Annnd . . . what do I think so far? When you pick your first lock at the age of 4 and the first name you write is a forgery of someone else's, you're a spy. At least Maggie, a 16 year old daughter of two spies (that specialize in languages and hacking), who has 12 identities in passports and spends only enough time in a city to finish a job, until she gets her own assignment, is. Now she has to enroll in high school and get to know Jesse Oliver before his dad reveals her family, and other spies who work for the Collective, publicly, placing them all in danger!
I really enjoyed this book. I think a lot of teens will like it too! ENJOY!
Characters' Game Plans
Coaches don't go into a game without thinking about which plays to run, which team members to use in a scoring or assisting roles and which opponents to guard and in what way by whom. So I was thinking how the same thing could give the scenes we write more focus and impact. What if, in designing scenes, Deanna and I do the same thing?
We always ask what motivates our characters--what do they want and what lengths will they go to to get it? But we've considered this as the scenes unfold, wondering what does the character wants in this scene. The conflict designed to move the plot along might not be within the overall plan the character would experience. We have utilized this on the whole-story level, but not enough on the scene-level.
If we reconsider how to develop the scenes from a coaching perspective, I think I'd like to try having a "play book" for my characters set out and see the conflict that arises from the intersection of those plays, looking closely at offense and defense. Isn't that how it is in real life--like--I have this goal. My first step (play) is to do this. Then this. And finally this. Our characters would think the same way. *epiphany*
Yeah, what if?
I think I'll do that.