chapters of thesis generic viagra professional 100mg go here follow site research paper journal enter cialisВ® purchase viagra from Safeway http://mcorchestra.org/3923-how-to-write-a-strong-essay/ dissertation statistics click here assignment 2 understanding writing assignments get link example of a business plan layout dissertating buy viagra new york military contractor resume samples how write a paper essay on successful how to check computer ip address from command prompt tac dung cua viagra voi nam gioi https://worldtop20.org/system/best-essays-writers-website-for-mba/30/ christmas tree description essay http://pejepscothistorical.org/education/esl-research-paper-editor-services-for-masters/03/ thesis proposal phd cialis no prescription canada source https://caberfaepeaks.com/school/hindi-essay-books-online/27/ essay house thesis paper on data mining https://bigsurlandtrust.org/care/buy-antabuse-online-uk/20/ One of the innovations that I – and many others – really respect in the Fabled Lands series is the way in which Morris and Thomson connect narratives across volumes. As a reader, I’ve always found it incredibly satisfying to travel to a new land, a new city and a new volume and find that the events there respond to my choices made hours, days or weeks previously, in a different book, on a different continent and in a different context. Obviously this was also one of the techniques I have chosen to mimic in Steam Highwayman and one I am very proud of getting to work. When I explain how a gamebook works to new readers, they may make impressed noises, but when I explain that choices made in one volume have consequences in other volumes – volumes later, or even earlier in the series – then I see that mindblown look.
I don’t just do it to feel smug. I really consider this one of the most exciting and interesting ways of using interactive narrative, because there’s a lot more to the technique than simply recording progress with a codeword and checking for that codeword in another passage – although that is exactly the mechanism the authors of Fabled Lands and I use. The skill comes in writing just enough linking reference that the reader remembers what sparked the narrative development off – but not too much, giving the reader the mental task of drawing connections and causal links between events. Sometimes the book can make these links explicit, but at other times I prefer to leave them mysterious and tantalising. People rationalise the same information in different ways and I love to hear my readers explaining their understanding of what caused what.
But now to the nitty-gritty. Writing these things is challenging – another reason I use them! For the volume currently under construction, The Reeking Metropolis, I have notes and references for more than forty narratives of different sizes that overflow from the other volumes into this one. All roads seem to lead to London, at the moment. Some of these are short references – characters that you met in Smog and Ambuscade that mentioned they were trying to reach London, where they hoped to make their fortune. A single passage can resolve this story, as you discover whether they really did strike it rich. Others are much larger, multi-plot strands of story that I haven’t even really decided how I want to use, like the Revolution narrative that powers your interaction with the Compact for Workers’ Equality. Then there are the stories that I ran out of space to tell and the mysteries I haven’t thought of answers for yet.
But the fascinating thing is that some of these are the very first pieces of Steam Highwayman that I ever wrote – pieces like the redemption of the workhouse orphan, who ran away from his master to try to reach the big city. I even created a plot within Smog and Ambuscade that could only be reached after beginning a quest in Volume III, which has taken me two years to reach.
As a reader, I know that the more time that passes in the real world between a choice and the consequence, the more mystery and intrigue it holds for me. I can’t wait to hear what my readers think when, on receipt of The Reeking Metropolis, they realise that decisions they may have made two years previously are still limiting their options, or opening doors for them.
The photo above, by the way, is a piece of attractively peeling plywood hoarding along the Crossrail (Elizabeth Line) site a short distance from where I live. I get really excited by the way the process of decay creates textures far more complex, and yet balanced, than any human imagination could achieve.