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Showing content with the highest reputation since 02/21/2019 in Posts

  1. 4 points
    I just finished listen to this (link) Writing excuses podcast about Internal Motivation for characters and they talked about some things I found useful. The whole episode is good but it is the Role, Relationship, Status, and Competence axes that I want to share with you guys. The idea is that each character has a Role, Relationship, Status, and Competence, and that these things come into conflict with each other, causing the character to struggle in some way. (Using 'you' because its easier, but I mean your character). Role - Your career or occupation, like being a city guard or a baker, that you have responsibilities for. Relationships - Your duty to other people, a character can be a brother, a wife, a mentor, a friend. You have responsibilities to these people. Status - Your class or place in social hierarchy. You have to do certain things because of that status, you have to obey or show deference, or you may be derisive to someone 'lower'. Competencies - What you are capable of, physically, mentally, and what you are skilled at, including the expectations you have for your ability to do things. Your character has a self identity built up of all those things. They are a baker, they are responsible for the quality of their goods, but their heart isn't in it because their mother forced them to follow in the family business, so their desire to please their mother is in conflict with their ability to fulfill their responsibilities as a baker (Role and Relationship). Your character is a noblewoman, and is expected to be able to manage her estate, but her low self confidence causes her to bungle the accounts because she expects herself to fail (Status and Competency). This is a great way to think about characters, what drives them, where to find the room to grow and change . If their self image in any of these categories abruptly changes, what happens to them? As an exercise, reply with one character and what their roles are.
  2. 4 points
    This is something I've been thinking about lately as I approach the issue of editing, and realise that the reason I stop at a first draft is that I don't know where to go next, and it's 'easier' to stop there instead of struggling with something I don't know how to do. Writing is a mental exercise. Because it's mind-based, the mind can be our most helpful tool but also our worst critic and saboteur. So one aspect of writing I don't really see discussed as much is how to create a mindset that's conducive to writing. How do we deal with mental barriers, beyond just 'aahhhh writer's block begone foul demon!' The term 'writer's block' doesn't describe why we're blocked in the first place. What limiting beliefs, thoughts or mindsets related to writing have you had to deal with? How are you tackling them? For me, the following beliefs and mindsets were an issue. And here's how I tackled them: Everything has to be perfect or 'just so' before I can start. This extended from everything to the writing space (let's rearrange the furniture!) to caffeination (one more cup!), to worldbuilding (I have to complete these 365 questions of varying relevance and build an entire author's bible before I can start). Really, this was just a form of procrastination. You can't fail if you never start to begin with. There's something alluring about an idea resting perfectly behind glass like Grandmother's special occasion china, but sometimes you've just gotta use the fancy plates for pizza, dammit. I have to keep rewriting before I share it. Another variation of the above. It's just another way my mind tries to protect my ego - after all, I can never be criticised if I never get around to sharing it! It has to be just right first. Writing is an Art, on a higher plane of existence, unable to be comprehended by mere mortals. Artists are visited by the Magical Writing Fairy who blesses them with magical writing dust. You just gotta wait for the muse, man. The 'mystique' around art sounds cool, but I realised that there's an actual process and method involved. It's a skill and it can be learned. I don't have to just shrug and go 'welp guess I can't write time to die' Writing is something you're just good at. You've either got it or you don't. Related to the concept of 'Art' above, it's this idea that Artists are just born geniuses who fart out masterpieces. With writing, you usually see the product (a book sitting on the shelf), and not the process (the hard work it took to get there.) What helped was listening to interviews with some writers who shared their processes and helped demystify it. If you're not immediately good at something, why try at all? Ahhh, thanks, education system! This was just another way of trying to protect myself from hard work. When in reality, all learning takes effort and everybody is a novice at some stage. Nothing gained without a risk of failure. And failure itself is valuable in what you can learn from it. REAL writers do/are... They wear black. Except on Wednesdays, when they wear pink. And they never, ever write genre fiction. Reality: There IS no secret illuminati cabal of Real Writers who will grant you access to their treehouse if you know the password. The 'magnum opus' effect aka. THIS manuscript is The One that will be amazing/perfect/wildly successful! Dude, stop putting so much pressure on yourself with every first draft. It's just a novel! Chill! I'm A Writer. This is harder for me to describe but I guess it's the realisation that I've invested a lot of my identity/self-worth in what I was praised for being good at (writing). But what if I lose my hands? What if I lose my voice, or my speech, or my ability to string a sentence together? Do I stop 'being' a writer? Still working through this one, but two things I've realised: 1) writing is a process, not a fixed state of being, and 2) your identity isn't any one thing, impermanence, zen and memento mori, etc. etc. What if I just secretly suck at writing and everybody's too polite to say anything, and then I end up on the writing equivalent of American Idol making a national fool of myself? I mean, at least you had fun? I figure if I open myself up to being wrong and ask for concrit as something that can make me better, then I'm already avoiding the reality-TV route. You're not 'allowed' to want to write. Writing is juvenile/just a hobby/not something people *really* do. Look at this giant list of stuff you SHOULD be doing that's more important than your silly writing. Ugh, this is the most damaging one. Reality: I am allowed to write. I am allowed to want to write, and to pursue writing as something more than a hobby, because it matters to me. It matters deeply to me and I love doing it, therefore it has value and enriches my life. I can devote time and energy to the thing I love without feeling guilty for it. Honestly, I'm still dealing with all of these on-and-off but even just writing them down and articulating them helps in fighting them off. How have you dealt with these or similar mindsets?
