Monday, November 11, 2013

Symbolism and planning in the Tess Series

As an Author, I just tap in to the muse and then write whatever flows through my brain right? I mean, that's what we all do isn't it? Maybe sketch out a few things, but essentially, we're just being creative, get the story, write it, and bingo - there's a book.

Well, some may do it like that, but - I believe art is a little more involved than that, and call me obsessed or OCD or whatever, but, there's always balance in everything. There has to be. As I learned in my composition degree, the golden section always has the most impact if you're going to build up the music to a certain point. In normal parlance, this is roughly (very roughly) around three quarters of the way through a piece. This is reflected in nature too - the Fibonacci series to be precise. There's a reason why we, and human beings, instinctively respond to these things without realising it, and so, stories flow more easily too if you bear this in mind when writing something. Maybe I'm over thinking? I'll let you decide. But here are a few of the more simplistic details of how I crafted the Tess series.

There's three books in the Tess series, and well, I enjoy the symmetry of threes. Always have, as it makes a beginning, a middle and an end. Which, in Tessa's journey, details her first submissive experiences, and then the development of her relationship with her Master, and finally, the conclusion of her experiences - for the moment.

Book one, The Training of Tess, is made up of three sections. It fits the same beginning, development and conclusion of the series - and of course, it is a tale which can be read as standalone erotica. A submissive woman who tells the tale in her voice and finds her submission in conclusion. Book one, one voice, one tale.

Book two, Tessa's Dilemma follows the same lines of three sections, but this time, it is told in two voices - two intertwining tales - and although it can be read standalone, it leads into the third book. It has developed from being pure erotica into detailing the hopes and fears of Tess and Charles. Book two, two voices, two tales.

Book three, Menage a Tess is in four sections. Not three? Actually, the story develops in three sections, and then an extra section, almost like a 'Coda' in a musical score. And, well, you guessed it, three voices describing three intertwining tales. But there are four main protagonists in Menage a Tess? The Coda didn't just come out of nowhere now did it... The story had to find a balance somehow.

I also name my sections to relate to each of the sub-tales within, but I shall leave you to interpret those how you will. And alongside all of this, there are elements of poetry and lyrical music setting I use to ensure that the flow of my writing doesn't jar. Unless it's meant to. Maybe if you read my stories again, you might spot what I've created for yourself. In some cases, I've found a symmetry in my stories/writing that I didn't even know I'd added at the time. Funny what the brain can do when wrapped in the lives of the characters it creates.

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