It was amazing to see how random mentions added to the world and stories of the past that occur before the timeline/start of the actual story written in the book for the audiences. It not only expands the world and its capabilities, certain uses, but more often than not provides more context to their settings and universe. Starting in page 28, “Safi reached the coffee shop first and after hopping a puddle of sewage that was frighteningly orange, she began tapping out the lock-spell on the front door--a recent installment since the stolen cutlery incident. Habim could complain to Mathew all he wanted about the cost of an Aetherwitched lock-spell, but as far as Safi could see, it was worth the money. Venaza City had a hefty crime rate--first because it was a port, and second because wealthy Guildmasters were just so appealing to piestra-hungry lowlifes" (28-29). There were actual moments where I laughed out loud and connected more with the nature of the many characters' personalities, and they made for valuable lessons in what makes a book entertaining and gripping while changing the audiences' roles as the discoverer to one of a tourist in a world that's already developed for ages.
I also took notice in the chapters and brief mentions used throughout to establish the original world of the beginning of their grand tale to make the change in tone, surroundings, character, and plot a bigger deal. Glimpses of the surroundings--like one in page 30 which read “With the sun just rising in the east, the clay rooftops of Venaza City shone like orange flames. It was beautiful, tranquil, and gods below, Safi loved that view. (...) ...the bridges and canals of Venaza City were always sun-baked and smelling wonderfully of rotten fish. Mathew's shop was always bright and crowded. (...) Here, Safi felt warm. Here, she felt welcome, and sometimes, she even felt wanted”--contrasts with the remainder of the book where Mathew's shop is destroyed by perpetrators, she can never return to any place ever again because she's being hunted, and there is no more welcome for her and Iseult in the city because of their actions. The careless, reckless, fun, and easygoing tone in the very beginning shifts heavily when they endure countless challenges non-stop that put their previous immature behaviors to bed. By taking the time to tell us their home in Venaza City--and for Iseult her village--the readers know how far away from home they've gone and tear away that familiarity for both the audience and the characters. I found the time spent in the beginning to establish everything to actually be very effective and well-used, since it's the calm before the storm and provides a contextual balance.
I also better understood the impact of using a universal conflict to overcome other minor/internal conflicts. Especially inner conflicts between the characters, like in page 57 they all conflicted, saying "'is this how all Nubrevnans dress?' Safi snatched the other side of his shirt. 'These go inside these.' To his credit, the Nubrevnan didn't move. His face simply flushed a wild scarlet--as did his threads-- and his lips pressed tight. 'I know,' he gritted out, 'how a button operates.' He knocked Safi's wrists away. 'And I don't need advice from a woman with bird shit on her shoulder.'" Then as the story progresses and all the characters become a party following a need to survive and complete the contract, they push aside their grievances and work together well enough to complete tasks and make it through. By having such powerful emotions of hate tamed by the importance of their task, this character dynamic really highlights the gravity of the situations at hand and the plot as a whole. Even the Bloodwitch puts aside his main motivation (killing the Truthwitch and etc.) when his life is saved/when he owes a debt, despite the constant tension and fear built up around this one character continuously. By having the characters thoroughly changed/impacted according to events of the book, there's a deeper understanding and knowledge of the actual event itself, and everything that happens feels so much more intense and interesting. By experiencing these feelings from this strategy, I've come to realize how important it is to include character dynamic and relationships to highlight the serious tones and revelations. Overall, it was a great book to see a lot of great story-writing, world-building, and delivery; and I feel more like I understand how to properly incorporate them into my own writing in the future!!
I also took notice in the chapters and brief mentions used throughout to establish the original world of the beginning of their grand tale to make the change in tone, surroundings, character, and plot a bigger deal. Glimpses of the surroundings--like one in page 30 which read “With the sun just rising in the east, the clay rooftops of Venaza City shone like orange flames. It was beautiful, tranquil, and gods below, Safi loved that view. (...) ...the bridges and canals of Venaza City were always sun-baked and smelling wonderfully of rotten fish. Mathew's shop was always bright and crowded. (...) Here, Safi felt warm. Here, she felt welcome, and sometimes, she even felt wanted”--contrasts with the remainder of the book where Mathew's shop is destroyed by perpetrators, she can never return to any place ever again because she's being hunted, and there is no more welcome for her and Iseult in the city because of their actions. The careless, reckless, fun, and easygoing tone in the very beginning shifts heavily when they endure countless challenges non-stop that put their previous immature behaviors to bed. By taking the time to tell us their home in Venaza City--and for Iseult her village--the readers know how far away from home they've gone and tear away that familiarity for both the audience and the characters. I found the time spent in the beginning to establish everything to actually be very effective and well-used, since it's the calm before the storm and provides a contextual balance.
I also better understood the impact of using a universal conflict to overcome other minor/internal conflicts. Especially inner conflicts between the characters, like in page 57 they all conflicted, saying "'is this how all Nubrevnans dress?' Safi snatched the other side of his shirt. 'These go inside these.' To his credit, the Nubrevnan didn't move. His face simply flushed a wild scarlet--as did his threads-- and his lips pressed tight. 'I know,' he gritted out, 'how a button operates.' He knocked Safi's wrists away. 'And I don't need advice from a woman with bird shit on her shoulder.'" Then as the story progresses and all the characters become a party following a need to survive and complete the contract, they push aside their grievances and work together well enough to complete tasks and make it through. By having such powerful emotions of hate tamed by the importance of their task, this character dynamic really highlights the gravity of the situations at hand and the plot as a whole. Even the Bloodwitch puts aside his main motivation (killing the Truthwitch and etc.) when his life is saved/when he owes a debt, despite the constant tension and fear built up around this one character continuously. By having the characters thoroughly changed/impacted according to events of the book, there's a deeper understanding and knowledge of the actual event itself, and everything that happens feels so much more intense and interesting. By experiencing these feelings from this strategy, I've come to realize how important it is to include character dynamic and relationships to highlight the serious tones and revelations. Overall, it was a great book to see a lot of great story-writing, world-building, and delivery; and I feel more like I understand how to properly incorporate them into my own writing in the future!!