  3. 4 points
    I don't know enough about the biology of it to be able to really answer the more technical questions. What I gathered from that article, and others I read, is that the male/female dichotomy is the easiest way to explain things, as we don't really have language that describes the spectrum. At what point does a person stop fitting in the male category, when there is such a range of ways that sexual characteristics can be displayed? I personally think male/female as concepts are completely valid, the majority does fall into those categories and it is an easy way to explain things. The nuance of what lies between is very difficult to capture in English. But just because the majority does fall into those categories doesn't mean other options aren't useful too. Having words and concepts to explain these things helps people know that they aren't alone, it gives language to describe a shared experience that is otherwise difficult to explain. As far as I understand it, nonbinary boils down to the rejection of fitting into the 'male' or 'female' boxes that are used by most societies, of choosing a third option. I could be wrong though, I don't personally know any nonbinary people and haven't done too much research myself. I agree that this is useful for writers (and everyone to know). Representation is important- respectful, sensitive representation even more so. So as far as writing genders that our outside of our lived experience, I think it is important to find resources written by people who HAVE lived it, to make sure we are telling some semblance of truth. From a more technical writing perspective, we want to avoid tokenism, we should show multiple viewpoints of other genders to avoid making it sound like we are trying to make a statement about that group. And we should keep in mind that we may represent what is truth for one person in a group may not be the truth for another, as everyone embraces gender in different ways. All we can do is try to be fair in our representation.
  4. 4 points
    Charic <NeedsALastName>: Role - He's a thief, like his father before him. Responsibilities as a thief? He would tell you it is to steal something impressive and get away with it, all while making a name for yourself. That's all he wants to do. 'Great thief' is an important part of his self identity. Relationships - His father was a thief, and he wants to make Daddy proud. If only his father would stick around long enough for Charic to tell him about his OWN adventures. Mother on the other hand is a strong, upstanding citizen, a former ship's captain. She disapproves strongly of Charic hanging around shady characters, and would probably disown him if she found out he followed in her ex-husband's footsteps. Still, as much as they fight he loves both his parents, and wants to make them proud. Status - He's low class, and that bugs him. He has to bow and scrape for every little lordling that passes by. Still, its a free world, and he means to take advantage of the upward mobility that money can buy. Competencies - Charic IS a great thief, when he's in the right mood. But he's past 30 and no one knows his name. They are singing songs about some 17 year old that jacked a bottle of wine from the temple of the God of Celebration, and that kind of thing can mess with a guy's confidence. He always manages to wiggle away from authority though, even if it means leaving a partner holding the bag. How does this lead to internal conflict? Well he sets high expectations for himself, and when he doesn't meet them, he falls into self doubt and despair and drinking, which makes him a worse thief, which spirals into him in a gutter, passed out drunk. A major part of his growth is learning to put less importance on his status and impressing his family, and finding satisfaction for his own sake.
