashamed of how disheveled I must look, when a thin, balding man, presumably a wall guard, leans over to speak through the carriage window. We’ve all put on our best clothes for the move to the Upper City, but we’re wearing years of work on our hands and the thinness of not-quite-enough on our faces, too.
I hope that bit was interesting to you all! For this challenge, I'd like to tag:


Up next: Snazzy Snippets, a delightful new linkup brought to the Internet by the devious and brilliant minds of Alyssa @ The Devil Orders Takeout and Emily @ Loony Literate. It's basically the best excuse ever to pour my writing onto you all.


The snippet I'm sharing this first round fulfills two of the linkup's 'themes': A snippet that's mostly dialogue and a snippet that shows your MC's personality.

This is from the seventh chapter of OtMS, in which Chantilly has a confrontation with a policeman (just the first of many to be had in the future, I'm sure). (Wow, I just realized there are going to be way too many policemen in this book.) The following snippet showcases a part of Chantilly's personality that she herself doesn't know too much about yet—Social Justice Chantilly. Also, Eloquent Rage Chantilly.

Italicized bits are underlined.
“Begging your pardon, my lord [Charles], but it is standard procedure.”

“But is it legal?” I’m stunned momentarily by the venom in my own words. Charles turns towards me sharply, probably just as taken aback as I am, but my tamped-down outrage is starting to rear its head and I’m powerless to stop it. “Is it just, as you insist, to abuse a civilian without a trial?”

The policeman raises a placating hand. “Your ladyship, I entreat you to calm yourself—”

“Don’t you dare,” I lash out, and I struggle to find the right words to go on. “I will not calm myself like the lady all you men want me to be. I refuse to on the authority over my own self that my humanity grants me, and I marvel at the audacity with which you disparage my mother’s household by so disrespecting one of her employees. This is, as I stated earlier, an internal affair, and if justice must be brought into it, our estate will take that responsibility as fairly as possible.”

So what do you think? Is my novel a train wreck? Did you link up with Snazzy Snippets (if not, DO IT)? 

By the way, if you'd like to read OtMS, you can do that on Figment or Wattpad.
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Another month has rolled around, and you all know what that means. A new month heralds the arrival of a new Beautiful People feature on the blog! (Of course, it's almost the tail end of the month now, but shhh.)

This month's theme is parents, which works wonderfully for a particular character I've been thinking about. Plus, we readers of YA books are all too aware that parents tend to get shoved aside in lots of stories. While I love good orphan characters as much as the next girl (Baudelaires, I'm looking at you), I think parents are important elements in the lives of many teenagers, and they're too often neglected. So I'm glad to be able to shed light on one set of parents I'm writing today. 


This time around, I'm featuring Charles Mareil, a supporting character in my WIP On the Midnight Streets. He's eighteen years old and the son of a duke, and the fortune that he'll inherit upon his father's death is second only to whatever's in the royal coffers. He's also idealistic to a fault, and he isn't too good with the company of people he doesn't know well. His family is one of the most prominent in the kingdom, so as the eldest son, he feels huge amounts of pressure to uphold their good name. But at heart he's super earnest and well-intentioned and he cares about people and goodness and bravery a lot. Charles first becomes important in OtMS because he and my heroine, Chantilly, are engaged. They even almost get married.

Until Chantilly gets kidnapped at her wedding, but hey, whatever.

Along with dear Charles, I'm also going to talk about his mother and father, Eleanor and Richard Mareil. Richard is one of the more high-ranked, wealthy dukes in the kingdom, and he runs a thriving tea business that imports from all over the world. However, he himself has fallen into a bit of moral decay. He has a host of expensive bad habits that his family tries very hard to keep a secret. Eleanor is the epitome of a good duchess—or at least she was until she came down with a terminal illness that doctors still can't really name, most likely some kind of cancer. Charles loves them, of course, but sometimes he feels like he's been left to compensate for their shortcomings and weaknesses.

1. Do they know both their biological parents? Why/why not?

Charles supposedly lives with both of his biological parents, but his mother is actually housed in an Upper City hospital. He doesn't actually know his parents as well as he'd like to, because Upper City custom dictates that parents have their children taken care of by household servants hired specially for the task. He has a general sense of them as people, of course, but there's always been a measure of distance between him and his parental figures. They're family, but 'family' is rather a loose term in the Upper City.

(I suppose he should just consider himself lucky to be a legitimate child and not born outside of wedlock. The Upper City is a world of pain for illegitimate children.)

2. Have they inherited any physical resemblances from their parents?

Charles mostly takes after his mother, Eleanor, in terms of physical appearance. He and Eleanor are both fair-haired, tall, and pretty as anything (no, really; Charles is prettier than most of the girls in the OtMS cast, protagonist Chantilly included). They have graceful, slender limbs that make everything they do seem like dancing. They also share a somewhat aloof bearing that makes them seem almost statuesque when viewed from afar. Alas, that doesn't work so well for Charles when you actually get to talk to him and you figure out he's a Legitimate Awkward Dork.

In sum: he's very nice to look at but maybe try not to let him open his mouth.

Charles does have his father Richard's hazel eyes. However, most of his father's appearance was passed down to Charles's degenerate younger brother, Edward—brown hair and sharp eyes and a face that tends to make people uncomfortable.

3. What's their parental figure(s) dress style? Add pictures if you like!

Charles's father is always careful to dress in the height of men's fashion, having so much money at his disposal. However, part of it is that he wants to maintain the impression of power in wealth—the Mareils have been losing money lately, due to Edward's gambling habit and Richard's, er, various vices. So he spends extravagantly on clothes that will make him seem like the picture of privilege.
[via]
On the other hand, Charles's mother doesn't have as much... sartorial license, let's say. She's confined to a hospital bed the vast majority of the time, so while her clothes are still of high quality and really lovely besides, they're much less flamboyant than they might be ordinarily.
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4. Do they share any personality traits with their parental figures? And which do they take after most?

Personality-wise, Charles got quite a bit from his mother. They both have very set moral compasses and are drawn to ideas above all else. They have firmly established principles that they live by, and that makes them very uncomfortable with gray areas. They can be almost frighteningly determined if they choose to be, and they try their hardest to do right by everyone they meet. They can be pretentious sometimes, but they never really mean it, and they've both been bred to be excellent figureheads for their families.

On the other hand, Charles and his father are nearly polar opposites. Probably the biggest difference between them is that Richard is perfectly fine with bending the rules a little (or a lot) to get his way, while Charles opposes anything of the sort. 

