Q&A part 4 — the Darkness of the Story

This is the 4^th part (of four) articles from the Q&A I had with AndyK much earlier in the year. (There were some other topics we discussed, but I think four articles is more than enough!)

Spoiler alert!

Once again, because we discussed books 1 & 2, this contains spoilers if you haven't read them: i.e., it’s only intended for people who've read Wild Thing and Harsh Lessons.

L: I have had a few people (a teacher, a book store owner, and a someone in the book industry), tell me it is definitely Young Adult: less dark than some of the stuff available.  Amazing, yes?  But I never intended it for that market.  And I've had other people (YA readers) tell me it's definitely not.

I tend to agree with that.

A: Holy... YA? I mean… I did read my share of YA fiction and the emotional setup of the story is nowhere near what YA fiction presents.
Hell it's not even suited for a lot of ‘mature readers’ to be honest.

L: That was my feeling!  Yet (e.g.) my local chemist's son (about 15? — hi, Damian!) is greatly enjoying the series, and was waiting eagerly for the 3^rd.  Like I said, I've had a few people — who I trust to know what's acceptable as YA — say it definitely is.  I find that disturbing and a bit mind boggling.

Some of the moments when I realised what Harmon would do, chilled and appalled me. And definitely, I was literally crying while writing some of that stuff, on more than one occasion.

A: I can imagine that.

Although you did leave out the actual descriptions of the torture or sex. Come to think of it: why? I mean, this story is seriously not for children anyway. And I guess it would make it a bit clearer if this is not left to the reader's imagination. Especially book 2 is pretty vague in that regard.

In book 1 her first time is pretty clear. How the dynamic is set and what very probably happened and how. Same is true with her little encounter with the security chief. Where she used her sexuality as a weapon, or as a means to an end, for the first time. Again, could be a bit more detailed but was pretty clear how the dynamic between those two would be.

The torture stuff with gags and beating is somewhat described but since it's only towards the very end if I remember correctly it's not that central to the story yet. But it could have been a bit more explicit to not leave any doubts in the reader's mind.

But in book 2 things get very vague in that regard. The sex scene after the spanking is totally left to the reader's imagination. And at that point clarity would be important.

But most puzzling is the abuse/torture parts. There are only some flashbacks mentioned by Leeth and those too leave a bit too much to interpretation. Some might imagine things worse than they were. Some may imagine them less bad. And that would result in not really understanding the reactions that follow. You implied he forced her to hurt herself (which is a strange choice. Using the bondage to that end will only lead to another problem just like with the spanking, wouldn't it?)

Don't get me wrong, I'm neither an advocate for explicit scenes in books. Nor am I an adversary to it. But sometimes they could be truly part of the story and help clarify it. Show certain dynamics in the relationship. Like I am sure it would have in this case.

L: The second most important reason for leaving out the detail was to allow readers of different fortitude levels to imagine a level of abuse they were comfortable with.  If I made it more explicit, I think it would have been too much for many people.  I'm definitely walking a tightrope as it is.

A: But it's important to know how and what she is suffering through there. To understand how far gone (or faulty) Harmon's reasoning is. And also to understand what she is REALLY going through.

Leaving it to the imagination of the reader leads to every reader having a (maybe vastly) different story in their head. Making that story connect to the outlines provided might result in friction, head scratching or gaping holes.

L: To my mind, what's happening and what she's going through is quite extreme.  So I hope no reader imagines something worse than what I have imagined!  I also think it's reasonable and even healthy for readers to only imagine the worst they're individually comfortable with.

In a nutshell: bad stuff is happening to her.

Knowing just that sketchy detail is enough to let a reader follow the story.  Of course, I have to provide much more detail than that to make the reader feel the truth of that glib summary.

A: Well, my psychology lessons were decades ago but:

What Harmon creates is psychic traumas.
Traumas can lead to PTSD.
PTSD is the last thing any operative needs. (Well it's the last thing anybody needs, really)
Also it is obvious what he is doing can only lead to alienation at the very best. More probable it will lead to hate. In the uniquely human self preservation ignoring form of ‘I don't care if I die as long as I take him with me’.