  5. 4 points
    Here's my story. I noticed a real impact that social and media portrayals of gender had on my writing. As a young kid my characters started off as "better" versions of me, what you might call Mary Sues, who ran around having fun adventures and super-special magical powers with the "better" version of my best friend at the time. Later on as I grew up a little and my writing grew up too, I (unconsciously) looked around for examples of characters in media as a base for how characters should be written by default, how they should behave, etc. As an adult I can see that this was a form of "modelling". I wasn't explicitly taught writing, I picked it up from a love of storytelling, and so at first everything I "learned" was unconscious. Younger me looked around and saw that most of the interesting and pivotal characters were male. Male characters more often seemed to have complexity, inner conflict, the beating heart of story. At around this time I was also growing into the type of teenager who "wasn't like other girls" and I was developing a distinct discomfort with my gender and how I was perceived. Female characters in media, especially of my age, were often so stereotyped as to be unrelatable to me. Additionally, a lot of fanfic tended to be centred around male characters (since they were often main characters to start with, tended to have the most personality and backstory for writers to work with.) These all became models for my own writing. This reflected in my characters, of course. I can see a distinct shift, reading back my own writing, where my main characters stop being special versions of me, and become guys with suspiciously teenage levels of angst and a tendency to faint at dramatic moments. So for a loooong time literally all I wrote was white male characters, because that was what I learned to write. It made sense to me. Eventually I got over the "not like other girls" thing and realised that there were people I had a lot in common with, and some of them I could be friends with, wow! Cool! And eventually I decided hey, maybe I'd try my hand at that "writing female characters" thing. CUE BLANK WHITE PAGE. I had no idea where to even start because my mindset had been so focused on one type of story and one type of character. For a while this made me frustrated and sad and angry at myself. Why couldn't I write characters who were like me? What was stopping me? So I did a lot of my own research into crafting characters, and did a lot of thinking and practice. I read/watched a few works that had a big impact on me (Mortal Engines is one I remember in the YA genre, the play Hedda Gabler, and the book The Well - all feature female MCs who are flawed and tragic and unlikeable at times. Terry Pratchett's Discworld, too, though I'll admit he's not perfect.) Also, this feels like embarrassing advice, but it honestly helped me when I couldn't get unstuck and had no idea how to write: I wrote male characters and flipped their gender. Like, what if Indiana Jones was female? That sort of thing. (Eventually I found this could take you far but only so far as you start to consider how gender impacts character expression, etc... but that's an entire other essay.) I still feel like I have too many sausages on the plate, unless I make a concerted effort not to. Definitely need to work more on writing characters from different cultures and races! This is harder because it involves research. But the effort is rewarding because it has such fascinating results! So much more character depth and interest comes forth when you start to consciously examine your characters and play with tropes. It's another form of listing ten ideas and not just stopping at the 1st idea you have. The inverse of this: more and more of my characters these days are LGBT+ and I'm struggling to identify which ones aren't. TL;DR - I personally noticed an improvement in character development when I started to consider gender, because it forced me to stop and think about how I was writing characters.
  6. 3 points
    I come from a family where reading/writing is not important at all, so this thinking that "writing is lazy" is completely ingrained in me and I constantly feel useless for choosing it. I'm working really hard at writing books, like every day for hours and hours, but it's not visible work, so it's like having a dirty secret, lol! But I decided to give it all anyway. I don't care that no one cares. It's all I ever wanted to do. I find it really odd that art is so looked-down upon, because people encounter it everyday, but they don't seem to understand that someone probably has been working at it for years and years before creating that thing that became visible. A difficult mental thing for me is the fluctuation of self-doubt that comes and goes so fast. One minute everything is fun and inspiring, and the next I'm doubting the entire book. Then I just try to write through it, because I learned it will change back again. I'm usually not a particularly fast writer when it comes to novels so the time it takes is really depressing. I always feel time is running out, and that can stress me to the point where I get idea-blocked and feel really brain-clogged. That one is perhaps the hardest one to deal with, and I mostly feel it during the first draft (like a stress to get a story together), even though editing often is a more time-consuming thing. Still haven't figured out how to go to bed not feeling I should have gotten further with the story that day.
  7. 3 points
    I struggle with this a lot. I tend to be a perfectionist and often find myself in a mental state of "This has to be perfect on the first try, second drafts be damned!" This, of course, leads to my procrastination habit to skyrocket. However, I find that by telling myself it's okay to have a messy first draft helps quell my urge to write perfectly on the first try. It's not a one-and-done deal, but I managed to write some stuff down without being held back by the cycle.