5. Do they get on with their parental figure(s) or do they clash?

Much of Charles's childhood has been about learning to inhabit himself without his parents around to help him, as neither of them have really been there for him enough to 'raise' him in the typical sense. More often than not, he doesn't really know how to act around them. It pains him to admit to himself that he does tend to clash more with his parents, as his father's terrible habits and ruthless business sense kind of rub him the wrong way, and his mother's ambitions for him are a little overwhelming. He does get along much better with his mother most of the time, though.

6. If they had to describe their parental figure(s) in one word, what would it be?

His father: unconcerned. Charles feels that Richard has always displayed a troubling ability to distance himself from problems—whether they're his own or those of society as a whole. Although this is sometimes helpful, it's also incredibly damaging in the long run, and it's one of the few things that can get Charles really, truly angry.

His mother: unyielding. Eleanor's an incredibly stubborn woman across the board—once she's decided something should be a certain way, no one can change her mind. This applies to anything from her emotions to her appearance. While Charles usually admires that about his mother, sometimes it can be a little exasperating, especially when she projects that stubbornness onto her expectations for his future.

7. How has their parental figure(s) helped them most in their life?

Mostly, Charles's father has helped him through his money and family name—using his father's prestige and financial freedom, Charles has been able to get huge amounts of privilege and opportunity that would otherwise have been unavailable to him. For example, at the beginning of OtMS, his family's reputation has put him on the kingdom's Residential Council, though he has zero experience dealing with residential affairs. The other council members kind of resent this:
Honestly, I think. One meeting. My father means to get me a position as head of the Residential Council of the Mendlands, seeing as I haven’t got the cunning to take on his tea company once he retires, but not a soul in the council other than me is younger than five and forty. Of course, that means there are daughters in their houses—and most of the council members would rather have me as a son-in-law than as a chairman. They ask for my opinions when they really mean time to marry, my lord.
Charles's mother, on the other hand, has taught him a lot about perseverance and about maintaining a tough-as-nails attitude in the face of overwhelming odds. Her illness has kept her mostly confined to the hospital for the past five years, but Charles has drawn a lot of inspiration from her determination, wisdom, and spirit.

8. What was their biggest fight with their parental figure(s)?

When Charles was fourteen or so, he got into a heated argument with his parents about his illegitimate half-sister, Talia. Charles wanted his parents to allow Talia to live with the Mareils, as an accepted part of the family. He's always wanted to get to know Talia better, since she's older than he is and he's always craved the guidance of an older sibling. However, both his parents would prefer to keep her out of the public eye, because if word got out that Charles's father had had an affair with a servant that produced a daughter, things would get ugly for the Mareils really fast. Charles felt this was deeply unfair to both Talia and himself—he still does—but in the end, he had to give over to what his parents wanted.

A few months later, though, his father decided it'd be advantageous to make it look like Talia was a ward of the family, and she came to live with them. Unfortunately (or fortunately?), Charles's time with her was abruptly cut off by a... certain incident that forced the family to send her away again.

// can't say more because important backstory spoilers

// hint: may have to do with a certain hat-wearing rapscallion

9. Tracing back the family tree, what nationalities are in their ancestry?

OtMS is set in a kingdom called the Mendlands. Knowing this, we can see that Charles's bloodline is Mendish. And Mendish. And...

...yes, more Mendish. Sadly, interracial marriages are frowned upon in the Mendlands—one thing you should about this country is that it has a horribly prejudiced social mindset that needs to be thrown out the window STAT—so an old-money family like Charles's wouldn't even consider ever allowing them. The Mareils were also one of the first families to come to prominence in the Mendlands, in the kingdom's early days, and they've enjoyed high status ever since. They're very proud of their 'pureblood' lineage, although Charles has been questioning that pride lately.

10. What’s their favorite memory with their parental figure(s)?

Oddly enough, Charles has really good memories of his entire family having breakfast together when he was younger. It hasn't happened in years, so maybe the memories have been strengthened by nostalgia, but he was definitely fond of those times. His parents would converse quietly and thoughtfully over their toast and tea and other assorted expensive Mendish foods, and they would actually listen to him if he wanted to tell them something, and his brother Edward would actually shut up for once, because Edward is the only one in the family who isn't a morning person.

Or maybe those were his best parent-related memories because of the food.

Charles really likes breakfast food.

And on that note, I'd like to turn it over to you all! What do you think of Charles and his parents? Did you participate in Beautiful People?

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I'm here to do Beautiful People for the second month in a row, as I enjoyed the sibling edition so much back in April. This time around, I'm featuring two characters who I affectionately (yes, I love them, so there) term the "mean girls" of On the Midnight Streets, my WIP.

This is mainly by request of Alyssa, because HOW COULD I NOT:
(I promise I'll do Finn at some point. He's too important not to feature.)

Yes, that's right. The aforementioned mean girls are Yvette Scarleigh and Rowen Raveneye, who actually have more in common than one thinks at first glance, and will likely become allies, if not friends, if (or should be that be when?) they meet. I think the fact that they are Alyssa's two favorite characters says a lot about her personality. *ahem* But anyway, some context for those not in the know:

zhenya katava as yvette scarleigh [via]
(This is the closest thing to Yvette's appearance that I've been able to find, but if anyone has face-cast suggestions, shoot them my way.)

Yvette Scarleigh is the daughter of Godfrey, Earl of Hightrill, and arguably the most socially canny nobleman's daughter in the city of Peralton—or the entirety of the Mendlands, for that matter. Anyone with even a passing knowledge of Upper City society has the good sense to respect her or fear her, depending on their circumstance. She's armed with a shining reputation and manners like you've never seen, and she is strictly not to be crossed, because she'll do whatever it takes to get you back tenfold. To someone who doesn't know better, it may seem like Yvette's sole goal in life is to snag a wealthy husband, and she certainly does spend much of her time and effort working toward that. But she's ambitious and clever and absolutely terrifying if provoked, and the social waters are her domain. She's determined to be the most successful Upper City wife Peralton has ever known, whatever that may come to mean for her.

tian yi as rowen raveneye [via]
(Again, closest approximation of Rowen's face I can find and attach a name to at this point.)