So I have a hard time seeing why a psychologist would go that way. There are less personal ways to produce pressure.

That only leaves one good explanation I can get behind: He is a sick bastard who puts his scientific work second and his base lusts first.

L: Keep in mind that people can have major psychological breakthroughs when they survive a great stress, in our world; and that in Leeth's world, magic exists and is another possible outcome. See what you think of Harmon at the end of book 3.  I think he's ‘blinded by science’ — and he and Leeth are in many ways ideally unsuited: each provokes the other.  But he's shocked by much of what Leeth does, despite much of it being his responsibility.

A: I still smirk and shake my head at the scene in book 1 where she hunts the jogger. But yes, that's what he raised and trained her to. Again… he should have known that everybody needs some form of moral guidelines. Else we are animals guided by instinct. (Didn't Godsson say that somewhere in book 1?)

L: There are also some truly delicious scenes with Leeth I'm dying to write.

A: I am curious to read them. She does deserve a bit of a breather.

L: I certainly agree.  I think every reader would be pretty well unanimous in that opinion, too.

A: Actually it is much overdue. I just read the other reviews on the books on amazon.de and then amazon.com after I wrote mine for book 1. And there are some pretty harsh things there. Seems most people feel a lot stronger about it than I do... some of it is way unfair and under the belt. But... you did get under your readers skin. Quite an accomplishment in and of itself!

L: I agree. I went and had Google translate a couple of German reviews, recently. And US reviewers seemed to be more offended than anyone else. So that was when I finally realised I hadn't given enough warning to readers, in the Book Description on Amazon.

A: Yes. It's pretty different from most other stories out there. Going in with the wrong expectations is probably not only draining but even a bit traumatic.

L: There is that! Apart from the one review that said something like ‘poorly executed, doesn't work’.

A: That doesn't fly. You can always be of a different opinions about the story. But the craft part of the trade can be objectively analyzed. And it's definitely not poorly executed.

L: There's also a huge difference between leaving something to the reader's imagination, with hints, and making it explicit.

As well as that, by leaving it vague, and having the reader fill in the details (to the level they're comfortable with), I think makes it more powerful, because the reader is supplying the missing parts.

A: I understand. But those missing parts are not what you imagined for the story. So the more vague the descriptions get the more readers have to fill in. And the farther they get from the ‘facts’. And that makes it hard to understand developments and reactions in the book based on this abuse and torture.

L: But that's an accepted (if odd) truth: each reader brings themselves to each book they read, so each book a person reads is a collaborative experience produced by the author and the reader together.  So each experience of the book is unique.

If a book is well-written, I think the experience would tend to be more consistent across all readers, at least on the ‘factual’ side: what happens.  But I think the emotional experience for a well-written book would vary a lot; and maybe it would vary more from person to person, the better it's written, because it would resonate with each person's emotional experience differently?

Interesting: I'd not thought about that so deeply before.

A: For example I still don't know what he did to her before her breakdown. Did he use the compulsion to force her to maim herself? And then mock her about it? If yes then that is a new level  of short-sightedness on his part. If no than what did happen? I always had the feeling I missed something there....

L: Yes, and yes.  But it's not purely short-sightedness: his theory demands such kinds of stresses.

I'm reminded of a panel in Scott McCloud's ‘Understanding Comics’ where he illustrates exactly that point: you see an axe-wielding maniac, you see the victim in the lonely house, and then it pulls right back and you just ‘hear’ the scream.

A: Well.. comics are depictions which put them in a different legal setup. They have no choice unless they want to be seriously restricted in their sales channels. You can write about dicks and pussy and what to do with them all day long and still sell it on Amazon.

L: That's true, but McCloud was making a point about the artistic/emotional effect, ignoring the legal angle.  And I do think it's true.

Interestingly perhaps, I think graphic novels tend to be less gruesome than some Hollywood films or TV shows.  I wonder why?  Maybe because each moment is frozen, and available to be easily studied at length.

Also, I guess the main question is how much is left to interpretation and how much can be misinterpreted.