  8. 3 points
    Some of these really spoke to me, and I'll go into my perspective on them. I'm a Writer: I've been labeling myself as such for a great many years now. While I started writing for myself when I was about 12, I probably didn't start thinking of myself 'as a writer' until about 14ish. But there was a strong compulsion I had to write then, and I was VERY prolific at starting stories (I'm not going to claim they were good). But then I realized that I was less of a writer, and more of a story maker. I can't help but make these stories, but I struggle now with actually writing them down. So writing became more what I do (from time to time) than what I am. Still, I can't help but feel a sense of loss at this. What if I just secretly suck at writing and everybody's too polite to say anything? I think this about myself...but not just when it comes to writing. But this is largely due to the fact that a lot of people in writing groups seem to fall into two categories: being brutally truthful and crushing a budding writer's hopes or being supper supportive, and sometimes I have equal trouble believing in either view point. Now, that's just a generalization, but the human brain has a habit of taking generalizations and painting them as truths, not necessarily out of malice or anything, but because it's time consuming to go through every individual piece of evidence all the time. You're not 'allowed' to want to write. Writing is juvenile/just a hobby/not something people *really* do. Look at this giant list of stuff you SHOULD be doing that's more important than your silly writing: This one is mostly a problem I have, except the juvenile/silly part. I have a lot of health issues, I'm a divorced mother of a 9 year old autistic son, I rely a lot on my mother for help, and I'm on social assistance. Oh, and I'm depressed. And many times my depression tells me I don't have a RIGHT to write. I should be doing something 'useful' or bettering myself, or at least that if I'm writing, it should be with the sole purpose of eventually getting published and therefor being somewhat 'useful' in the 'real' world. I don't know how to tell my brain to shut up and leave me alone as far as this one goes. I find myself waffling between patting myself on the back for doing ANYTHING productive (even if it's 'just' writing) and mentally yelling at myself for writing because it just lets me sink deeper into the fantasy rather than facing ugly, cold reality. My mother is extremely supportive, and always says she's happy when I'm writing because I enjoy it. But I always try to argue with her, I try to diminish what I'm doing. But that's probably more from mental illness than from any real flaw with writing or my writing process. My other big issue is the conceit that if I don't push myself to do things in a certain order or within a certain time frame, that I'm not a 'real' writer. I'm terrible at actually finishing any story, let alone getting to the editing part. I don't fully know all the reasons for this, but I'm generally really harsh with myself, and just say it's a lack of discipline combined with a lack of energy.
  9. 3 points
    I'm cisgendered so I am far from the voice to properly address this, but I want to chime in to say that biological sex isn't actually a binary, it is a range, and a very complicated topic. https://slate.com/technology/2018/11/sex-binary-gender-neither-exist.html The above article has an interesting story about an athlete that illustrates the complexities. https://www.genderspectrum.org/quick-links/understanding-gender/ This article breaks down some terms that help understand the confusion between sexual identity and gender. Identity isn't about doing what is easy, it is about doing what is true to your own self. I don't want to digress too much either but I urge you to do some research on your own to ease the befuddlement and to try and understand things outside of your scope of experience.
  10. 3 points
    To counter the idea of vampires going mad due to age, I do enjoy the idea Doctor Who explored with Lady Me. Her brain coped with too much information by forgetting things. So she wrote journals to chronicle her long life and remember things.
  11. 3 points
    When I was initially brainstorming my books I played with consequences for immortality before settling on longevity. An immortal race of beings didn't make sense, even though I toyed with introducing Celtic fairies for some of my mythology. I had a lot of fun crafting story lines for characters who obtained longevity rather than being born into it. Whether it was their own fault or just being in the wrong place at the wrong time, I decided to keep the spirit of the fairies in the consequences. In my world magic can cause longevity as it has an awareness and penchant for chaos. Belief also feeds into magic, so sometimes gods happen because they were people who became heroes and then legends and then warped into beings (a lot of) people prayed to. As such there are gods who didn't sign up for that particular gig but are bound by the chaos of belief to their stories, even when the stories change. As gods fall out of fashion for new stories they get forgotten, but they don't die easy. Gods and their stories tend to bleed into each other as time passes, so they get entrenched in the world until all seeds of their story disappear from the tellings. My main characters experience this in a backward sort of way by meeting raw wild magic face to face and their belief in each other is all that saves them. As time goes on they find they are fully capable of dying, each time ending up in a sort of pocket dimension world of their own making between the veils. They find their way back to the regular world but time moves on without them so it could be days, months, or decades between their departures and returns. Having to get used to all the advancements and changes is hard, but what's worse is knowing that even though they always come back they never get to stay. I like the idea of exploring life and death as fluid states that compliment each other and cycle together rather than being at opposing ends. I also want to dig into the idea of Becoming. Instead of 'character vs nature' turn it into 'character becomes nature'. I'd like to use the vehicle of longevity to explore what it might mean if people stopped holding themselves separate from the world they were born into and learned to be it. I think it's going to bring up a lot of interesting questions to play out, especially what it means to be human.
