Want me to help you write a great fantasy novel? Apply for my 7-week Fantasy Outlining Bootcamp: bit.ly/bootcamp-cohort-4 Applications for Cohort 4 close on October 16th at 6pm Perth time.
I would absolutely love to join but my life is a little too complicated to do that right now. I hope there is another one next year which I will definitely join if there's any openings!
Omg, this video is perfectly timed. I am currently writing the final climax chapter of my novel, the completion of my protagonist's negative character arc (i only have 5,000 words left, with the book 61,000 words in total), ending with her getting her vengeance and becoming the new tyrant queen. I want to reveal a revelation right at the end of the book, that my protagonist is actually pregnant, with an epilogue chapter of the MC giving birth to a son, who would be the protagonist of a potential sequel novel.
Maybe reveal the pregnancy just a bit earlier? If you do it RIGHT at the end it might come of as a bit BS to the readers like you just tacked it on at the end without putting in any work.
@@mighty_spirit8532 I am right at the point in the chapter, right near the beginning of it, where I could put in some clues and foreshadowing (such as morning sickness) that subtly hints at it, but not show it until the epilogue I did have a lovemaking scene with the now - deceased love interest two chapters prior that sets it up, if I decide to include it
@@unicorntomboy9736 Sounds good, though please give your reader some (dosen't need to be a ton of) time to digest the twist while reading and not after they have finished the book.
@@mighty_spirit8532 It's more so intended to set up a potential sequel, which would feature the son or daughter of the protagonist as the main character. It essentially copies the ending of Star Wars Revenge of the Sith Overall though, the ending is meant to be depressing, cynical and bleak, since it is a grimdark novel
I’m getting back into writing after a long hiatus, I’ve never finished a first draft of anything so that’s my goal. I’m really optimistic now, your videos have been so inspiring and informative! Thank you!! 🙏
Haven't finished the video yet, but thank you for giving us all this wonderful information! It's really helped me, and surely countless others in their own, special writing journeys.
THE WAY YOU CONDENSED THE CLIMAX AS THE CROSSING POINT OF THE EXTERNAL AND INTERNAL !!! ❤❤ JED!!! thank you, it sounded so simple like that but it was the PERFECT summary for all the thoughts on theme, plot and character that I've been trying to make sense of in my own head.
I personally believe that any book should have some sense of closure by the end, even if it's meant to have sequels. The first method to achieve that, as Jed mentioned, is to treat your first book as a stand alone (giving your MC one main conflict to resolve and create a new one in the next book), but you can also write your plot to give your MC several layers of conflicts from the get go and resolve each one in a different book. I think the most common example of the first method is to tell your MC's struggle to become a leader and then, show his/her struggle as a leader in the next book. An example of the second is Athlea in Robin Hobb's Ship series (and of course spoiler alert. If you haven't read the first book of the trilogy and plan to do so, stop reading here). By the end of Book 1, Athlea manages to become a worthy sailor (something she quickly realize isn't so clear as she first thought) but she still has to recover her family ship and she's still a woman in a world dominated by men. Life is still not going to be easy for her, but Robin Hobb does resolve some of her conflicts by the end of book 1, and I don't think I'm the only one to think that it's important. Honestly, there's nothing more frustrating than reading the last few lines of a book and be thrown a massive "to be continued" at your face. It's good to keep things pending (I mean, it's essential if you're writing a series) but not everything.
I've rewritten my ending 4 times on the first draft alone, and I'm finally somewhat happy with my "double loop": the thing they really struggled to do on a small scale in the first chapter, is finally achieved on a large scale in the 35th and last chapter. But also, there's this intergenerational aspect where many years ago, "our side" won the battle but lost the war. This time, they lose the battle (three-quarter crisis) but win the war. I like symmetry like that.
Even tho I am only managing to write fanfictions for mysel, watching your videos allows me to have a bigger scope in regards of writing techniques and ways to tell a story outside of the main path. Thank you very much, Jed Herne!
I've watched alot of your videos now, they feel like a breath of fresh air ! I've seen plenty of videos about how to write/avoid mistakes etc , not alot of them cover some topics I've seen in your videos
Great timing! I just finished act 2/3 in my first rewrite, and now I'm approaching the ending of the zero draft again. It's great to hear your thoughts - the ending is the whole point of the story, absolutely!
