Ask the Author: Rori I.
Answered Questions (28)
Rori I.
The mystery 1: My biological father's identity and why the heck did my mother leave him.
It'll be, I'm sure, a very gritty contemporary character study thing, and I don't know if it's my style to write it.
The mystery 2: Some very specific neurodivergent experiences I have, which make one feel like all the myths are fact, and all the gods are real.
Especially after midnight, when the world hushes over and yours is the only light int he house.
That one I could definitely write.
The mystery 1: My biological father's identity and why the heck did my mother leave him.
It'll be, I'm sure, a very gritty contemporary character study thing, and I don't know if it's my style to write it.
The mystery 2: Some very specific neurodivergent experiences I have, which make one feel like all the myths are fact, and all the gods are real.
Especially after midnight, when the world hushes over and yours is the only light int he house.
That one I could definitely write.
Rori I.
This summer I have nothing concrete, since I've discovered finding books as it fits my mood is a much better tactic.
Although, I will read anything Cole McCade publishes! Fair warning. :)
This summer I have nothing concrete, since I've discovered finding books as it fits my mood is a much better tactic.
Although, I will read anything Cole McCade publishes! Fair warning. :)
Rori I.
Hello!
I was hiding from the world, having completely forgotten to switch off the ask me a question option, but I am glad I chose to return! :) Thank you for the asking.
Here's the answer:
I'd love to be part of the Avatar world. Apart from the story, world-building, and character being absolutely excellent, it'll bring me joy to apply my newly acquired tai chi skills to water bending.
I really hope character traits are not closely tied to bending, because I might not possess many of the traits linked to the water tribes. (oops) But hey, maybe I could apply my tai chi knowledge the way Iroh does his knowledge for the other tribes. ;)
I was hiding from the world, having completely forgotten to switch off the ask me a question option, but I am glad I chose to return! :) Thank you for the asking.
Here's the answer:
I'd love to be part of the Avatar world. Apart from the story, world-building, and character being absolutely excellent, it'll bring me joy to apply my newly acquired tai chi skills to water bending.
I really hope character traits are not closely tied to bending, because I might not possess many of the traits linked to the water tribes. (oops) But hey, maybe I could apply my tai chi knowledge the way Iroh does his knowledge for the other tribes. ;)
Rori I.
Hello! You can buy Republic's Chosen only on Amazon currently. More options might start popping up in a few months but right now it's a self-published work on that platform only.
I update my social media often so you can follow me if you'd like to keep an eye out for developments.
twitter: Rori_Iv
Facebook: Rori Ivanova
tumblr: @aftertheworldends
Thank you for the question.
Stay readin'
Ro-ri
I update my social media often so you can follow me if you'd like to keep an eye out for developments.
twitter: Rori_Iv
Facebook: Rori Ivanova
tumblr: @aftertheworldends
Thank you for the question.
Stay readin'
Ro-ri
Rori I.
It was Anglo-Saxon, cishet, it served the patriarchy. And never changed.
(I took this ask seriously, okay?)
(I took this ask seriously, okay?)
Rori I.
I feel like this is a question in two parts, so let me answer the main bit like this:
I have recently realized my main character Liana has remarkably a lot in common with Lisbeth Salander. Now, I conceived Liana when I was 14 - long before I read Larsson's trilogy in my early twenties. That was not a product of an influence but a product of the times we live in.
Liana has a lot in common with her as consequence of Lisbeth helping me accept the type of heroine I needed on the page. I've always written loud women who were the boss, who were the best, who saved themselves, but Liana was the first one I didn't apologize for.
So ultimately, Larsson influenced me through being unapologetic. He could afford it, of course. Like with anything else, the voice of a white man was stronger than any woman's but he wrote and he wrote and he wrote, never putting an end to how far he'll take not just Lisbeth's but the personal story of any woman he created.
He didn't - not for a second - let a reader doubt that even the smallest sign of sexism was inexcusable in his eyes.
Writing the stories of women is much better done by women, because they are WOMEN's stories to tell in the first place; yet in this one case, it was well done by a man as well.
Which leads me to part two of my answer:
I think the trilogy did a tremendous job of demonstrating what sexism looks like; what violence against women looks like, and how wide-spread it is.