A: True.  Misinterpretation is unwanted; under- or over-estimating I think is less problematic.

L: For the scene where she almost detonated, emotionally, I think it was clear what was going on, physically.  If I'd added more, I think I'd be writing an erotic passage (at least, for people who like spankings or - shudder - torture).  I don't really think it would have added necessary clarity.

A: Hmm. Hard to say. I only had the feeling I was missing a piece of the picture there. Especially how the dynamic between those two was at that point.

L: By writing it this way, I'm allowing the reader to set the intensity level to whatever they're comfortable with.  In my own mind, it was pretty extreme, and I think for the vast majority of people, reading about torture is the very last thing they want to suffer through.  I would hate for the books to be categorised as ‘torture porn’.

A: Hmm. Wouldn't you say the intensity level was what it was at that point? The things that happened were the things you imagined to happen. Not what I imagined. Not what any other reader imagined.

L: Well, yes.  But then I'm very non- post-modern, and reasonably absolutist.

A: I agree with you that nobody needs to read about the smallest gory detail that is of no consequence to the story. But gory details that ARE of consequence? Or sex scenes that do have implications? I guess it wouldn't be bad to go into as much detail as necessary to clear out any misunderstandings or misinterpretations.

L: I felt more comfortable taking the risk of some misinterpretation (since I felt the broad facts would be quite clear), rather than being overly confronting and possibly losing many readers.  I think the books are pretty far out on the limb of what people can accept, as is!

A: But I know… you already got a lot of flak for the dark parts of the books and this would probably antagonize the torch-and-pitchfork faction even more...

L: Yes. I'm confident that's basically a certainty.

I don't think there'd be much lack of understanding as it's written, since her reactions tell the reader that it was very bad indeed: enough to shatter her faith and trust, and to need to escape.  And we've seen by this stage that she can endure a lot, so the strong implication is that it gets really bad.

A: Yes. But at least for me it left the feeling I missed a crucial part of the story. Not some gory detail but what did he actually do? Is he just over eager? Is he a bit twisted? Is he totally sick? You know that plays into the question we discussed earlier: How redeemable is Harmon?

L: Well, what he did was just as you supposed, further above.  And various humiliations. Is he a bit twisted?  Yes.  Totally sick? No.  How redeemable is he? Well, his actions will speak louder than words in the long run, obviously.

Maybe it would be (barely) acceptable in Germany, and the UK (I'm interested that at last look, I'd had no 1-star reviews in the UK!), where readers can handle it better, somehow?  In the US, I think there would have been a massive reaction against it.

A: ALL reviews in .de are pretty high.
Apart from that... every adult should be able to distinguish between fact and fiction. And if a story is told that demands a certain level of explicit detail... so be it.

L: I don't think that's the issue: my hunch is they identified enough with the character to feel (subconsciously) that they were participating, and felt soiled by feeling that way; and especially, they assume that most other people would react that same way: and feel I am ‘polluting’ large numbers of people.  That's my guess.

You know how some people react completely irrationally when you ‘push their buttons’?  I think my books trigger that kind of reaction in some people.

But fundamentally, I didn't think that an extra level of explicitness in the abuse or in the sex parts would really add to the deeper understanding of the books.

A: As you are the author I accept your judgement.

L: Thanks!  I do think it has to be that way.

A: But I dare to disagree. :}

L: And that too is 100% fine, and the way it has to be.

A: I could accept you decided based on the (prognosed) critical or public reception. But that the story didn't need it? I don't know. I still feel like I am missing a part of the picture. But again I am totally aware that that might be just me.

L: I'd honestly estimate that the decision was 70% that the story didn't need it, 20% concern over public reaction, and 10% trusting in my editor's advice.

My editor advised me to tone it down (and I did), but pushed me to tone it down/remove even more, but I couldn't or wouldn't, since it would have changed the dynamic by reducing the abuse. He was quite clear: he said I would lose readers because of it. But I decided the story demanded it, so I kept it in. The story and the characters are more important to me than profit or success.