Well, I'm one of the first! Just wanted to say thanks for all the videos you're putting out! It's definitely helping me create my fantasy novel ("Light and Shadows"), and help me tackle issues I've had with the worldbuilding. :)
Eh, I don't know if Harry Potter is a good example. At the time yes, but once you know that anyone BUT Voldermort can kill him, you start to feel like - so, the main bad guy loses just because he wont let someone else do the killing? Wow.-
In my novel, I basically am making my character "the chosen one" (without prophecies) and him making all this journey to safety with different characters, but with this same old man, as in most epic fantasy novels which normally dies (or does some Gandalf-type shit). In reality, I pan for my story's climax to be in this volcano, where it is revealed my protagonist might not be the chosen one (another dragon egg is found, before it was thought the protagonist's was the first) right after, the main villain finds the group and a big battle commences. At the end, the volcano starts erupting, and the characters start evacuating it. With only the protagonist remaining to fend off the antagonist. But when the protagonist tries leaving, the gandalf figure actually blocks him in, thinking he is sacrificing him to destroy the villain, instead of risking for the villain's escape. So when the volcano erupts, with the side characters thinking the protagonist is dead, I want to build this mental picture of the volcano erupting while the cast in on a ship, furiously rowing away, with the future new protagonist huddling the egg found in the volcano.
@@Second_Son1990 Thank you! I really love this channel because it really makes it easy for people like me to share their ideas, so ever comment is really appreciated!
So I definitely did a deus ex machina, but that's kind of the point of the first book. He got lucky. My main character's mom tells him that if he thinks he's helpless, he will be, and he interprets that to mean that he'll never be helpless so long as he believes in himself, but ultimately his attempts to walk away from his experiences in the book with confidence in his own agency will fall apart, and he'll need to reorient himself in the sequels. It's paving the way for the "Empire Strikes Back" installment in the story. He's an immature twelve year old who only "won" because the ultimate villain of the series deliberately orchestrated his advantages as a prank on the minor villain of the first book. I see so many stories where the hero beats the villain by pulling a last ditch burst of strength and willpower at the last possible second, and I don't find that satisfying. So many heroes are characterized by this indominable will that seems to just be innate. They got to where they got because they were just more driven than anyone else. I want to tell a story about a character with no natural confidence who feels forced to make himself better because he knows how lucky he was, and he knows he wont get lucky a second time. I want to explore the conflict between him and family members and friends who seem to believe he's stronger than he is. The climax in the first book does at least benefit from the illusion of satisfying character growth. The bad guy IS defeated directly due to the actions of the protagonist, but its kind of like someone pissing off the hulk and dropping him on top of the problem. I THINK I've done everything I need to do to foreshadow the remaining flaws of my protagonist and the tragedies in store for him, but I feel like I'm gonna be in trouble if people miss the fact that the structure of the story is intentional.
Everyone has a different method. For me I just dive into the first half of the story with just a rough idea of what the character interactions are like and then start outlining for the end and editing the first half to make everything make sense
My problem is, the core conflict of the first book (in the series of 6 book )is the illusions of Kuasa ( the world of elemental power people) was to be saved by Oliver (my protagonist) from the illusionner destroying it, however in the end we find out that the illusionner was Oliver’s friend and he betrayed him and his companion. Oliver and his friends fight him as Oliver was losing due to huge amount of optical illusions he was conjuring, but then Oliver remembers the advice of his mentor, and then he gets the courage to fight the illusionner and he snaps out of the illusions and throws a huge solar beam that supposedly kills judo. However we later see that Oliver had mistakenly destroyed the very illusions that the antagonist was intending to destroy, so events backfire on him and now power government is looking after him in book 2 and so does the monsters of illusions , becoming real. Is that good?
Olivar destroying the illusion mistakenly seems too random, have the antagonist deceive Olivar into destroying the thing he wasn't meant to destroy, this makes the Antagonist more trickier, clever and dangerous than having Olivar randomly do his bidding. Fun idea: you can make it more interesting by making Olivar the only one with the power to destroy the illusion and the antagonist knows this and tricks him into doing his bidding. BOOM!!
Jed, I love your videos, but for the love of the gods please cool it with the self-promotion. I get wanting to make sure everyone knows about your stuff, but nothing ruins a video full of good and useful advice like interrupting it every five minutes with “and that’s why you should read my books/take my course/watch my other videos!” By all means mention those things briefly at the start or end or in the description, but repeatedly segueing into a self-plug in the middle of the video is kind of obnoxious and maybe even putting people off your videos. And nobody wants that; like I said, this is some great and practical stuff you’re putting out here, and for free no less. I just wish I could enjoy it without being bombarded with self-advertisements.