Rowen Raveneye is an immigrant from Xianhai, a country on the opposite side of the continent only known to the Mendish for trade purposes, who leads an all-women Xianhaine crime ring in Peralton's Lower City, where the poorest people and the criminals live. She came to the Mendlands when she was very young, so she has little to no memories of her homeland (hence the more Mendish-sounding name, which she took for herself early on). Once she arrived in the capital, Peralton, she built her name from the ground up, working her way from petty thievery to more large-scale exploits. She has an underground network of wanted men and women under her thumb, and she's one of the most powerful criminals in all of the Lower City. The word Raveneye has almost the same effect in Peralton as the word Voldemort has in the Harry Potter universe. She's the main rival of the legendary Midnight Hatter aka Finn, and she vies against him for dominance all the time.

(The two have yet to duel it out, though. I won't say who would win, but it'd be a close match. But I don't think a physical fight between Finn and Rowen would happen, because they're kind of frenemies. They respect each other's skills but never acknowledge each other or work together because THEY'RE RIVALS.)

1. Do they get nightmares? If so, why or what of?

Yvette: She seldom has any dreams at all—frankly, there isn't much in the Upper City that will stir the subconscious into producing dreams. But if she does have nightmares, they usually involve her mother, Octavia. The thing about Octavia is that she's been raising Yvette to be the perfect society woman with the perfect husband and the perfect household, essentially everything that Octavia herself tried but failed to achieve. So Yvette's still haunted by memories of her early childhood, when Octavia did everything in her power to make sure Yvette had a flawless walk, a cultured voice, a sophisticated but demure demeanor. These measures often ended up causing Yvette a lot of physical and emotional pain, so her nightmares, when they happen, usually make her relive those times.

Rowen: Rowen's nightmares vary widely, and she gets them a lot (though she never tells a soul about them, because her fellow thieves don't need to see their leader showing such weakness), but one thing that always comes up: death. It's not so much the act of dying itself, or even the potential pain, that her subconscious keeps trying to pick apart; as a criminal, Rowen's had plenty of time to get used to the inevitability of that. It's more about a too-early death, a death that occurs without anything meaningful having led up to it. Rowen feels like she can't leave this earth without having made her mark on it first, and she doesn't want hers to be a random, senseless death. In all things, Rowen wants to matter, and so naturally her bad dreams make her feel like she doesn't.

2. What is their biggest guilty pleasure/secret shame?

Yvette: She's never been outside the walls of Peralton's Upper City, where the wealthy are housed, despite the utmost necessity of keeping up a cultured, worldly air when in polite company. Most other Upper City girls Yvette's age have been abroad multiple times, but even her father's title can't keep the family wealthy enough for the expenses of travel. It's not exactly that she feels like she's lying. She lies all the time and is good at it and is not bothered by it in the least. But she hates that feeling of being lesser and having to patch things up because of it. She blames her father for this, as he's rather bumbling and has no head for management and is really bad at worming his way into the king's good graces, which has left the family finances in semi-disarray for the past few years.

Rowen: Since she's been in the Mendlands since she was really, really little, she's illiterate in Xi, the language of those native to Xianhai, and no longer as fluent when speaking as she'd like to be. She's been accused on multiple occasions of not being a 'true' Xianhaine by subordinates, and this makes it difficult to maintain cohesion within her ranks. She's been having her second-in-command, a much older woman, tutor her so that she can relearn the language, but it stings her pride to have to ask her second for help. But this touches on a deeper shame that affects almost every aspect of Rowen's character: she's constantly in a state of cultural limbo, and she doesn't know which side of her identity she owes loyalty to.

3. Are they easily persuaded or do they need more proof?

Yvette: One should basically describe Yvette as the antithesis of gullible. She's had trust issues all her life because she's never been trustworthy herself, so she won't believe anything anyone tells her if there isn't concrete evidence before her eyes. This is especially true of her peers' interpersonal dynamics—if someone tells her that two people are in love or about to kill each other or anywhere in between, she's not even going to consider their input on the situation unless she can see and make decisions on everything with her own mind. She places her own judgment first, last, and foremost, as it's the thing that's led her to her present advantageous position, so she won't let people persuade her of anything, because she's seen others socially destroyed by making the same mistake.

Rowen: Rowen's probably the most street-smart character in the entire book. She's practically at the top of the Lower City food chain, and she didn't get there by putting her faith in the wrong people. (Or any people at all, really.) People are not going to persuade her of things easily, especially since she often sees people robbed or brutally murdered for being even a little too trusting—and she herself has manipulated gullible people many, many times. Like Yvette, she relies heavily on her personal judgment, with all its prejudices and petty fears and lethal strategies, to get things done, because she knows from experience that trusting one's own self is the most effective way to go in her world.

4. Do they suffer from any phobias? Does it affect their life in a big way?

Yvette: She doesn't have any phobias in the medical sense, but she has a very deep-seated fear of being ostracized, instilled in her by her childhood and her experiences with Upper City life. This fear has shaped almost all her actions from the day she was first exposed to polite company, and it dictates all her motivations. Whatever happens, she will not let herself become a pariah, because the unknowable vastness and frightening implications of being rejected by her peers terrify her.

Rowen: Like Yvette, Rowen doesn't have any medical phobias. The few worldly fears she has are quickly dismissed, because fear is something she cannot afford when she's holding so many deadly and morally ambiguous people under her command. She's always the first to head into danger, though not without first arming herself with weapons both tangible and abstract. But she is truly and terribly afraid of having everything she's worked so hard and paid in blood and tears for—her underground empire, her status, her power—taken away. This influences all of her day-to-day decisions.

5. What do they consider their “Achilles heel”?

Yvette: Yvette believes she has two weaknesses: her family and her lack of a husband. To her, they're evils brought upon her by her situation. If someone targets her in either of those two areas, she is undeniably vulnerable. She does her best to shove those weak spots under the carpet, and most of the time, she succeeds. These are the only real cracks in her armor—or at least the only ones she herself sees, and she resents them with everything she has in her.

Rowen: Rowen's "Achilles heel" is her fellow Xianhaines. She will never ignore the call of someone she feels is her countryman—she feels a very strong sense of duty toward Xianhai, despite the fact that she hasn't actually been there for at least fifteen years. This sense of duty, as one might expect, leads her astray at times and can be used to exploit her emotions. She knows that it has this effect on her, but she just can't let go of that feeling that she owes something to what she considers her 'home country'.