A: You don't make a name for yourself by doing it the way everybody else does. Your story is interesting because it is different. Its not ‘enjoyable’ like the mainstream out there. Maybe it could have used some more ‘ups’ in between. But the story and what happens is told well. And it all makes it feel pretty unique. And that is a GOOD thing.

I actually doubt you would have reached more people by lightening it up. Well... what kind of story would have been left anyway?

L: I completely agree.  And I genuinely feel there is considerable originality in my series; and that that's very much a good thing.

A: For anybody not familiar with SR [Shadowrun] the story is a revelation. And that shows in the reviews. And for those who know SR it is still a very well made re-imagination with some pretty serious deviations. And ultimately it's about characters anyway and at least Leeth and Harmon are unique. So is Godsson and the Enemy of Mankind (I never mentioned how much I like her)

L: Cool: that's exactly my feeling, too.  Yeah, d'Artelle was pretty scary.

A: Well... the Department is a bit stereotypical so far. Apart from Dojo. But that's fine. Not everything needs to be unique.

L: I think that's a very fair comment.  The Department was certainly heavily influenced by both the Max Headroom TV series and Nikita (the French film).  I'm not sure if Nikita was released before or after Leeth's birth in my mind.

I think the author Kristin Cashore also has a very original ‘something’ about her fantasy novels, that help make them wonderfully appealing (at least, to me).  I think originality helps.

A: Well.. if you ask me.. it helps. But it's not the most important part. Good execution and consistency is important as well.

L: Quite!  I think all the elements have to be at least basically sound: if any aspect is bad, it ruins a book.  And if every aspect is great, you have a masterpiece of its kind.

And my hope is that Leeth is a truly unique character.  I've read everything I can where the main character sounded like she might be similar.  So far, I haven't found her twin!

A: She definitely is unique. So are the other characters mentioned above.
Though she did remind me of a character in a Shadowrun novel I read ages ago. I just cant remember the title. (Some girl experimented on by a megacorp that gets freed during a Run...)

L: I read several of the SR novels; I bought one, Striper Assassin (I tend to buy all the books I discover with a possibly-similar character, hoping that no one else traverses the same path as me. So far, so good!), but didn't think she was very similar.

But I think my editor was observing that it was more likely to have mass market appeal: avoid offending a good percentage of your readers.

A: Now, this is something completely different but this argument reminds me of Kingdom Death: Monster. When he released it, it had no mass market appeal at all. Nobody was even willing to fund it. It is controversial, offensive, sexist as hell and the antithesis of political correctness. And by now it is the most successful game ever brought to Kickstarter.

What I want to say: just because you DON'T whore yourself out to the mass market does not mean you can't be successful. Or will reach a lot of fans. Many of which will come to you just because you do your thing.

L: I know what you're saying, and I agree.  But I'm also stubborn (perhaps a little less than Leeth), so I won't make changes that would compromise the story or the characters' integrity.

If I feel strongly about something, I won't change it.  If I'm ambivalent, or undecided, I'm happy to accept input and suggestions and advice.

But he didn't pressure me hard: he understood what I was doing, and why; he just wanted to be sure I understood the risks I was taking, and the consequences.

I had to think about what I'd consider a success, and set a modest bar:

if it generated more hours of ‘enjoyment’ (appreciation?) than hours of work to create it, I'd consider it a success.  (Assuming one reader needs about 8 hrs to read one book.)

A: And it is good you didn't cave (for the most part). And it is refreshing to hear somebody is going through all that work mainly for the fun of it.

L: I imagine many (most?) writers do.  But I'm also trying hard to make the quality at least as high as traditionally-published books.

---

Anyway, so that wraps up the Q&A between AndyK and myself.

And here's a final snippet of news for anyone who's read right to the end: I've finally sorted out the issues with the templates I used for LibreOffice, so I've been able to make the mass-market (A-format: 4"x7") editions. I worried that someone browsing the print books wouldn't get the ‘warning’ about the story's darkness that I added to the Book Description at Amazon; so I inserted a leaf with excerpts from the reviews I've received. I also made a couple of other small changes: including using the same nice quotation marks for dialogue that I used in Shadow Hunt. (I gave up waiting for the Find/Replace bug in LibreOffice to be fixed, and just spent a day or two on a multi-program edit that worked around it.)