Larsson pulled no punches. He didn't say "here's this one woman to exemplify this pain." He said, "Women everywhere suffer from the abusive holds of the patriarchy. These are their stories, from the violence against all of the victims of a serial killer, through the violence against women in their personal relationships, or their homes, or their former partners, or their mentors, through a woman's career filled with sexist messages and a glass sealing and personal attacks with the constant bitchbitchbitchbitch written all over, all the way to the catcalls or the dismissive way they ask you as a trained professional to bring them coffee.
So here it is: an admiration of Stieg Larsson's work. What it gave me was confidence to create my characters as I believe they should be.
If a man can tell a story like this so well, then imagine what a woman could do!
I hope, from my experience of womanhood, I've done just that.
What I did differently though is this: I didn't think my woman character needs to defeat the patriarchy to be who she is. Even with the end of sexism in my world, Liana has a lot to face, but instead of telling women what they know (that it's scary and hard, and it's not fair) I told them there's a possible future, in which they could choose themselves and not apologize for it.
Ever.
I have recently realized my main character Liana has remarkably a lot in common with Lisbeth Salander. Now, I conceived Liana when I was 14 - long before I read Larsson's trilogy in my early twenties. That was not a product of an influence but a product of the times we live in.
Liana has a lot in common with her as consequence of Lisbeth helping me accept the type of heroine I needed on the page. I've always written loud women who were the boss, who were the best, who saved themselves, but Liana was the first one I didn't apologize for.
So ultimately, Larsson influenced me through being unapologetic. He could afford it, of course. Like with anything else, the voice of a white man was stronger than any woman's but he wrote and he wrote and he wrote, never putting an end to how far he'll take not just Lisbeth's but the personal story of any woman he created.
He didn't - not for a second - let a reader doubt that even the smallest sign of sexism was inexcusable in his eyes.
Writing the stories of women is much better done by women, because they are WOMEN's stories to tell in the first place; yet in this one case, it was well done by a man as well.
Which leads me to part two of my answer:
I think the trilogy did a tremendous job of demonstrating what sexism looks like; what violence against women looks like, and how wide-spread it is.
Larsson pulled no punches. He didn't say "here's this one woman to exemplify this pain." He said, "Women everywhere suffer from the abusive holds of the patriarchy. These are their stories, from the violence against all of the victims of a serial killer, through the violence against women in their personal relationships, or their homes, or their former partners, or their mentors, through a woman's career filled with sexist messages and a glass sealing and personal attacks with the constant bitchbitchbitchbitch written all over, all the way to the catcalls or the dismissive way they ask you as a trained professional to bring them coffee.
So here it is: an admiration of Stieg Larsson's work. What it gave me was confidence to create my characters as I believe they should be.
If a man can tell a story like this so well, then imagine what a woman could do!
I hope, from my experience of womanhood, I've done just that.
What I did differently though is this: I didn't think my woman character needs to defeat the patriarchy to be who she is. Even with the end of sexism in my world, Liana has a lot to face, but instead of telling women what they know (that it's scary and hard, and it's not fair) I told them there's a possible future, in which they could choose themselves and not apologize for it.
Ever.
Rori I.
That's a very loaded question which I'd be super excited to answer!
I think so.
Or, I'd say, it would otherwise take a very long time for us to arrive at this same point. In the USA the Voting Rights Act of 1965 and the Civil Rights Act of 1968 are yet to have the desired effect of factual racial equality. Women have been able to vote in the UK (with limitations at the time) since 1918; that date is 1920 for USA. Yet sexism and violence against women prevail to this day. Only in Washington, DC in 2014 Jan-Oct more than 1600 women were murdered by men. Issues of immigration and ethnic hate are staggering throughout the world. To describe the particular difficulties of the LGBTQIA+ community would take another post.
Overall, there is progress, in this place or another. Yet there are regions in the world constantly taking frantic step back towards more hatred and divisive thinking.
Ultimately, I have decided to create a more utopic world after this "Great Disaster"; most post-apocalyptic fiction focuses on all the things which could go wrong. Understandably, with things as they are, it's hard to believe in the good of humanity, when the population faces global destruction.
