Lymond Chronicles

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Jilly: Easter Eggs!

Happy Easter, if you’re celebrating today!

Do you enjoy Easter eggs? Story ones, not the chocolate sort 😉 .

In this context, an Easter egg is a bonus nugget—an object, action, character, or phrase—that isn’t critical to the story and may be overlooked by many readers or viewers but which is somehow significant and provides an extra hit of geeky pleasure to those who notice it.

Easter eggs may offer a wink and a nod to a sub-genre. Here’s an easy one: I have lost count of the number of romance heroes who say “As you wish,” when being ordered around by the heroine. No explanation is ever asked or offered, but most romance readers would immediately recognize the homage to William Goldman’s 1973 fantasy romance The Princess Bride, or more likely Rob Reiner’s wonderful 1987 movie adaptation. It’s what farm boy Westley says frequently to Princess Buttercup, and it means, of course, “I love you.”

Or they could be a tiny detail within a book or series that adds a little extra zing. In the final book of Dorothy Dunnett’s Lymond Chronicles, when the eponymous hero has finally found his HEA, there’s a quick exchange where his beloved says “You can give me a brooch. A sapphire one.” He answers, “But will you take care of it?” Which harks back to their very first encounter, in the very first book, when she’s a ten-year-old child. Lymond questions her to verify her father’s honesty. It’s frightening and dangerous, and when it’s over he pins a beautiful sapphire brooch to her nightshirt by way of apology. She rips it off, hurls it to the ground and grinds it under her shoe. Yay Philippa! Yay, Dorothy Dunnett!

An Easter egg could also be a reference to pop culture. The heroine of Ilona Andrews’ most recent book, Blood Heir, was an important secondary character in their bestselling Kate Daniels series. In the Kate Daniels books she’s Julie Olsen, but in Blood Heir she returns to Atlanta with a new face, a new name—Aurelia Ryder—and a whole raft of new superpowers. She becomes a temporary member of the chivalric Order of Merciful Aid, which makes her Knight Ryder. I laughed out loud the first time I read this. Because if you’re as old as I am, you might remember Knight Rider as a 1982 TV series starring David Hasselhof, a police detective who’s rescued after a near-fatal shot to the face and returns to town with a new face (thanks to plastic surgery) and a new name to become a hi-tech, modern crimefighter. I guess it was most likely a joke that became a book.

Easter eggs are everywhere. Peter Grant’s car (a Ford Asbo) in Ben Aaronovitch’s Rivers of London/Midnight Riot. Google it if you don’t know what an ASBO is. Ford Prefect’s name in The Hitch-Hiker’s Guide to the Galaxy. Quentin Tarantino’s sneaky cameos in many of his movies. A quick glimpse of John Thaw in a mirror in the Inspector Morse prequel TV series Endeavour.

I think they’re a nice bit of added fun. I enjoy them when I spot them. I don’t mind too much if they sail over my head.

How about you? Are you an Easter Egg fan? Do you have any favorite examples?

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Jilly: Menu Gourmand

In romance there are basically two kinds of series. The first, which Nancy discussed last Monday, focuses on a community: a family, or schoolfriends, or regimental comrades. In this kind of series, each book tells the love story of a different member of the community. It works really well in historical romance.

The other kind of series follows the adventures of one couple over multiple books and is a natural fit with fantasy and urban fantasy. That’s what I’m busy writing.

At its best, this kind of series is like a tasting menu from a really, really good restaurant. Delicious, ambitious, and not to be attempted by the faint-hearted.

  • Choose your cuisine.
  • Decide how many dishes you plan to offer.
  • Each dish should stand alone as a tasty, balanced, harmonious whole.
  • Every course should be delightfully different, offering contrasting flavors and ingredients but in a cohesive style.
  • The menu should flow, offering a natural progression leading the diner from piquant to savory to a delightful sweet finish and possibly some perfect petits-fours.
  • The content of each dish should be perfectly judged, leaving the diner neither over-hungry, nor sated too soon, but wanting more until the final satisfying conclusion.
  • The sum of the whole should be greater than each of the parts.

To whet your appetite, click here for the Land and Sea tasting menu from one of my favorite restaurants, The Three Chimneys on the Isle of Skye.

In literary terms, this kind of story is exemplified by Dorothy Dunnett’s Scottish Historical Lymond Chronicles, or Karen-Marie Moning’s Celtic urban fantasy Fever series, Lois McMaster Bujold’s Sharing Knife books or more recently by Ilona Andrews’ Hidden Legacy trilogy.

This is what I’m aiming for: something a little different, offering fine local ingredients combined with flair and executed with skill. If I get it right, hopefully my Menu Gourmand will be mouth-watering, memorable, and a treat worth saving up for 🙂 .

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Jilly: Creative Re-Writing

Creative Re-writingHave you ever read or watched a story that frustrated you so much you re-wrote it in your head the way you wanted it?

I was still at school the first time it happened to me. A friend lent me Gone With The Wind, and since even then I was a committed lover of the happy ending, she assured me that everything turned out okay in the end. I sobbed through the final chapters waiting for the reversal that never came. I dealt with it by imagining my own version of the story, and I’ve never re-read the original since. I’m still on speaking terms with the ‘friend’ who caused my book trauma, but it was touch and go for a while.

I’ve been revisiting the question this week Continue reading →

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Jilly: End of Series Anxiety

End of Series AnxietyDo you enjoy reading series? If so, do you suffer from End of Series Anxiety?

Sometimes when I’m reading a book by a new-to-me author, if the writing is stunningly good and the plot is ratcheting up nicely, in the middle of my enjoyment I’ll hear a voice at the back of my head warning me not to get too carried away, because however smart the author is, there’s always a risk that the way she chooses to resolve the story might not work for me.

Funny thing, but even after I’ve settled down to a harmonious relationship with an author and built up a level of trust that their story choices are likely to make me happy, I’ll still look at an upcoming release, close my eyes and hope it’s going to be all right. That’s most likely to happen in the final book of a series, because confidence in the author + emotional investment over multiple books + increasing story stakes + ever-higher expectations -> nose-bleed high risk. Continue reading →