Part of the drive for getting the updated print editions ready was my attendance in two weeks' time at a small (and Free!) speculative fiction convention. (Main days: Sat 4^th — Sun 5^th November. See: https://www.facebook.com/sydneyfreecons/)

Q&A part 3

This is the 3^rd part (of four) articles from the Q&A I had with AndyK much earlier in the year. The topic this time: which character is most evil?

Spoiler alert!

Once again, because we discussed books 1 & 2, this contains spoilers if you haven't read them: i.e., it's only intended for people who've read Wild Thing and Harsh Lessons.

Which Character is Most Evil?

L: Harmon sees himself as logical, clinical, dispassionate, and sees those all as good things. He tells himself that shaping Leeth to develop magical powers is a great gift to her. (From what I've read, there are some psychologists in the real world who are equally blind to the human side of their science.)

A: Until the point where he put his dispassionate thingie into her panties. And generates stress by putting her in gags and schoolgirl uniforms.

It should have been obvious even to himself that he lost it there. And that their relationship is steering towards a big disaster.

L: Well, yes.  And he does know he lost it there.  Though he avoids thinking about that, and blames her for goading him to that point, and then avoids further thought on the subject.

And he also sees Leeth as resisting and obstructing and heading them towards disaster.  In his mind, if she just was a little more ‘sensible", it would all work out.

But Harmon is also consciously trying not to value their relationship, since that would make it harder to carry out his experiment.

But, wow, worse than Stalin — that's saying something!

A: Stalin loved his children. He adored his daughter. :}

L: Erk!

But it's an interesting question, I think: is everyone redeemable, or are some people beyond redemption?  My feeling is there are some people who are irredeemable, but they're a tiny minority.

I think much of what Harmon has done is inexcusable, and to the meagre extent he thinks about it, he irrationally blames Leeth for pushing him so far.

A: Yeah.. redirection and deflection. Again as a shrink he should be able to see the signs in himself.

L: He should be able to.  But I have read of psychologists who fail in exactly that way, in the real world. Which I think is classic rationalisation.

A: And that, yes.

L: I mean it's what set him on the slippery slope. And he completely misunderstood himself (thinking he could remain detached), and refused to see how much Leeth was in fact breaking down his detachment.

A: Lust and control... I don't see any emotional attachment there?

L: I'm offering that merely to explain my thinking, that I think what he did was plausible: not to defend his actions!

A: Of course. I know. I try to put myself in his head and I have trouble understanding his decisions. I don't have this problem with any other of your characters. To the extent I got introduced to them.

L: That probably means you're a lot more emotionally intelligent than Harmon.  I think a lot of people would have trouble getting inside his head.  And probably most people would be reluctant to even try.

Come to think of it, that may be the root of the horror from some readers: they may have hated being presented with the possibility of getting inside such a head.  Perhaps they felt it might pollute them. (For which I'm sorry.)

Leeth is incredibly stubborn, strong willed and self certain. She copes with stress to an astonishing degree. So to get her to a point where ‘something must give' requires torment way beyond what any non-psychopath would allow. Harmon knows he would never ever get permission to do what he's doing if he asked, or if anyone found out.

A: But this torture also means he is producing someone who hates and despises him. A mortal enemy.

He should know that and look for a better way if he isn't doing it because he enjoys it.

L: Not while she believed he was doing it for some good reason.  ‘For her own good.'  After that, yeah, it becomes close to impossible for him.

But I don't see how I could have followed the other approach: pretending to care for her while continually putting her under stress. Sooner rather than later she'd complain; and yet he would keep doing it, and so the pretence would break down.

The justification Harmon gives himself for doing what he did, apart from the ‘need' to prevent her acting against the Dept, was the knowledge that it will start generating pressure, and force her to ‘the next level'. It's probably lucky for Harmon that she escaped at the end of book 2 — too much pressure tends to end in a catastrophic explosion.