That's a matter of pacing really. Between Climax and "The End" you need to show what the climax has caused, what the pay off is. But you shouldn't drag it, otherwise it feel boring. A nice example for this is, though not a book, the party at the end of Baldur's Gate 3, where you can talk with all the characters that you have met during your journey and hear what has happened to them since the great battle.
There are a ton of factors that could go into it. If it's a sprawling epic fantasy novel that is concerned with themes, the winding down might even require a secondary climax (like the destruction of the Shire in Lord of the Rings after the hobbits return home). But if it's a fast-paced serial action flick in a novel format, maybe it should only take a chapter of winding down, showing the hero ready for new adventures.
It depends. Sometimes it's good to tie some loose ends together, to show the reader how the protagonist lives after the adventure, what he had learned about live. Sometimes a full chapter is needed, sometimes a short epilogue will do it. And sometimes you can use it to tease the sequel, e.g. the surviving villain plotting his next step.
I know you mentioned the epilogue of Harry Potter toward the end of the video, but I wanted to ask more specifically your take on using an epilogue, period. If I use a prologue at the start of my novel, is it necessary to then mirror that with an epilogue?
Breaking Sanderson's 3P is almost as bad as having your characters in the 4F mode for the duration of the story. For those who don't know, 4F mode means: Find, Fetch, Fix, Follow. It basically means that the character only does what they're told with no inner driving force. Find this, fetch that, fix this, follow me. If the change half-way through the storyline is justified, a story CAN end with something entirely different and still be GOOD. But having the protagonist be hollow is 100% bad.
IMO the concrete goal often should change halfway through the story, assuming the protagonist gets to choose their goal. After all, they probably are getting better at choosing goals too throughout the story.
When it comes to the luck thing, like you said, this can still work if handled well, like with everything else. I mean it's realistic too, sometimes in life people just get lucky and succeed. But it shouldn't be overused for sure.
Robin Hobb is guilty of so much of this, but her series are hailed as some of the greatest. If it sounds like I'm disagreeing with you, I'm not; I hated the Farseer Trilogy Still, it shows how subjective writing can be.
One things that I love about the climax of the first novel I’m working on is that it’s too easy. And I made that very apparent to my readers. My MC is invading an enemy ship and he sneaks around a little too easily. He makes it to the cockpit, presses the very accessible self destruct button, and boom. Mission complete. It isn’t until a chapter or two later that we learn everything was a trap. The explosion that rocks the sky was only a diversion for something much worse.
Most satisfying ending to a novel: "You are a very fine person, Bilbo Baggins, and I'm quite fond of you, but you are only just a little fellow in a wide world after all. " "Thank goodness!" said Bilbo laughing, and handed him the tobacco jar. It was in this final bit of dialogue that we discovered what the real point of the story was all along, and it wasn't really about dragons.
Want me to help you write a great fantasy novel? Apply for my 7-week Fantasy Outlining Bootcamp: bit.ly/bootcamp-cohort-4
Applications for Cohort 4 close on October 16th at 6pm Perth time.
Please how do I contact you through email
I would absolutely love to join but my life is a little too complicated to do that right now. I hope there is another one next year which I will definitely join if there's any openings!
Bro is rapid firing videos at us and I’m loving it.
Omg, this video is perfectly timed. I am currently writing the final climax chapter of my novel, the completion of my protagonist's negative character arc (i only have 5,000 words left, with the book 61,000 words in total), ending with her getting her vengeance and becoming the new tyrant queen.
I want to reveal a revelation right at the end of the book, that my protagonist is actually pregnant, with an epilogue chapter of the MC giving birth to a son, who would be the protagonist of a potential sequel novel.
Great stuff! Good luck on finishing the book
Maybe reveal the pregnancy just a bit earlier? If you do it RIGHT at the end it might come of as a bit BS to the readers like you just tacked it on at the end without putting in any work.
@@mighty_spirit8532 I am right at the point in the chapter, right near the beginning of it, where I could put in some clues and foreshadowing (such as morning sickness) that subtly hints at it, but not show it until the epilogue
I did have a lovemaking scene with the now - deceased love interest two chapters prior that sets it up, if I decide to include it
@@unicorntomboy9736 Sounds good, though please give your reader some (dosen't need to be a ton of) time to digest the twist while reading and not after they have finished the book.