But I have dared to believe in the ability of humans to do better, at least in the end. Some catastrophic event is perhaps needed to shake us out of this bewitched state of anger and hatred and madness.
When I imagined a bunch of Europeans and some Asian communities running to North America to save themselves from the consequences of climate change, I always thought it won't take long until the Europe crowd would start asking for their healthcare, their right to normal life, their proper education.
I suppose part of it was to force some of the White Western and Nordic European nations to see what immigration feels like for themselves, so all of a sudden they'd ask for better laws.
So there is some pessimism in the way I've built this world, some bitterness, but it all ultimately comes to a satisfying, positive end.
* * In Republic's Chosen, I have dared to dream about a world where humans have abandoned their differences and learned to co-exist. I've rewarded that society with everything good I could imagine: the end of poverty and senseless death, the end of hate crimes and bigotry, the rapid development of science and medicine to serve the needs of the people, to better their lives but also protect the planet. * *
I think so.
Or, I'd say, it would otherwise take a very long time for us to arrive at this same point. In the USA the Voting Rights Act of 1965 and the Civil Rights Act of 1968 are yet to have the desired effect of factual racial equality. Women have been able to vote in the UK (with limitations at the time) since 1918; that date is 1920 for USA. Yet sexism and violence against women prevail to this day. Only in Washington, DC in 2014 Jan-Oct more than 1600 women were murdered by men. Issues of immigration and ethnic hate are staggering throughout the world. To describe the particular difficulties of the LGBTQIA+ community would take another post.
Overall, there is progress, in this place or another. Yet there are regions in the world constantly taking frantic step back towards more hatred and divisive thinking.
Ultimately, I have decided to create a more utopic world after this "Great Disaster"; most post-apocalyptic fiction focuses on all the things which could go wrong. Understandably, with things as they are, it's hard to believe in the good of humanity, when the population faces global destruction.
But I have dared to believe in the ability of humans to do better, at least in the end. Some catastrophic event is perhaps needed to shake us out of this bewitched state of anger and hatred and madness.
When I imagined a bunch of Europeans and some Asian communities running to North America to save themselves from the consequences of climate change, I always thought it won't take long until the Europe crowd would start asking for their healthcare, their right to normal life, their proper education.
I suppose part of it was to force some of the White Western and Nordic European nations to see what immigration feels like for themselves, so all of a sudden they'd ask for better laws.
So there is some pessimism in the way I've built this world, some bitterness, but it all ultimately comes to a satisfying, positive end.
* * In Republic's Chosen, I have dared to dream about a world where humans have abandoned their differences and learned to co-exist. I've rewarded that society with everything good I could imagine: the end of poverty and senseless death, the end of hate crimes and bigotry, the rapid development of science and medicine to serve the needs of the people, to better their lives but also protect the planet. * *
Rori I.
There are many moments which truly matter to me from Republic's Chosen.
The first time Liana shows us a glimpse of her ideology by questioning those who find enjoyment in killing, even as soldiers; the moment she was a survivor who was never broken, with her strength in her own hands; her outright refusal to apologize for her own healing process; the time she stood up to Michelson, accidentally revealing more of herself that she should have.
Thee are also the moments I love: all the joking with Gareth, the clever back-and-forth with Sal, her smart-ass remarks.
There is one quote which stands to mind though. I don't know if it's my favourite but it's the most accurate, if you ask me to describe the character with a sentence:
"[I]f one plays with forest fires, one gets scorched."
The first time Liana shows us a glimpse of her ideology by questioning those who find enjoyment in killing, even as soldiers; the moment she was a survivor who was never broken, with her strength in her own hands; her outright refusal to apologize for her own healing process; the time she stood up to Michelson, accidentally revealing more of herself that she should have.
Thee are also the moments I love: all the joking with Gareth, the clever back-and-forth with Sal, her smart-ass remarks.
There is one quote which stands to mind though. I don't know if it's my favourite but it's the most accurate, if you ask me to describe the character with a sentence:
"[I]f one plays with forest fires, one gets scorched."
Rori I.
I consider this series one giant commentary on climate change. It’s what I see as the “best case scenario” if we continue as we are. It’s why I often say this series is about a utopia – for some still utopia in the making, of course.