In my view, after magic returned, extra options appeared for some people when they are placed under unbearable stress. Disten (with Godsson's magical change) is exploiting one of these.  What he does seems to me far crueller than what Harmon does to Leeth.  Even I think it's utterly horrible.

A: You think so? I would STRONGLY disagree there.
This alien spirit or whatever it is, tries to better humans. By taking away their emotions. Okay, he kills without much hesitation but... In a twisted way it seems as if he actually wants to help. He is just.... alien. I don't know all that much about his motivations yet. I truly can't bring myself to see him as the main antagonist of the story. Even if he is some form of toxic/insect spirit who took over in a moment of extreme distress he still is not THAT irredeemable to me.

Harmon on the other hand, causes pain. Deliberately. And to someone who is dependent on him. Who is helpless. Who he should nurture and protect. He causes her suffering and uses her to satiate his sexual urges. So... I am neither particularly religious (nor particularly moral for that matter) but he is about the most irredeemable character I can remember reading about. And yes, I read ‘Mein Kampf' and a biography about Stalin.

L: The ‘choices' Disten offers his paired victims is literally the worst thing I can imagine anyone suffering through. He consciously does it to put them in a situation where the possible responses are madness or complete abandonment of the ability to experience emotion. With the result that most of them (are so decent and human) that they prefer a third option, and choose death rather than co-operation.

A: Hmm... vs. putting a compulsion on a young girl that forces her to do exactly what she does not want to do. Robbing her free will. Torturing her, abusing her, raping her. Well... I have a clear winner here.:}

L: To me, trying to force someone else to do even worse things than that, to someone they love, feels far, far worse.

For the human and emotional threads, Harmon and Leeth's awful relationship is at the heart of the first several books.  But a big theme is the importance of emotions.  The more I think about that, the more I suspect that emotions will be the key to the survival of our species in real life, in the long term. [Later note: We will need to create AI which has empathy and experiences emotions.]

A: Hmm… maybe this explains why we have such a different view of who the main villain is in your story.

Because it's hate and greed that drives us to do all the awful things humans do. Wars, environmental destruction... the list is endless.

And yes, I know, for all the dark emotions there are light ones. The question everyone has to answer for themselves is if the tradeoff is worth it.

L: See what you think of Harmon at the end of book 3.  I think Harmon is ‘blinded by science' — and he and Leeth are in many ways ideally unsuited: each provokes the other.  But he's shocked by much of what Leeth does, despite much of it being his responsibility.

A: ‘blinded by science' doesn't fly.... nonono  :-}
The Scopolamine I could understand. But he also used a rape drug on her to pretty much steal her virginity. He can't book that under science. And what he did to her in book two is just about dominance and control. About his own ego, his own lusts and not about science. Add these ‘games' he plays with her… if all this is science why did he go to such great lengths to prevent her from talking about it? If he could explain it as a scientific method then why hide?

I would seriously say if you wanted Harmon to be in any way a redeemable character you made him far too extreme.

It would be interesting to see a poll from all your readers how they see the antagonists in the story. Maybe I'm alone in my judgement. But I seriously doubt it.

#Harmon_must_die :-}

L: I'm sure you would be in good company! The aphrodisiac drug and sex are a total failure of ethics and morality: he fell to temptation; a temptation which he himself (subconsciously) engineered. There is no excuse for that. But his motivations were more complex than that.

Harmon would say Leeth's personality and her development is important, and he does not want to stunt it, just ‘direct' it. He wants her to grow, even though the decisions she typically makes are often enormously frustrating to him. But he admires her enormously, too. He wishes she would be more compliant, even while recognising that a compliant personality would be completely unsuitable for his scientific needs.

A: Well, of course she doesn't listen to him. As a shrink he should know that raising her in an emotional vacuum will also waste any possibility to ‘bond' with him. He wouldn't need to love her to hold her and comfort her. And this would build trust and a means to direct and control her. I don't quite understood why he wasted that.

By the time of his great betrayal in book two of course all those options were gone. By then he made himself into her enemy. Again something that seems short sighted to me.