@@mighty_spirit8532 It's more so intended to set up a potential sequel, which would feature the son or daughter of the protagonist as the main character. It essentially copies the ending of Star Wars Revenge of the Sith
Overall though, the ending is meant to be depressing, cynical and bleak, since it is a grimdark novel
I’m getting back into writing after a long hiatus, I’ve never finished a first draft of anything so that’s my goal. I’m really optimistic now, your videos have been so inspiring and informative! Thank you!! 🙏
Same
Cool! Don't get stuck watching writing videos instead of actually writing like I did.
Reloaded at the right time, 30 seconds ago 🙏
Haven't finished the video yet, but thank you for giving us all this wonderful information! It's really helped me, and surely countless others in their own, special writing journeys.
vision = ending = your goal = your target = your path = knowing what you're doing
I love the flex of your own published books scattered in the background
The cliffhanger segment with the star wars example was perfect. I feel like not enough people realize that's how cliffhangers are done
So happy to see this channel grow since finding it when he was at 50k glad to see other writers getting value from this guy. Jed my goat fr fr
Yooooo Northman recognition! That movie was amazing!
THE WAY YOU CONDENSED THE CLIMAX AS THE CROSSING POINT OF THE EXTERNAL AND INTERNAL !!! ❤❤ JED!!! thank you, it sounded so simple like that but it was the PERFECT summary for all the thoughts on theme, plot and character that I've been trying to make sense of in my own head.
I personally believe that any book should have some sense of closure by the end, even if it's meant to have sequels.
The first method to achieve that, as Jed mentioned, is to treat your first book as a stand alone (giving your MC one main conflict to resolve and create a new one in the next book), but you can also write your plot to give your MC several layers of conflicts from the get go and resolve each one in a different book.
I think the most common example of the first method is to tell your MC's struggle to become a leader and then, show his/her struggle as a leader in the next book.
An example of the second is Athlea in Robin Hobb's Ship series (and of course spoiler alert. If you haven't read the first book of the trilogy and plan to do so, stop reading here).
By the end of Book 1, Athlea manages to become a worthy sailor (something she quickly realize isn't so clear as she first thought) but she still has to recover her family ship and she's still a woman in a world dominated by men. Life is still not going to be easy for her, but Robin Hobb does resolve some of her conflicts by the end of book 1, and I don't think I'm the only one to think that it's important.
Honestly, there's nothing more frustrating than reading the last few lines of a book and be thrown a massive "to be continued" at your face. It's good to keep things pending (I mean, it's essential if you're writing a series) but not everything.
I love these moments when Jed gets closer to his books and picks one out. Nice to see this once again, after a while. Shakes things up a bit!
I've rewritten my ending 4 times on the first draft alone, and I'm finally somewhat happy with my "double loop": the thing they really struggled to do on a small scale in the first chapter, is finally achieved on a large scale in the 35th and last chapter. But also, there's this intergenerational aspect where many years ago, "our side" won the battle but lost the war. This time, they lose the battle (three-quarter crisis) but win the war. I like symmetry like that.
101k subs. That's huge. Congratulations.
Even tho I am only managing to write fanfictions for mysel, watching your videos allows me to have a bigger scope in regards of writing techniques and ways to tell a story outside of the main path. Thank you very much, Jed Herne!
I've watched alot of your videos now, they feel like a breath of fresh air ! I've seen plenty of videos about how to write/avoid mistakes etc , not alot of them cover some topics I've seen in your videos
Great timing! I just finished act 2/3 in my first rewrite, and now I'm approaching the ending of the zero draft again. It's great to hear your thoughts - the ending is the whole point of the story, absolutely!
This was published at the perfect time! I just outlined my climax(es) to my novel's storylines so I am excited to watch!
"Promise, Progress, Payoff... the three P's."
dude comes in swinging big PPP energy.
Thanks for giving so many writing tips.
Your explanation of the Deus Ex Machina is hugely helpful.