Throughout the story, you’ll learn more about what the characters call “The Great Disaster” as well as how the climate has changed. Already in Blacklight, there is a little about how humanity has evolved to handle the harsher conditions:
“[H]umans were lucky to remain a species on a planet they had almost destroyed, when it had in turn attempted to wipe them off with extreme conditions which had turned most their lands uninhabitable. Richard and all those remaining on the two continents had evolved to handle the deep colds, the scorching heats, the storms, the hale, the dry lands, the thin air.”
In time, you’ll find out different things, like how much of the Americas is under water, what has happened to Eurasia, and why have we not heard anything from Africa yet. I have lots of surprises for you. ;)
One of my favourite stories within the story has to do with what happened to New York after the Disaster. Characters will chime in with different details about the event, about the consequences.
I look forward to it.
Throughout the story, you’ll learn more about what the characters call “The Great Disaster” as well as how the climate has changed. Already in Blacklight, there is a little about how humanity has evolved to handle the harsher conditions:
“[H]umans were lucky to remain a species on a planet they had almost destroyed, when it had in turn attempted to wipe them off with extreme conditions which had turned most their lands uninhabitable. Richard and all those remaining on the two continents had evolved to handle the deep colds, the scorching heats, the storms, the hale, the dry lands, the thin air.”
In time, you’ll find out different things, like how much of the Americas is under water, what has happened to Eurasia, and why have we not heard anything from Africa yet. I have lots of surprises for you. ;)
One of my favourite stories within the story has to do with what happened to New York after the Disaster. Characters will chime in with different details about the event, about the consequences.
I look forward to it.
Rori I.
I wish I did. I wish I had a favourite anything! :) Unfortunately, I tend to like a lot of everything, including books from various genres.
But you know what, here's something: this is the best book I've ever read. It doesn't mean it's the best to me, or that I haven't enjoyed others, but it genuinely stunned me on so many levels from the first page to the last.
The City of Dreaming Books by Walter Mörs. If you can, do yourself a favour and read it in the original German. It was supreme in Bulgarian as well, but I am afraid English doesn't do it justice.
But you know what, here's something: this is the best book I've ever read. It doesn't mean it's the best to me, or that I haven't enjoyed others, but it genuinely stunned me on so many levels from the first page to the last.
The City of Dreaming Books by Walter Mörs. If you can, do yourself a favour and read it in the original German. It was supreme in Bulgarian as well, but I am afraid English doesn't do it justice.
Rori I.
I have the sort of editing process which might give other authors a headache.
I like to stay submerged in the story, so coming back to it over and over again is actually entertaining to me. Most places which offer writing advice would deter you from even correcting before you've completed a novel, but I like to come back and fix typos, repetitions, etc.
Even if that means I'd have to do it all over again after I'm done with Draft 2 or 3, then so be it.
It's not an ideal system - it serves my inspiration more than the editing itself. But I have a specific plan set for re-writing the First Draft and creating a final manuscript in place as well.
There's just a difference between correcting and actual serious editing. I patch up while I write, but if I want to create a finished work, I leave that for after.
I like to stay submerged in the story, so coming back to it over and over again is actually entertaining to me. Most places which offer writing advice would deter you from even correcting before you've completed a novel, but I like to come back and fix typos, repetitions, etc.
Even if that means I'd have to do it all over again after I'm done with Draft 2 or 3, then so be it.
It's not an ideal system - it serves my inspiration more than the editing itself. But I have a specific plan set for re-writing the First Draft and creating a final manuscript in place as well.
There's just a difference between correcting and actual serious editing. I patch up while I write, but if I want to create a finished work, I leave that for after.
Rori I.
Okay, so here's a question promising a bunch of spoilers in my answer, but to be honest, I don't mind. There are few things I ever hide about my plot, simply because I think keeping the reader in suspense should be done on the page. I have faith in my abilities. xd
Nevertheless, SPOILERS ahead.
So, as you know from book one already, the Blackthorn's marriage is falling apart. There is no big drama - Liana is busy surviving, busy protecting both of them, busy plotting...
She is however slowly realizing the partnership she had with Marcus is not standing the test of a high pressure environment. Very soon, she is going to choose herself.
