The closest thing I will get to reviewing my own work is this blog entry. Just as I don’t resort to paid reviews, I think a review from myself would be very biased. I acquired my characters in their twenties, when they world had already dealt them hands with missing cards, leaving them fragmented and with trust issues. Are they going to magically open up to a main character who appears and automatically let her see all of that? Not in the first book of this series. Not when they’re busy living in a façade. Is my main character going to be drooling with rabid love at first sight when she has clear issues to sort out? Not likely when gaining her independence at nineteen is number one (even though this is still a kissing book). These characters aren’t safe from typical things, but they have to sort out their lives and work towards getting to that change, and you will see sure progression by the time book 3 is on its way. Why do they leave me no choice but to let them grow? That’s because we all grow, fragmented past or not, and you cannot expect comfortable characters who don’t shed skin from me. Onion layers? There’s a chapter for that.
These characters are not typical and well-adjusted and neither are their demons. They demand to make me write in a twisty way, divulging a vulnerable moment in passing, as if it isn’t bothersome. They demand to be cautious, mysterious, untrusting, and wait for the main character to prove herself, as if some kind of initiation to their underground that exists aboveground must be had.
I’ve always said that characters are the number one thing for me, and in The Supernatural London Underground, you will be met with backstory which is my testament to growing up watching LOST, and talking about it with the other kids in Latin class. This does mean being able to pay attention to voice, as visually short chapters might have different pronouns because they are a different point of view or back story. The regular narration is first person with a distinctive voice, and if you notice the absences of “I”, sure as a heart underneath the floorboards, you’ll have to grab the character’s name when its introduced in the first sentence.
I remember how the first movie in the American Sherlock Holmes with Robert Downey Jr. ended. “But now we must blaze the trail of this journey which is basically unrelated but we can talk about it in the last 30 seconds to quickly stimulate your mind with a last-minute riddle!” I wasn’t about that. Instead I use the symbolism in the title to tie up a sure end, while presenting you with a few options or obstacles that you want to see resolved as a reader near the end of the book. There is clear progression for the main character, and now we get to watch and see if those onion layers on other characters will make her cry or not.
Twisty and Steady.
Check out some reviews for book #1 on Pinterest: https://www.pinterest.com/Romarindemetri/1-reviews-a-mirror-among-shattered-glass/