Thank you for these amazing writing videos ❤
Well, I'm one of the first! Just wanted to say thanks for all the videos you're putting out! It's definitely helping me create my fantasy novel ("Light and Shadows"), and help me tackle issues I've had with the worldbuilding. :)
Eh, I don't know if Harry Potter is a good example. At the time yes, but once you know that anyone BUT Voldermort can kill him, you start to feel like - so, the main bad guy loses just because he wont let someone else do the killing? Wow.-
It's interesting, because the beginning and the ending are the easiest for me, it's the journey between the two that takes time. :)
In my novel, I basically am making my character "the chosen one" (without prophecies) and him making all this journey to safety with different characters, but with this same old man, as in most epic fantasy novels which normally dies (or does some Gandalf-type shit). In reality, I pan for my story's climax to be in this volcano, where it is revealed my protagonist might not be the chosen one (another dragon egg is found, before it was thought the protagonist's was the first) right after, the main villain finds the group and a big battle commences. At the end, the volcano starts erupting, and the characters start evacuating it. With only the protagonist remaining to fend off the antagonist. But when the protagonist tries leaving, the gandalf figure actually blocks him in, thinking he is sacrificing him to destroy the villain, instead of risking for the villain's escape. So when the volcano erupts, with the side characters thinking the protagonist is dead, I want to build this mental picture of the volcano erupting while the cast in on a ship, furiously rowing away, with the future new protagonist huddling the egg found in the volcano.
Oooooh. I like it!
@@Second_Son1990 Thank you! I really love this channel because it really makes it easy for people like me to share their ideas, so ever comment is really appreciated!
So I definitely did a deus ex machina, but that's kind of the point of the first book. He got lucky. My main character's mom tells him that if he thinks he's helpless, he will be, and he interprets that to mean that he'll never be helpless so long as he believes in himself, but ultimately his attempts to walk away from his experiences in the book with confidence in his own agency will fall apart, and he'll need to reorient himself in the sequels. It's paving the way for the "Empire Strikes Back" installment in the story. He's an immature twelve year old who only "won" because the ultimate villain of the series deliberately orchestrated his advantages as a prank on the minor villain of the first book.
I see so many stories where the hero beats the villain by pulling a last ditch burst of strength and willpower at the last possible second, and I don't find that satisfying. So many heroes are characterized by this indominable will that seems to just be innate. They got to where they got because they were just more driven than anyone else. I want to tell a story about a character with no natural confidence who feels forced to make himself better because he knows how lucky he was, and he knows he wont get lucky a second time. I want to explore the conflict between him and family members and friends who seem to believe he's stronger than he is.
The climax in the first book does at least benefit from the illusion of satisfying character growth. The bad guy IS defeated directly due to the actions of the protagonist, but its kind of like someone pissing off the hulk and dropping him on top of the problem. I THINK I've done everything I need to do to foreshadow the remaining flaws of my protagonist and the tragedies in store for him, but I feel like I'm gonna be in trouble if people miss the fact that the structure of the story is intentional.
It’s called “sticking the landing” for a reason.
Flight could be awesome, but if it crashes at the end, nothing else matters.
While I don’t write with an outline, I do write with a plan in my head. I know where my story needs to be in terms of plot and character arcs.
Good Video
Excellent Gordon Ramsey clip. There should be one per video
my goat is cranking out videos at light speed
I like endings where villains are victorious in a way. That’s what I’ll do with my novels.
Yay, new video is here 🎉
Happi happi happi
Everyone has a different method. For me I just dive into the first half of the story with just a rough idea of what the character interactions are like and then start outlining for the end and editing the first half to make everything make sense
FIRST PROBABLY IDK
My problem is, the core conflict of the first book (in the series of 6 book )is the illusions of Kuasa ( the world of elemental power people) was to be saved by Oliver (my protagonist) from the illusionner destroying it, however in the end we find out that the illusionner was Oliver’s friend and he betrayed him and his companion. Oliver and his friends fight him as Oliver was losing due to huge amount of optical illusions he was conjuring, but then Oliver remembers the advice of his mentor, and then he gets the courage to fight the illusionner and he snaps out of the illusions and throws a huge solar beam that supposedly kills judo. However we later see that Oliver had mistakenly destroyed the very illusions that the antagonist was intending to destroy, so events backfire on him and now power government is looking after him in book 2 and so does the monsters of illusions , becoming real. Is that good?
Olivar destroying the illusion mistakenly seems too random, have the antagonist deceive Olivar into destroying the thing he wasn't meant to destroy, this makes the Antagonist more trickier, clever and dangerous than having Olivar randomly do his bidding.
Fun idea: you can make it more interesting by making Olivar the only one with the power to destroy the illusion and the antagonist knows this and tricks him into doing his bidding. BOOM!!