This is a point Beta readers have questioned. "But why not fix Marcus's attitude instead?"
I think there's enough of that. Enough of women enduring and waiting, until their husbands have figured it out. There is not enough of women choosing themselves though.
Your partner doesn't have to hurt you for you to leave; you can just not be happy in the relationship anymore. They can love you - dearly and passionately - yet you can choose yourself. And that's okay.
Once the Blackthorns part ways, there is a lot to handle. Like you've noticed from Republic's Chosen, Liana is a bit busy.
There will be a fling here and there, but nothing so serious to turn into a romance - just blowing off steam, so to say. I think if anybody has remained uncertain over Liana's bisexuality, they won't have a doubt after the next books.
There will be however a sneaky little story-line which will reveal things from Liana's past - and a person who mattered more to her than she cared to admit.
Marcus is another topic. He has a tendency to fixate on things, and a rather suffocating love - another reason why Liana would need to walk out. It would take time for him to heal, because unlike her, he hasn't arrived at the realization they were wrong for each other yet.
He'll walk that path first, and then we'll see him committing to the same casual "blowing off steam" behaviour as with Liana.
- This is just what soldiers do -
So, some romance ahead, for sure.
Nevertheless, SPOILERS ahead.
So, as you know from book one already, the Blackthorn's marriage is falling apart. There is no big drama - Liana is busy surviving, busy protecting both of them, busy plotting...
She is however slowly realizing the partnership she had with Marcus is not standing the test of a high pressure environment. Very soon, she is going to choose herself.
This is a point Beta readers have questioned. "But why not fix Marcus's attitude instead?"
I think there's enough of that. Enough of women enduring and waiting, until their husbands have figured it out. There is not enough of women choosing themselves though.
Your partner doesn't have to hurt you for you to leave; you can just not be happy in the relationship anymore. They can love you - dearly and passionately - yet you can choose yourself. And that's okay.
Once the Blackthorns part ways, there is a lot to handle. Like you've noticed from Republic's Chosen, Liana is a bit busy.
There will be a fling here and there, but nothing so serious to turn into a romance - just blowing off steam, so to say. I think if anybody has remained uncertain over Liana's bisexuality, they won't have a doubt after the next books.
There will be however a sneaky little story-line which will reveal things from Liana's past - and a person who mattered more to her than she cared to admit.
Marcus is another topic. He has a tendency to fixate on things, and a rather suffocating love - another reason why Liana would need to walk out. It would take time for him to heal, because unlike her, he hasn't arrived at the realization they were wrong for each other yet.
He'll walk that path first, and then we'll see him committing to the same casual "blowing off steam" behaviour as with Liana.
- This is just what soldiers do -
So, some romance ahead, for sure.
Rori I.
A lot of both?
I have the entire series figured out, way past Liana's part in the story. I know who goes where and even the key scenes. I have a timeline. Tables with character histories.
But I do not and never will have a strict outline. Working from a rule book has never been my thing, even if it is my own rule book! What I like to do is put my ideas down before they disappear, but they simply provide guidance.
Once I'm before the blank page, I go with whatever inspiration brings me, rather than some carefully structured plan.
That's just what works for me.
I have the entire series figured out, way past Liana's part in the story. I know who goes where and even the key scenes. I have a timeline. Tables with character histories.
But I do not and never will have a strict outline. Working from a rule book has never been my thing, even if it is my own rule book! What I like to do is put my ideas down before they disappear, but they simply provide guidance.
Once I'm before the blank page, I go with whatever inspiration brings me, rather than some carefully structured plan.
That's just what works for me.
Rori I.
You will grow to know plenty about Kemball! He has so far been an often mentioned character and a much-needed ex-machina, but not only do I get to write more scenes with him, he's actually a future protagonist!
I recently wrote an alternative POV scene from Republic's Chosen with him. You can read it here: https://aftertheworldends.tumblr.com/...
I recently wrote an alternative POV scene from Republic's Chosen with him. You can read it here: https://aftertheworldends.tumblr.com/...
Rori I.
It's one of the most important plot-lines in the series.
There's a reason why I abolished all forms of bigotry in the Latin Republic before I started telling the story at all. My genuine belief is that we're able to accept each other as we are, eventually, with hard work and open conversation.