I do understand Leeth's character and her decisions pretty well. They are plausible.

But Harmon's character... his decisions puzzle me still. Is he on the line of ‘intelligent people make dumb decisions too' or more ‘things get bad quick if you succumb to lust and animalistic desires"?

L: Partly it's a mixture of both. But more importantly, controlling her is only a means to an end for Harmon. His main purpose is to stress her enough to make her magic Unfold, as his theory predicts will happen.

Affectionate touching makes Harmon acutely uncomfortable. 

A: That is actually an important information. Leeth mentions it once if I remember correctly. But it didn't really register with me.

But it hints that something is pretty ‘off' with him...

L: Yes. And tied in with that is his belief, as you say, that ‘things get bad quick if you succumb to lust and animalistic desires'.  I see him as not at all emotionally wise — perhaps what drew him to studying the subject of psychology: to try to make sense of people.

A: That is an interesting tidbit of information. Might not be a bad idea to weave that into the story. That Harmon is ‘damaged goods' himself.

Maybe that would make readers a little bit sympathetic for this character.

L: Deep down, he feels it's obvious that he knows what's best for Leeth, and she should just do as she's told by him.  So that's what drives the ‘intelligent person making dumb decisions' aspect.

A: Okay, I can get behind that. But the very essence of ‘intelligent' or ‘rational' is that he reflects on his decisions. That should result in the realization that his approach simply doesn't work and only alienates her further.

But I get it, he is the type of guy that doesn't use a chisel if he can use a mallet. And that's what steers him (them) into this disaster.

L: Perhaps the thing that most gets under his skin is having his advice (instructions) ignored or rejected.

A: Okay, this, again, makes sense for the character. But with all his education in this field he should understand the mechanics why someone (especially a child) accepts guidance. And under which circumstances it does not.

L: I agree that Harmon is quite extreme. Whether he's too extreme is something each reader of course judges for themselves. But in my view, even so, Leeth is more than Harmon can handle.

A: I am very curious to see that. Her breakout and rescue is a nice first glimpse…

---

And I think that will do for now. The final topic we covered, that I plan to share, was the darkness of the story. I'll leave that until next time.

Leeth Dossier Q&A part 2

This continues on the Q&A I had with AndyK much earlier in the year. The topic this time covers perhaps a key aspect of the series.

Spoiler alert!

Again, note that because we discussed the first two books, this article contains spoilers if you haven't read them: in other words, it's only intended for people who have already read Wild Thing and Harsh Lessons.

(As a small aside, in Kesha’s powerful song Praying, most of the lyrics sound to me like they could have been written specifically for Leeth to throw in Harmon’s face.)

Harmon and Leeth's relationship

A: I really hope you let poor Leeth break out of Harmon's Mind Control. It's horrific to read what she has to endure. That's what most reviewers are bashing at as far as I can see. And I understand that. It's beyond dark.

L: Harmon and Leeth are certainly the main two drivers.

A: Well.. Leeth seems to be a package on the back seat for much of the journey. During book 2 she mainly reacts. Except the end of course. There the victim finally showed claws. :}

L: I think you're being just a little bit mean to Leeth: learning to be a "super spy" is her dream career, so she was very much in agreement with that development.

A: I know. But Harmon turned it into an abuse spree she can't possible want to be a part of. By the end of book two that showed. To some extent. Also having her trust broken so awfully should leave impressions on her. Would be reasonable if she might even develop trust issues after that.

L: It would have to happen a lot more: she is fundamentally trusting. She'd have to have her trust broken over and over again before she'd decide that was normal, rather than blaming the individuals who'd betrayed her trust.

A: Okay. That is consistent with how she reacts with people. Also makes her more "loveable" for the readers I guess. But will also make her the victim in a harsh world. Curious how that will develop in future books.

L: She'll learn and grow.  Quickly.

A: Were you really afraid you wouldn't get enough sympathy for Leeth from your readers? That's puzzling. If I ever felt a character deserved sympathy and compassion it's her.