What was that portable keyboard-screen thing you were typing on? :O
I LOVE the Northman!!!
Jed, I love your videos, but for the love of the gods please cool it with the self-promotion. I get wanting to make sure everyone knows about your stuff, but nothing ruins a video full of good and useful advice like interrupting it every five minutes with “and that’s why you should read my books/take my course/watch my other videos!” By all means mention those things briefly at the start or end or in the description, but repeatedly segueing into a self-plug in the middle of the video is kind of obnoxious and maybe even putting people off your videos. And nobody wants that; like I said, this is some great and practical stuff you’re putting out here, and for free no less. I just wish I could enjoy it without being bombarded with self-advertisements.
How close to the end does the climax need to be. Or how long should I make the falling action and resolution
That's a matter of pacing really. Between Climax and "The End" you need to show what the climax has caused, what the pay off is. But you shouldn't drag it, otherwise it feel boring.
A nice example for this is, though not a book, the party at the end of Baldur's Gate 3, where you can talk with all the characters that you have met during your journey and hear what has happened to them since the great battle.
There are a ton of factors that could go into it. If it's a sprawling epic fantasy novel that is concerned with themes, the winding down might even require a secondary climax (like the destruction of the Shire in Lord of the Rings after the hobbits return home). But if it's a fast-paced serial action flick in a novel format, maybe it should only take a chapter of winding down, showing the hero ready for new adventures.
It depends. Sometimes it's good to tie some loose ends together, to show the reader how the protagonist lives after the adventure, what he had learned about live. Sometimes a full chapter is needed, sometimes a short epilogue will do it. And sometimes you can use it to tease the sequel, e.g. the surviving villain plotting his next step.
Hey just a quick question , does these things also apply on other ways of telling stories like comics or manga or something else
This is why The Never Ending Story takes the top spot 😋
I know you mentioned the epilogue of Harry Potter toward the end of the video, but I wanted to ask more specifically your take on using an epilogue, period. If I use a prologue at the start of my novel, is it necessary to then mirror that with an epilogue?
Breaking Sanderson's 3P is almost as bad as having your characters in the 4F mode for the duration of the story.
For those who don't know, 4F mode means: Find, Fetch, Fix, Follow.
It basically means that the character only does what they're told with no inner driving force. Find this, fetch that, fix this, follow me.
If the change half-way through the storyline is justified, a story CAN end with something entirely different and still be GOOD. But having the protagonist be hollow is 100% bad.
IMO the concrete goal often should change halfway through the story, assuming the protagonist gets to choose their goal. After all, they probably are getting better at choosing goals too throughout the story.
When it comes to the luck thing, like you said, this can still work if handled well, like with everything else. I mean it's realistic too, sometimes in life people just get lucky and succeed. But it shouldn't be overused for sure.
1:30 am I losing my mind or does that look exactly the same as a fight from Troy?
I wish i could join ur bootcamp but I'm a broke college student 😢
do you have a video that presents book you wrote ?
How so you manage writing multiple climaxes for say an ongoing series?
Robin Hobb is guilty of so much of this, but her series are hailed as some of the greatest. If it sounds like I'm disagreeing with you, I'm not; I hated the Farseer Trilogy
Still, it shows how subjective writing can be.
Yeah if the ending is bad, the novel is bad.
Just like my hero academia!
@@Nova11435 or Solo Leveling
@@Pressato eh solo leveling wasnt *that* bad. It just left things a little messy because of his weird time travel shenanigans.
I just noticed the way he talks about the class feels like a cult sometimes
One things that I love about the climax of the first novel I’m working on is that it’s too easy. And I made that very apparent to my readers. My MC is invading an enemy ship and he sneaks around a little too easily. He makes it to the cockpit, presses the very accessible self destruct button, and boom. Mission complete. It isn’t until a chapter or two later that we learn everything was a trap. The explosion that rocks the sky was only a diversion for something much worse.
If you have been waiting for a new upload, hit the like button
Sacrificing to the TH-cam algorithm.
But im a pantser not a plantser
I guess George R Martin doesn't use this method.
Most satisfying ending to a novel:
"You are a very fine person, Bilbo Baggins, and I'm quite fond of you, but you are only just a little fellow in a wide world after all. " "Thank goodness!" said Bilbo laughing, and handed him the tobacco jar.
It was in this final bit of dialogue that we discovered what the real point of the story was all along, and it wasn't really about dragons.