6. How do they handle a crisis?

Yvette: As a general rule, Yvette does extremely well under pressure; it's essentially how she's secured such a high place in the social spheres of Peralton. She takes control of the problem politely but firmly before anyone else can, and then just as politely and just as firmly, she does away with it. Whether it's a ruined dress or a growing rumor or a blackmail threat, you can count on Yvette Scarleigh to turn it in her favor without letting anyone know what she's doing, all while keeping her reputation as snow-white as it's always been. Lots of people think that Yvette has her grip on every bit of the Upper City's social bubble; they're not wrong. She's got claws in everyone's skin. She just digs them in deeper when the times call for it, and people have no choice but to smile through the pain.

Rowen: Rowen's response to a crisis: eliminate all potential threats. This is true in both the short and long term. It is also true of both people and events. Anything or anyone that could potentially cause a problem or is currently causing a problem is immediately slashed out of the picture. Some document might return to haunt her later? It's gone. Someone's holding too much sensitive information? Goodbye. Rowen's method of handling a problem can be boiled down to ripping apart everything in her way until she's got a clear, straight path to the finish that she can take with maximum speed. A little primitive and paranoid when put that way, perhaps, but it works like nothing the Lower City has ever seen. It's efficient and pragmatic and has been known to involve a lot of blood.

7. Do they have a temper?

Yvette: Yes indeed, though perhaps not in a traditional sense. It's probably one of her defining traits, as her actions as a result of her temper have intimidated just about everyone in the Upper City at this point. If Yvette feels she's been slighted in any way, her anger will flare up, but it'll manifest itself in the most subtle and poisonous possible way. She will let nothing slip in her outward appearance, but she knows how to manipulate the current of gossip and the tide of the Upper City's general consensus, and she won't hesitate to do it. She'll take control of any situation quickly and quietly, and no one she targets will know what hit them. If someone tries to so much as crease her social standing or her chances at a good marriage, she'll bring them down.

Rowen: Let's say that's an understatement. She always has ample amounts of festering anger against Alastair's corrupt government and those who are prejudiced against Xianhaines and women. Her temper inspires fear in the hearts of enemies and steadfast loyalty (with a healthy dose of fear?) from the girls and women she takes in. Her temper in and of itself is a force of nature. She's had plenty of time to learn that volatile and violent is a great combination of character traits when consolidating power, and she's perfected her anger, honed it into a wickedly sharp blade both literally and figuratively. Think of it this way—if you really tick her off, you'll know because the streets will be running red with your blood in about 2.5 seconds.

8. What are their core values and/or religious beliefs?

Yvette: The Mendlands eradicated religion during the Laceblade Uprising that resulted in the founding of the kingdom because the two first queens, Rosalind and Clarabel, saw it only as something that would corrupt and skew government. There is no religion but the state—at least not officially, anyway. Due to her thoroughly Mendish upbringing, Yvette doesn't have any religious beliefs to speak of. But she places huge importance on the will to ascend, the will to be better, whatever 'better' means at any given moment in time. This could be because she's been trained to be a social-ladder climber and nothing else, with no other real skills, but she also feels it's a part of her own personality.

Rowen: Rowen's core value can be summed up as the freedom to establish identity. This is cultural identity, mental identity, emotional identity—you name it. She wants to be wholly her own, and the ability and room to do that is something that she holds close to her heart. She will not be bound or caged or subjugated when she still has so much to find out about herself, when so much of herself is still coming into being. She wants all the space in the sky she needs to throw her voice at, and all the space under the earth so she can better tread the ground beneath her feet. She can't imagine living with anything less, which is one reason why she's fought so hard to cling to her freedom in the Lower City. 

9. What things do they value most in life?

Yvette: She was taught from a young age that complete financial security is the first thing a woman should set her sights on, preferably in the form of a rich and easily exploited husband with a very nice house, and everything else is secondary. So that's definitely part of it. But even broader than that is the idea of shining, flawless success and the eventual goal of perfection. She doesn't want a storybook life necessarily; she wants a life that is above all imagining.

Rowen: To be short about it: her life, her spirit, her wits, and her weapons. She's made a habit over the years of not forming dangerous attachments to much else, because anything—possessions, loved ones, you name it—can be lost in an instant. There's a kind of stark beauty in simplicity and utility that Rowen appreciates, so she tries to surround herself with that and sever ties to anything extraneous.

10. What is one major event that helped shape who they are?

Yvette: Yvette formally made her entrance to society at the age of thirteen, having completed all education her parents felt she needed and reached an acceptable level of maturity. This was an unusual occurrence indeed, since most Upper City girls wait to have their 'coming-out' ceremonies until they're fifteen or sixteen. When she had her cotillion (essentially a ball that spotlighted her introduction to the marriage market), however, she was immediately eclipsed by Lavender Hawkins, mainly because Yvette doesn't have the 'typical' beauty that the Mendish approve of and Lavender, frankly, has it in spades. The anger and envy she felt that night has helped Yvette use her wiles and her incisive, impeccable taste to her advantage ever since.

Rowen: When Rowen first got to Peralton, she was captured by a disgusting gang of men who made their living selling 'exotic' young girls to brothels. Keep in mind she was really little at the time, probably around four or five. She escaped, obviously, but only by the skin of her teeth, and only after killing three people, which she still isn't sure how she managed. The guilt of leaving the other girls there to that fate haunts her to this day. This has left her with an intense distrust of men and a fierce protectiveness of those she considers 'her own'—that is, Xianhaine girls and women.

So that's all for this round! Do you love these cutthroat girls as much as I do? Did you do Beautiful People this month? Sound off in the comments!

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I have a surprise for you all. 

Now that I reflect upon it, almost everything I post is a surprise because hey, I have zero schedule or organization or anything on this blog. But I wanted to make it all official, because I've been meaning to do this for a long time.

Like six months, in fact.

This weird and wonderful hashtag-thing #WatchMeWrite originally started back in September 2014, when E.R. Warren, Japanese fantasy writer and all-around awesome person, decided that it would be cool to screen-record her writing process, fast-forward it, add some music, and share it with the Internet. I loved it, because not only is E.R. just a fabulous writer, it's a great way to peek into another creator's skull (that was not meant to be as creepy as it sounded). I even went so far as to make a how-to post so that other writers could join in on the fun.

Then I was tagged by the absolutely splendiferous Samantha Chaffin to create a video myself, and I was itching to do it. But I was on a PC at the time, and screen-recording on a PC is... painful, to say the least.

So now I have a Mac and I finally did it.