What I don't think humanity is capable of is completely abandoning the "othering" of groups. That's where the Slavic immigrant story-line came in.
With it, I try to make sense of my role in the world. We have some seriously pressing issues to fix, when it comes to bigotry, but the erasure of the immigrant experience is nothing to ignore.
Being an immigrant, I discovered my nationality, my name, my accent can be dangerous secrets I should be careful whom I share with. What I also discovered is, that there are no spaces I could talk about it, not even with inclusive platforms.
Nobody seems to care that Balkans or Slavic are hated.
The conversation about immigration is rightfully driven by much more pressing issues than anti-immigration bills and media campaigns, since lives depend on talking about much more than restrictive laws.
But I wish we'd talk about that too.
Liana's adventures include multiple clashes with bigotry. I explore micro-aggression much more than macro-aggression, because I know how it feels.
I know the tightness in your chest, the helplessness, the tears you hold back, the lack of legal steps you could take to defend yourself, or the absence of forums where you could speak your mind. I know about feeling trapped in an environment of systematic legal inequality while being told you're treated all the same.
I know about being immigrant all too-well.
Liana is a way to make sense of that, but also to combat it. Liana is a way to win against the system: a player in a big political scene who doesn't care about the government but about the people.
Liana is the superhero immigrants need--I need, to keep going.
There's a reason why I abolished all forms of bigotry in the Latin Republic before I started telling the story at all. My genuine belief is that we're able to accept each other as we are, eventually, with hard work and open conversation.
What I don't think humanity is capable of is completely abandoning the "othering" of groups. That's where the Slavic immigrant story-line came in.
With it, I try to make sense of my role in the world. We have some seriously pressing issues to fix, when it comes to bigotry, but the erasure of the immigrant experience is nothing to ignore.
Being an immigrant, I discovered my nationality, my name, my accent can be dangerous secrets I should be careful whom I share with. What I also discovered is, that there are no spaces I could talk about it, not even with inclusive platforms.
Nobody seems to care that Balkans or Slavic are hated.
The conversation about immigration is rightfully driven by much more pressing issues than anti-immigration bills and media campaigns, since lives depend on talking about much more than restrictive laws.
But I wish we'd talk about that too.
Liana's adventures include multiple clashes with bigotry. I explore micro-aggression much more than macro-aggression, because I know how it feels.
I know the tightness in your chest, the helplessness, the tears you hold back, the lack of legal steps you could take to defend yourself, or the absence of forums where you could speak your mind. I know about feeling trapped in an environment of systematic legal inequality while being told you're treated all the same.
I know about being immigrant all too-well.
Liana is a way to make sense of that, but also to combat it. Liana is a way to win against the system: a player in a big political scene who doesn't care about the government but about the people.
Liana is the superhero immigrants need--I need, to keep going.
Rori I.
This answer contains spoilers…
(view spoiler)
Rori I.
[answered again bc I forgot the second part]
This is a big world and I like to write big characters. It might take a while to tell all their stories.
That having been said, the current story-line (which Liana set in motion) should take 6 books (incl. Republic's Chosen, so 5 more). Counting Richard's book Blacklight, that's 7.
[SPOILER INCOMING, I suppose...]
Then of course a novella to tell you what Gareth and Richard are up to. (No 'kill your gays' trope for me, thanks!)
[no more SPOILER]
Maybe I'll end up with as many books as Terry Pratchett trying to wrap-up the Discworld. I think I might like that! ;)
POVs:
First book switches between Marcus and Liana, the second between Richard and Gareth, all in a 3rd person limited.
From the third book on, I write in 3rd person omniscient, mostly focusing on Liana and Richard, but other key characters chime in as well occasionally. When I first tried to combine my two MCs' stories, I discovered I omit too much my trying to have two strangers guess things about each other while both their stories unfold alongside one-another.
Richard is no less important than Liana in this series. His perspective matters, so this was the best solution for what the books needed.
This is a big world and I like to write big characters. It might take a while to tell all their stories.
That having been said, the current story-line (which Liana set in motion) should take 6 books (incl. Republic's Chosen, so 5 more). Counting Richard's book Blacklight, that's 7.
[SPOILER INCOMING, I suppose...]
