With just eight days left until publication of the full novel, I’m currently copyediting, at breakneck pace, the final chapter. First, a reminder: download the sample chapters (1 and 2) for FREE, from Amazon this weekend–follow the link to the left. Doing so, whether, you want them or not, will raise the book’s ranking. Convince a friend to grab them, too! Remember that you don’t need a Kindle, either (see previous post).
I scheduled the FREE period to begin at midnight tonight, so hopefully the tech will work correctly. But you have until Sunday at midnight. (edit–that’s PST)
Mythologically speaking, the denouement of a long narrative often takes the form of a chase scene. Even though the action may rise to a fever pitch, the psychological stakes are lower, the major conflicts having really been resolved already, and what remains is to escape with one’s prize. If you have ever felt bored during an extended chase scene, even in spite of explosions, falls, and gunfire, this probably signals your awareness of how narratives really work. For some unaccountable reason, James Bond films (NOT the Fleming novels) like to begin with a chase scene–perhaps as an artificial homage to the convention of in media res. After all, there’s not much to tell about Bond, in exposition, that we don’t already know, but it starts in the middle of something.
For this mythological reason, stories don’t always get a satisfying ending–or they get one that has a slightly contrived, even comedic feel. Given the long run times and the resources he had, Peter Jackson made a bold (and poor) decision in cutting off the last 1/6 of Tolkien’s trilogy, The Lord of The Rings, on film. And Tolkien got it right, of course: showed that his hero, who had been successful among great allies in the big world, had internalized his growth (signified by the act of returning to a changed home, and setting local wrongs right without help.)
I’ll leave it to those of you who complete the journey with me to decide if I got it right. Find out, in just over a week!