...some context, I guess

This is me drafting a bit of the eleventh chapter of my WIP On the Midnight Streets. If you're not caught up on Figment (this bit picks up exactly where the Figment posting leaves off, if you're eager for the next chapter—okay, let's face it, I'm talking directly to Alyssa right now in order to avoid her guilt-tripping), you may want to do some reading first.

the video!

So here it is! Enjoy. (The music is Paola Bennet's downright chills-inducing cover of Bastille's "Pompeii".)




recommended #WatchMeWrite videos 

(I'll admit it: these are all writing friends of mine. They're all WORD MAGICIANS OR SOMETHING. If you've seen a good one that I haven't included, though, don't hesitate to shoot me the link!)

  • E.R. Warren works on rom-com fantasy crack (Burnt Chocolate, Fairy King) in the inaugural #WatchMeWrite video (plus, you can read the full serial over at my lit + art mag).
  • Samantha Chaffin messes with fonts as she starts "hail the pumpkin king" (which has a glorious Pinterest board, by the way).
  • Raefah Wahid makes headway on her mythology-based short story "Ophelia and the Reaper" (featuring some too-cool background music by MS MR).
  • Lydia Albano chips the ice on a Yeats-inspired (yes, watch out for all of the rabid Yeats fans, myself included) mermaid project.
  • Alyssa Carlier revises the opening of her novel Winner Takes All, complete with dead queens and ghosts and OOH, POLITICS (uh-oh, she's running out of Star Wars music to use).

and that's it for my first #watchmewrite! writers, come to the dark side. we've got internet cookies for you.

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Hey everyone! My apologies for kind of falling off the face of the earth this blog. For the first time ever, I'm linking up with Beautiful People, hosted by amazing blogger/writers Cait (of Paper Fury) and Sky (of Further Up and Further In)! I've been meaning to do this for a while, but I've never really had the time to sit down and do it until now.

You may remember my gigantic WIP spew post back in November, when I participated in Beautiful Books (a variation of this very linkup!). So I guess this is kind of an extension of that—you guessed it; I'm talking about On the Midnight Streets! Again! Because let's face it, my life revolves around this book!

Essentially, what makes Beautiful People different from Beautiful Books is that this linkup focuses exclusively on characters, meant to help us get to know these people better. This month's topic is one especially near and dear to my heart: siblings!

This month I'm featuring Chantilly Rosewater, the heroine of OtMS, alongside her two little sisters, Chamomile and Velvet. The girls are seventeen, fifteen, and thirteen years old, respectively. They've got a mostly incredibly positive and supportive sibling dynamic that I am so, so excited about, and I'm so thrilled to introduce it to you all!

1. What is the first memory they have of each other?

For Chantilly, it's her sisters' births. She has, in most cases, an uncannily good, near-photographic, highly visual memory, so she remembers those two days in particularly crisp, lucid detail. She remembers being terrified for her mother but struck with a strange, immense kind of joy when her sisters were finally born.

Chamomile also remembers Velvet's birth startlingly well, as she was with Chantilly the whole time and they were both kind of freaking out. But her first memory of Chantilly is weirdly quiet: Chantilly curled up in the corner by the single window in their boardinghouse room, deep in thought. Chantilly didn't develop her protective, smart, older-sister edge until she was around eight or nine, so she was very nervous and soft-spoken as a younger child; Chamomile just barely remembers that side of her.

Velvet's first memory of her sisters involves all three of them together—Chantilly is telling a story, as she's wont to do, and little Chamomile is trying to listen, though she's clearly nodding off. Velvet herself doesn't remember quite what the story was about, but she likes to think it was an especially good one.

2. Describe their relationship in 3 words.

Good-natured, protective, unbreakable.

3. What kind of things do they like to do together?

Chantilly and Velvet are both partial to stories, though Velvet struggles a bit with reading at times, so Chantilly makes up tales to lull her little sister to sleep. (She's basically rubbish at it, but she tries so hard that Velvet hasn't the heart to tell her so. And Chantilly's voice is so comforting that it doesn't much matter either way.)

The girls' mother, Diane, works as a washerwoman to support the family (or at least she does before they all have to haul themselves over to the Upper City), and Velvet and Chamomile help her out. They started work when they were both really little (Chantilly managed to snap up a job at a bookshop, which was just about the best job in the world for her), and they were constantly making up little games to make the chores less tedious. They still do it, giving each other small dares and making the time go by quickly. Simply working together amiably is one of their favorite things to spend time doing with each other. Unfortunately, now that they're in the Upper City, there's really no opportunity for them to do that.

Chamomile and Chantilly don't like to admit that they love each other, so they're not doing things together as much. But when they do? They like to just talk and take comfort in the knowledge that while their relationship gets strained sometimes, it'll never fall apart. Never.

4. What was their biggest fight?

When Chamomile was fourteen, she declared that she was going to find the girls' father, Robert, and make him answer for what he'd done to their family. He was an abusive, misogynistic poor excuse for a human being, and she was planning on making him pay. Chantilly immediately shot down any such ideas, saying he was probably dead anyway, and it was best to let such things lie. Velvet didn't remember their father much at all, but she was terrified by what she'd managed to piece together, so she begged Chamomile not to go through with it. Chamomile was so determined and angry that she ran away from home. She nearly got away with it, too, but Chantilly found her shivering and sad in a Middle City alley two days after she'd gone missing. None of the girls really spoke to each other for about a week afterwards.

5. How far would they go to save each other?

Chantilly would, without hesitation, die to save her sisters. She would, in most cases, kill for them as well. Chamomile is much the same, though she's constantly pretending that she doesn't care nearly as much as she actually does. Velvet would unquestionably suffer fates worse than death to save her sisters, but she would be more hesitant about the moral implications of, say, killing.

Basically: great lengths. These girls love each other to the moon and back.

6. What are their pet peeves about each other?

Chantilly: Chantilly is annoyed to no end by how brash and impetuous Chamomile is, and she spends a lot of time and effort trying to make up for this perceived fault. However, she's a little sweeter on her youngest sister, Velvet. Velvet's so kind that it's hard to think anything against her. Sometimes, though, she can't help but think that Velvet could be a little more practical.

Chamomile: She hates the fact that Chantilly always feels the need to rein her in and question her judgment. She loathes acknowledging her own mistakes; she wants to be self-reliant, but her impulsiveness undermines that. She doesn't like admitting that a lot of the time, she acts without thinking things through. Chantilly points that out for her and tries her best to keep her out of trouble, and Chamomile resents her supposed 'inability to mind her own business'. As for Velvet—well, just like Chantilly, she finds it difficult to find fault in her lovely younger sister. But sometimes she wishes that Velvet would just snap and speak up for herself instead of being so quiet and obliging all the time.