Then of course a novella to tell you what Gareth and Richard are up to. (No 'kill your gays' trope for me, thanks!)
[no more SPOILER]
Maybe I'll end up with as many books as Terry Pratchett trying to wrap-up the Discworld. I think I might like that! ;)
POVs:
First book switches between Marcus and Liana, the second between Richard and Gareth, all in a 3rd person limited.
From the third book on, I write in 3rd person omniscient, mostly focusing on Liana and Richard, but other key characters chime in as well occasionally. When I first tried to combine my two MCs' stories, I discovered I omit too much my trying to have two strangers guess things about each other while both their stories unfold alongside one-another.
Richard is no less important than Liana in this series. His perspective matters, so this was the best solution for what the books needed.
Rori I.
This is a big world and I like to write big characters. It might take a while to tell all their stories.
That having been said, the current story-line (which Liana set in motion) should take 6 books (incl. Republic's Chosen, so 5 more). Counting Richard's book Blacklight, that's 7.
[SPOILER INCOMING, I suppose...]
Then of course a novella to tell you what Gareth and Richard are up to. (No 'kill your gays' trope for me, thanks!)
[no more SPOILER]
Maybe I'll end up with as many books as Terry Pratchett trying to wrap-up the Discworld. I think I might like that! ;)
That having been said, the current story-line (which Liana set in motion) should take 6 books (incl. Republic's Chosen, so 5 more). Counting Richard's book Blacklight, that's 7.
[SPOILER INCOMING, I suppose...]
Then of course a novella to tell you what Gareth and Richard are up to. (No 'kill your gays' trope for me, thanks!)
[no more SPOILER]
Maybe I'll end up with as many books as Terry Pratchett trying to wrap-up the Discworld. I think I might like that! ;)
Rori I.
So, okay, let's assume that the main plot is: the MC is in trouble and must survive it. Which is--the plot of pretty much any adventure-oriented novel.
There are a few things I address to some extend in all my books: mental health and how to manage it, issues of immigration and refugee integration, the importance of great friendships, and healthy supportive relationships.
It's a long series, with each book having its own problem to solve, so ultimately a reader will get a little taste of each theme. Some of them are merely introduced in Republic's Chosen (e.g. healthy relationship vs obsessive love, mistreatment of Slavic immigrants vs the Latin's equality-focused society), but they will reach their own resolve in consequent novels.
The idea is not to overwhelm the story with subplots but to make the life of your protagonist realistic: what are the issues of their time, of their environment, which trouble them daily; something more than the single-minded focus of the main adventure, to keep this futuristic world believable.
Subplots are in fact my favourite things. They give birth to important scenes, important characters, and important truths.
There are a few things I address to some extend in all my books: mental health and how to manage it, issues of immigration and refugee integration, the importance of great friendships, and healthy supportive relationships.
It's a long series, with each book having its own problem to solve, so ultimately a reader will get a little taste of each theme. Some of them are merely introduced in Republic's Chosen (e.g. healthy relationship vs obsessive love, mistreatment of Slavic immigrants vs the Latin's equality-focused society), but they will reach their own resolve in consequent novels.
The idea is not to overwhelm the story with subplots but to make the life of your protagonist realistic: what are the issues of their time, of their environment, which trouble them daily; something more than the single-minded focus of the main adventure, to keep this futuristic world believable.
Subplots are in fact my favourite things. They give birth to important scenes, important characters, and important truths.
Rori I.
There are eternal, endless worlds inside your head.
It might be the worst and simultaneously the best thing about any creator - that we live outside what others call reality; that we see more than we can express; that we are always accompanied by the shadows of another world.
Stories are constant companions. They yearn to be told and I am grateful for the talent which helped me write my first line, but also the persistence which kept me developing my skills.
Writing is magical, excruciating, lovely, and tough, and I hate to love it so!
It might be the worst and simultaneously the best thing about any creator - that we live outside what others call reality; that we see more than we can express; that we are always accompanied by the shadows of another world.
Stories are constant companions. They yearn to be told and I am grateful for the talent which helped me write my first line, but also the persistence which kept me developing my skills.
Writing is magical, excruciating, lovely, and tough, and I hate to love it so!
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