  12. 3 points
    “Do you know who I am?” the condemned witch screamed as the noose went over his neck. “I’m a master of witchcraft, a professor! I teach, I don’t kill!” “The people of Sparrow Down say otherwise.” The executioner slapped the horse’s rump and the witch swung beneath the cottonwood. 49 words!
  13. 3 points
    "The fire's gone out." A glance at the hearth confirms Maranda's words. It has indeed gone out. When, I couldn't say. She doesn't suggest relighting it. It is simply a shared truth between us, one that I'm content to live with; the chill has long since settled into my bones. 50 words exactly. I wrote it at 58 and had to trim it down. Contractions help 🙂 Edit: I just realized this doesn't have any fantasy elements. I'll leave it up, but maybe I'll try again.
  14. 3 points
    Rain splattered on the hood of his cloak and he shivered, palming the small silver broach in his hand. Not worth enough for the effort he’d endured. He watched without blinking. A pocket watch gleamed from a stranger’s sleeve. He pocketed the broach and headed out into the night. 49!
  15. 3 points
  16. 3 points
    Good Q! Not an expert here but these are my thoughts: I think going into rules that aren't relevant - especially early on in the book - can slow down the pace. Rules need to be simple at the start - but often rules are not - rules have exceptions. If that is the case - don't go into all the exceptions to the rules until they become relevant. Just state the rule simply and then build on it later. Often having a "clueless" character, or young/new-to-the-world character helps as they need to have these things explained and it can be done through dialogue which at least allows for some opportunity to build character voices. However, I see lots of published books where the character providing the info LOSES their voice whilst seeming to recite what the author wants us to know. Like they got possessed by the author and thus making it about as worthwhile as an infodump. In a series I am writing, my main character will be aware he is a magical being from the opening line, but due to age and lack of education he won't actually start to learn the limits/rules around using his powers until the third book. There will be magic and accidents and attempts to recreate but a whole lot of mystery and uncertainty - just got to make sure these magical bloops don't solve all the plots points and are more to keep reminding the reader of the growing desire for the magic itself to be expressed. Laws and customs can be used to help explain why a character is the way they are. If Billy, who happens to be the only character from the nation of X, reacts differently to a situation and gets angry or upset, then this provides an opportunity to help readers understand his unusual behaviour due to a rule or custom of his people that makes him see the world differently. I believe David Eddings did this well... if memory serves, it's been about 20 years since I read his books.
  17. 2 points
    Alinora Mynerva Role: She starts out as an assassin, though her job is primarily to spot traitors within the guild. However, the role that is nearest and dearest to her heart is that of Mynera’s crown princess. She feels it’s her responsibility to serve the public; to put her people before herself. Relationships: Despite trying to avoid them, Alinora has many. The most important ones, however, are with people that are dead. Specifically, her mother and her fiancée. She feels like she failed both of them, and is continuing to fail them, by remaining in hiding instead of returning to her people and saving them from the usurper on her throne. Status: Alinora was born into a high status, but she has made herself an outcast. She rejects most material possessions and gets by on the bare minimum in an effort to take up as little space as possible. Competencies: Alinora is a skilled fighter, hunter, and observer. She was trained in other things, but has let that training fall to the side, instead embracing what she feels she needs to survive. How does this lead to internal conflict? Because of the people that she lost and the way she experienced that loss, Alinora ran. She feels as if she abandoned her people to their fate—and in doing so, betrayed those that she loved. She constantly thinks of herself as a coward, hiding as she does under a false name, filling a job that was never meant for her. However, she is afraid. Afraid of returning and seeing what’s become of her people. Afraid of not being able to enact the vengeance she feels they deserve. Afraid of having to be Mynera’s queen. This sets her up for a lot of internal conflict—especially when she DOES return, and finds a resistance waiting for her. She feels even more like she’s failed them, because she could have been helping… and instead she was working with a group of murderers.