Velvet: She's a little peeved by Chantilly's tendency to try and soften the harsher truths of life. Basically, Chantilly's overprotective of her youngest sister, and it shows. Velvet thinks she can very well handle any difficulties that come her way, but Chantilly tries to shield her from it. Chamomile is also inclined to coddle Velvet, and she's not too enthusiastic about that.

7. What are their favorite things about each other?

Chantilly: Chantilly most loves Chamomile's deeply emotional core, although there are admittedly many, many layers of tough-girl bravado hiding Chamomile's vulnerability. It's that part of her that gives Chantilly faith that Chamomile will always pull through, no matter the circumstances. Chantilly also loves how Velvet can find beauty and grace in anything and everything, whether that's the overcast sky outside or the rough clothes they wear.

Chamomile: Chamomile secretly loves Chantilly's selflessness and unfailing ability to catch her loved ones when they fall and make mistakes and mess things up. She also is—yes, she admits it—a little jealous of Velvet's unconditional kindness and caring.

Velvet: Velvet loves Chantilly because she has an unassuming but undeniable backbone to her, and it shows up in everything she says or does. It's a quiet strength that Velvet wishes she could draw from. She also has a huge admiration for Chamomile's fearless way of speaking her mind and being assertive about her own wishes. 

8. What traits do they share? Mannerisms, clothing, quirks, looks, etc?

via
All three of them have the trademark 'Rosewater hair', passed straight down to them from their mother, Diane: strawberry blonde, easily tossed about, sometimes unruly. They're also all pretty smallish in terms of build—though Chamomile is easily taller than Chantilly now—and they have a habit of fiddling with their hair when they're nervous, possibly because it subconsciously reminds them of the bonds that tie them back to their family. They're also (probably due to their mother's experiences with their abusive father, and the fact that they were raised by a single mother) somewhat disinclined to trust boys, with their hearts or anything else. Other than that, though, they're all very different personality-wise, except for the deep-seated, awkward current of bravery running through them all. They like to say they inherited it from their mother; she's probably the person all three of them respect most in the world.

In addition, Chamomile and Velvet both got their mother's green eyes. Chantilly's unsettling purple eyes make her the odd duck.

via

9. Who has the strongest personality?

To a stranger, I'd say it would look like Chamomile has the strongest personality, and maybe that stranger would be right. She's certainly the loudest, most outspoken one of the three, and she has a more immediate presence than either of her sisters. She's a little commanding, a little rude, and a lot protective of her own ideas and her loved ones. But Chantilly's personality comes out really forcefully at certain times—when she feels like she should be the 'glue' holding her family together, for instance. Velvet's personality isn't weak, per se, but it's a lot more subdued.

10. How does their relationship change throughout your story?

It never once weakens—their strong sisterly bond is, in fact, one of the only constants throughout OtMS—but they grow to understand a lot more about each other as they each go through their own trials and tribulations. They each change individually in often-painful ways, but they always have their sisters to fall back on.

And that's the Rosewater girls for you! What do you think? Did you link up with Beautiful Books?

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You think I am exaggerating in the title of this post. I am actually not.

(I'm talking about this Alyssa and you should go give her ALL THE LOVE because she's a wonderful person.)

What happened, you might ask?

Only the most AMAZING THING OF EVER. Allow me to elaborate. (Which I'm already doing, but bear with me because my mind is still awash in fangirly nonsense.)

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In celebration of NaNoWriMo 2014, fabulous bloggers and writers Cait and Sky are hosting a three-month-long linkup called Beautiful Books in which all of us writers can answer questions about our novels like the narcissistic creatures we are (or at least, I am). It's basically a gigantic writerly/bloggy party centering on the stories that have taken over our lives. Although I'm not doing NaNo this year (2015, hopefully?), I am still chipping away at a rather long-suffering WIP that I'd like to talk about, so here I am.

WARNING: Huge post ahead.

Unfortunately (and predictably), the October linkup totally flew over my head, so I didn't get to write up a post. So here are the questions from Linkup #1, which I missed but will play catch-up on:

What came first: characters or plot idea? Are you a plotter or a pantser?

Definitely the character. This whole WIP actually started with just one name: Chantilly. Then the plot began slowly filling itself in. I knew that I wanted to write something vaguely steampunk-y (this was just after I finished the Infernal Devices series, which I adored) and set in a Victorian-esque world.

You can tell that this basically started out as a Clockwork Angel clone before I realized what I was doing and took the whole thing an entirely different way.

Anyhow, after that it was basically like adding ingredients to a cake: thievery, romance, corruption, revolution, period drama elements, etc. etc. I just threw in some features in stories that I love and mixed them together until they became something vaguely like a storyline.

(I'm obviously great at plotting.)

As for the age-old plotter/pantser question: For now I'm a bit of both. This is actually only the second serious manuscript I've ever attempted, and I was a bit foolish back in March of 2013 and started writing with no outline whatsoever beyond a few ideas for scenes. This led to a lot of stagnation as I tried desperately to come up with the direction I wanted the story to go in next, although I did have lots of fun making things up as I went. Now, though, I've got a rudimentary outline that I'm trying to stick to, though I don't do outlines within the chapter unless I'm seriously stuck. I suppose I could say I'm trying to convert to plotter mode in order to give the book a better handle on where it's heading.

Do you have a title and/or a “back-cover-blurb”? 

The title is On the Midnight Streets, and my (admittedly shaky) blurb is as follows:

Peralton is a city of walls, and seventeen-year-old Chantilly is caught in the war between them.

From poverty-stricken urchins to wealthy society darlings, no one is safe from the corruption that has woven into the city's heart. Only the Midnight Hatter, a cunning thief with a shadowy identity, dares defy it - but when he abducts Chantilly on her wedding day, no one is sure what a middle-class-girl-turned-socialite can do for an untouchable criminal. 

The answer? Revolution.

From inside the very castle that the Hatter means to bring down.

Forced into a deadly game of espionage and intrigue, Chantilly only wants to lie and cheat
 her way back home. But every day that she spends in the palace is another day spent in the thick of the mounting injustice that grips the government, and another day of knowing that she can light the fire against it.

It turns out that fires, once burning, only get bigger.

What wordcount are you aiming for when your novel is finished?


I was originally going to keep this to around 70-80K, but I've been writing a while and it doesn't look like it's going to happen. But I do want to stay below 100K, as I've heard it's extremely difficult to get a debut novel published at 100K+ words. So I suppose I'm shooting for a solid 90,000 words at this point.

Sum up your novel in 3 sentences.


Literary-minded, iron-hearted girl teams up with raging feminist snark-master thief to bring down an entire government. Turns out it's harder than they realized. Much banter and knife-throwing ensues.

Sum up your characters in one word each.


I've got a rather large cast of characters, but here are most of the important ones:
  • Chantilly Rosewater: fierce
  • Finnegan Lyle: dangerous
  • Sebastian Lyle: charismatic
  • Esmeralda: steadfast
  • Charles Mareil: noble
  • Catherine Cleacker: unpredictable
  • Renton: magnetic
  • Stiefvin: innovative
  • Edgar Monteau: disconcerting
  • Yvette Scarleigh: steely
  • King Alastair: corrupted
  • Queen Saerys: bitter

Which character are you most excited to write? Tell us about them! 

I'd have to say I'm super excited about writing Chantilly and Finn. Chantilly is the heroine, so naturally I have to be passionate about writing her if I'm building an entire book around her - she's determined and loyal in a quiet sort of way, and I'm so pumped to draw out her character development. It's all about Chantilly finding the steel inside herself and helping others find their own strength. Plus, most of the chapters are told from her first-person PoV, and I already love love love being inside her head. Finn is our thief. He is 110% a feminist and is extremely skilled at both fighting and sarcasm. (This includes sarcasm while fighting.) Finn and Chantilly are kindred spirits (though I'm not a huge fan of that phrase, I admit) on so many levels, and their individual characters as well as their character dynamic are going to be so wonderful.

What about your villain? Who is he, what is his goal?


My villain's a rather creepy king named Alastair. He believes it's his right to have absolute power, and he asserts this supposed "right" in any number of messed-up ways. This belief also manifests itself in an all-consuming paranoia. It doesn't help that he has a host of illegitimate children and a network of spies and a tendency to execute anyone who annoys him. His goal is basically to bash the revolution. His grandfather secured the throne in a dramatic and violent coup, and now Alastair is terrified that he'll lose power the same way.

What is your protagonist’s goal? And what stands in the way?


Chantilly's initial goal is to get back home to her family, because right now her marriage would be their best chance at complete social and financial security, and getting kidnapped kind of threw a wrench in that whole plan. Keeping her family safe and happy is a recurring need of hers, and it drives a lot of her actions. Obviously, the fact that Finn and his revolution wants her to spy for them stands in the way of that.

But then, slowly, Chantilly begins to think that maybe the rebels are on to something. She starts to see the moral depravity and inequality that plagues every aspect of the government. And this causes her to actually care about the revolution and switch her goal over to seeing it through. Consequently, her biggest roadblock becomes the government itself, with King Alastair at its head.

What inciting incident begins your protagonist’s journey?


The inciting incident is set in Chantilly's family's boardinghouse room in the Middle City, the middle-class area of Peralton. Chantilly receives a letter stamped with the king's seal stating that her family has inherited an entire estate in the Upper City (the wealthy area of Peralton). This propels her into the world of Peralton's richest socialites and results in the wedding that she gets kidnapped in.

Where is your novel set?


This book is set in the city of Peralton, the capital of the peninsula country the Mendlands. This is a fictional kingdom essentially based on Victorian England, with some changes in culture, tradition, etc. (This is because I totally could have turned this into an alternate history book but I have a fear of the research that would take, so instead I'm making things up as I go.)

What are three big scenes in your novel that change the game completely?


Other than the inciting incident, which is completely obvious, we've got three scenes I'm really going to love writing/are really important. But beware of spoilers!
  1. When the Midnight Hatter crashes Chantilly's wedding. Basically, the Hatter throws things (a knife, a hat, and a cake, to be exact), Chantilly is stuffed into a sack, lots of things get broken (maybe a chandelier?), and everyone panics.
  2. Chantilly decides to masquerade as a potential heir to the throne, based on an obscure but powerfully supported legend about the first rulers of the Mendlands. This is HUGE for her. She's taking a role in the very dangerous but very coveted political spotlight, and she's willing to threaten her identity and her very life to do so. This goes against every single instinct she's ever had, and that development on her part is extremely important.
  3. Chantilly gets wounded pretty badly by a poisoned blade. She's basically about two centimeters away from dying (though not literally). It gets... emotional.

What is the most dynamic relationship your character has? Who else do they come in contact with or become close to during the story?

As you've probably gathered, the Finn/Chantilly relationship is the most important one in the story. It's founded on respect and admiration and silent but unbreakable bonds. There's lots of snark and awkwardness. But Chantilly comes into contact with a lot of other characters, too, and they all change her in different ways. Yvette shows her the importance of respecting other girls rather than putting them down. Chantilly and Esmeralda have a super positive, super supportive female friendship. Charles inspires Chantilly to have clear ideals and stick to them. And so on and so forth.

How does your protagonist change by the end of the novel?

Chantilly definitely starts learning to work with her introversion. It's still a part of her - magically "curing" her shyness just doesn't seem true to her character - but she starts to realize that she has power. She can make a difference. There are different kinds of courage and she has some of them. It's difficult to learn that - she loses a lot and it totally sucks - but she begins to see that it just might be worthwhile.

Do you have an ending in mind, or do you plan to see what happens?


I do have an ending in mind. It's going to be a bit of a cliffhanger, though, which is risky. I may experiment with this, since I know that when you're writing the first book of what you intend to be a series, you should let the first book stand alone in case a publisher doesn't pick up the rest of the series. So I guess it's a bit of both.

What are your hopes and dreams for your book? What impressions are you hoping this novel will leave on your readers and yourself?