  18. 2 points
    I like the concept of co-main protagonists, male and female. Did that in a couple novels. But otherwise, males have definitely predominated—at least in my earlier work. Since the first seven books, I've pretty much alternated male and female leads, including a couple with women narrating in first person. Do I worry about pulling that off? To be sure, but I felt more confident about attempting such things after I had more experience. And, indeed, human beings are human beings and there is more to a person than gender.
  19. 2 points
    "Master Rybon said you quit." "I got bored of making swords." "But you were good at it! What will you do now?" "I haven't tried my hand at magic yet." Harold shook his head. The boy would never settle down. "And what after you grow bored of that?" Jack shrugged. 50 words on the nose again, and I worked in fantasy elements this time.
  20. 2 points
    The short answer: No. I think that, as previously said, there are always going to be a large chunk of who love that setting and will likely never tire of it. Along with that is a sizable chunk that will always be looking forward to anything to spice up that setting, but may have tired of some of the more 'tried and true' formulas. And, as the internet has shown, there are people who say it is overdone, but they hardly speak for everyone. I like that setting myself, and I used to think that it's what I wrote in, but I think my stuff is probably closer to Renaissance era than Dark Ages Medieval times. I suppose there's many ways to do it well. If you're going for actual Earth, whether 'true' historical or alternate-history, attention to little details of the actual time period is very important. If you're going for your own world that is similar to medieval earth, you have to sort out in what ways they are the same, and in which ways they are different. You can follow a very usual plot, but the setting has to be different enough, or the dialogue distinct enough, to breathe new life into the old plot. Or, you can pick a very similar setting and do it from a vastly different perspective, or have a medieval story that is NOT about a quest or high court politics, since those are generally the two major types of plots in that setting.
  21. 2 points
    For writing a society of long-lived beings I'd probably look at how they experience time, and how they view death and dying within their society. Depending on world-building they can be super-different (that dying adds something important to their society, so it's not sad or feared) or they're really close to our experiences and thoughts when it comes to death. As for immortals of another species, can they really relate? Maybe they see us like moths or other really short-lived creatures? If they have use for us, will they be stressed about it? Like "These human things can die at any moment! Hurry!" and maybe understand the urgency of human time through that? Or do they think we completely overreact about dying? Maybe they know something about the cycles of life-death that we don't? I would really like to see an immortal/long-lived main character who used their long life to do something very particular, like a profession or a cause or a hobby. Someone who's pretty amazed about advances in science and medicine, hasn't lost their sense of wonder or feel it's beneath them to learn something new just for the fun of it. Society changes a lot and fast, so the opportunity for new things/situations are always there to keep even an immortal confused, I reckon. For human immortals I think we often over-estimate how much a person could learn and see during a century. Even if their time was all theirs and money was unlimited, there would still be a lot of stuff they'd miss every century (and maybe they don't like to travel or read, maybe they wanna build stuff with their hands or just paint). I find it harder to relate to more god-like creatures who possess ways of travel in the blink of an eye and sees everything, and lack human-like thoughts. But they can be really funny when paired with a human, and if they have a unique view on humanity.
  22. 2 points
    (I'm not sure if we're supposed to be responding to each other's snippets, or if we're just supposed to post them in here.)
  23. 2 points
    “You know, it’s funny. I’ve spent all this time wishing for home, and now that I stand in its shadow… I find myself afraid.” She had changed much since she left. Did she even belong here anymore? She took a breath. There was only one way to find out. - 49!
  24. 2 points
    Okay, that ended up a little darker than I had anticipated. Darker, yet hopeful.
  25. 2 points
    I'll have a book launching on Saturday, at the National Museum of Literature! It's the short stories collection issued as a prize for winning the first place in the literary contest last autumn. I don't like the cover because it doesn't represent my character. But the choice of the cover belongs to the publisher. It's a marketing choice, they say, unrelated to the characters per se, but more with the spirit of the book... The fourth cover comment is done by a famous hispanist, translator from Spanish and Portuguese and writer. She translated Paulo Coelho in Romanian, i.a. Also, since February till May, one Sunday each month I am at a book fair. 🙂 Getting slowly known.