Like most writers, I do dream of getting my book published. I just want to have that wow-this-book-is-a-thing moment and be able to share it with readers on that scale. But I'm also hoping - and this is undoubtedly presumptuous of me - that it will be a valuable contribution to the YA literary, that it will matter to someone. I hope it inspires someone. I hope that I and other people can learn from this story, because it's such a big part of the inside of me that I really want to get out into the world.

~~~~~~~~

And here are this month's questions! Hopefully last month's background helped out a bit.

Be honest: how is your writing going?


It's frustrating, honestly. I've been in an extended writing slump for over a year - none of my writing sessions are very productive, and I hardly have time to write, though I'm not sure whether that's because I'm simply not working hard enough to make time or because I actually don't have time. But I'm hoping to get back into the swing of writing and finally finish this first draft (since I've been working on it since March 2013, haha *cries forever*). 

What’s your first sentence/paragraph?

The envelope in my hand has corners sharp enough to cut me, and for a long moment, I trick myself into thinking it will if I hold it for too long. The clock on our wall ticks one, two, twenty-two times, calmly enough that I can let it time my inhales. My eyes wouldn’t deceive me - the messenger who passed it to me through a chink in our doorframe was dressed in livery finer than anyone in these parts has seen in decades. But stranger still was his expression, so guardedly incredulous that the memory of it makes me afraid of the letter he’s brought me.
Do you have a book cover, and/or pictures that reflect your book?

The first book cover I ever made for this looks like this:


I do have a current(ish) book cover, though it's very old:


As for pictures reflecting the book, I have a Pinterest board for the novel that should meet the needs of this question quite nicely:


Do you have pictures of each of your characters? If not, describe them for us! (Be as descriptive as you can.)

I do have a few pictures, thanks to the marvel that is Pinterest. But I don't have pictures for everyone yet. A few notable people will be missing.


HEROINE Chantilly Rosewater, seventeen-year-old girl full of nonsense.


ROYALTY - Left to Right: Rosalind, legendary first queen of the Mendlands (Adelaide Kane) | Clarabel, the other legendary first queen of the Mendlands | Saerys, current queen of the Mendlands and unwilling wife of Alastair

NOT PICTURED: Alastair, main villain and total creep and current king of the Mendlands


THIEVES - Clockwise: Finnegan Lyle / Midnight Hatter, thief lord of Peralton | Sebastian Lyle, Finn's rapscallion uncle with a heart of gold (Johnny Depp) | Esmeralda, basically Finn's surrogate older sister | Loraina Blackcliff, brilliant scientist who joins up later on (Helena Bonham Carter) | Stiefvin, Finn's nerdy inventor friend (James McAvoy) | Rowen, leader of the rival thief ring

NOT PICTURED: Renton, smuggler / Finn's best friend / Stiefvin's boyfriend but shhh he doesn't know it yet


UPPER CITY - Clockwise: Diane Rosewater (younger version), Chantilly's steel-willed mother | Chamomile Rosewater, Chantilly's fiery fifteen-year-old sister | Velvet Rosewater, Chantilly's crazy-nice thirteen-year-old sister | Edgar Monteau, secondary villain / earl with a clouded past | Yvette Scarleigh, earl's daughter and probably the most socially shrewd person in the kingdom | Colin Cleacker, Catherine Cleacker's thirteen-year-old brother | Catherine Cleacker, misunderstood baronet's daughter with multiple personality disorder

NOT PICTURED: Charles Mareil, Chantilly's fiancé / ad hoc policeman | his entire family (Richard, Eleanor, Edward, Talia) | Lavender & Lavinia, two sisters | Yvette's family (Octavia & Yvette's father) | Rienne, thirteen-year-old maid in the Rosewaters' home | Lottie Merton, Chantilly's maid and good friend | Thea Recantine, palace librarian and author of Chantilly's favorite book | etc.


ALSO NOT PICTURED: Robert, Chantilly's poor-excuse-for-a-human-being father

What scene are you most excited to write?

I kind of discussed this in last month's questions, but there are other scenes that I'm pumped for as well. I'm probably going to sneak in an almost-kiss somewhere. It'll be fun and horribly angsty.

Basically I'm excited to write every scene until I actually get to that scene and suddenly I'm the slowest, most reluctant writer in the world. It's a bit of an issue.

Share a snippet or a scene that you really enjoyed writing.

Here's a screencap, then. Click for a full-size image (and actually readable font).



Now that you're writing, have any of the plot details, or the process itself, turned out different from what you planned or imagined?


I did imagine that since it was a first draft I'd be able to let go and write a little more easily.

I was a naive child.

Is there a character or aspect of your plot that's difficult to write?


EVERYTHING

*ahem* Probably Chantilly's insecurities and gray areas, the stuff she doesn't like to think about. Those are very difficult to balance with one another.

What’s your favorite aspect of this novel so far? Favorite character?

Chantilly, now and probably forever.

Have you drawn off of any life experiences or people you know to create your novel and your characters?


Actually, no, not really. Unless reading the Infernal Devices and watching Les Mis count. *cringe-laughs*

Do you have a playlist or certain song for your novel and/or characters?


Ha. HA. What do you mean, do I have a playlist? I have multiple playlists. But I'll cherry-pick some songs out because I'd like to keep everyone sane here.

Since OtMS is hugely inspired by Les Mis (I've only seen the film but STILL) and the whole revolution thing just... *collapses*, I'd say the OtMS theme song is "Do You Hear the People Sing?". I feel like Finn's theme song is the Vitamin String Quartet cover of "Smooth Criminal". Chantilly totally fits with "King and Lionheart" by Of Monsters and Men (if Finn is the king and she's the lionheart). 

Let’s have some fun for a moment: imagine you are somehow transported into your book’s world. Which character are you most likely to be found hanging out with?

Honestly, Chantilly is in many ways a lot like me, so we'd probably be best friends. We're quiet with strangers but animated with people we know well. We're both introverted and bookish, and we both love feminism and history. We would have so much fun nerding out together.

How do you keep yourself motivated to finish your daily wordcount? (Pinterest? Internet breaks? Chocolate?)


I like looking at finished pages. (I write in longhand and then type, so it's cool to see a sheet of notebook paper fill up with blue ink.) That's really my main immediate motivator.

What your favorite writing quote or piece of writing advice?

I used to think that my ideal job was to write. To make up stories. To lie for a living. Now that I’m in it, though, now that I’m comfortable in my novelist skin, it doesn’t feel that way at all. I observe for a living. I steal for a living. I stylize for a living. I find things in the real world, I take them for my own, and then I hammer them into a story-shaped thing. Writer? I am a thief and an artist.
That's from Maggie Stiefvater, one of my favorite authors of all time. It's so accurate it hurts.

How does this book make you feel so far? Are you laughing? Crying? Frustrated?



So that's it from me! What do you think of my WIP? Did you write your own Beautiful Books post? Please do sound off in the comments!

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