L: I'm encouraged and very pleased you feel that way.  That's of course my own feeling, too.  But I know some others don't feel the same way: they say so in their reviews. Even some of the people who liked the book found Leeth hard to like.  And of course the 1-star reviewers found both her and Harmon to be monsters. I found it uplifting to see her survive and defeat the odds against her.  But my perception is very much within the context of what I see developing in the future.  So your comment makes excellent sense to me.

A: Sure.. you see the story and characters in a holistic sense. I as a reader can only see what you presented so far.

L: It is a deep trap she's in.  In fact, she's trapped in several different ways.  Working her way to her best self will take a while.

A: I feared you would say that.

L: At least it suggests the situation and characters will be rich enough to sustain a lot of things to write about!

A: Come to think of it: There are two things towards the end of book two that I don't really get:

1) Leeth wants to actually kill him when he tries to set her to Zombie mode. She fails because of the compulsions. And then says she is sorry for knocking him out!? Why? After she admitted to herself she is controlled by a monster? That "Keepie is gone"?

2) Harmon making plans about after they got away from the Department. What a "great team they would be". Is he really so delusional at that point that he doesn't see where he pushed Leeth to?

L: Great questions!

1) She's still coming to terms with her new knowledge.  She's not certain that giving up on "Keepie" was the right thing to do: she can't help wondering if doing that helped kill the "Keepie" side of him. She wonders if she'd tried harder, could she have brought him back?

Partly, at that moment, she was tired: feeling she should have said more, done more.

Partly, too, she felt it would feel satisfying to appear polite while knocking him unconscious — just a touch of sarcasm in her words — though staring down at him afterwards, it instead reinforced her feeling she'd abandoned "Keepie".

2) I feel that if Harmon completely reformed, and was genuinely remorseful, in time Leeth would forgive him: she's that desperate for love. She desperately wants to be needed, or even wanted.  Harmon, knowing that, knows it could be used, merely psychologically, but also (he would believe) he could use his magic to block some memories and implant more compulsions and ideas.  He believes he could manipulate her that way, through varying means that range from truly despicable and evil (the easy way, for him) to good (though that would require spiritual pain and a lot of emotional growth on his part, which he is not very open to).

On top of that, he genuinely admires her, and respects her, and knows he could give her opportunities to express herself that she would relish.

A: Yet he never showed her that, did he? That he admires her or even respects her?

L: A few times he did, yes.  Not often.  But there are probably ten or twenty instances in the books; and Leeth could list them all: because each one, each tiny crumb, meant so much to her.  Harmon himself would probably be surprised by the length of the list.

He knows he could give her opportunities to express herself that she would relish.

A: Again, did he tell her that? In book 2 I mean? Instead he did something that truly destroyed every bit of trust she had left for him.

L: In book 2?  There were far fewer instances; though given it spans only a few months, perhaps the frequency didn't change much.
A: Which again, as a psychiatrist, he should have realized right then, that there is enough to control her right there in her emotional attachment. "Come on girl. This is important. Do it for me. For us."

L: But if he took that approach, she would feel it only fair to be able to use the same argument, and that's not something he wants to allow. It would be a two-edged sword. And he himself wants to suffer no cuts.

A: Well, without some form of control for her or choice for her it was always destined for contest, rebellion, controversy and finally animosity.

L: We as readers can see that.  Even Harmon, too, probably.  But partly, he's not (yet) been honest enough with himself to admit that he cares; but mainly, he believes the experiment is more important than his or Leeth's happiness.

A: So you developed Leeth's character beautifully along those lines. Which makes perfect sense in this environment.

L: So I don't think he's being entirely delusional.  He is, however, seeing a rosier picture than is likely, given their personalities and how the two of them interact.

A: [Re 1:] But after he programmed her and used that trigger she did realize he betrayed her trust, right? Then he started to torture her and humiliate her in public (which she obviously abhors more than the pain). So her realization that there is only a monster left controlling her makes sense. "...and she had enough". I didn't see much doubt in her after that point?

L: True.  But she has had years of memories and shared history opposing that.  She can even pick out nice things he's done for her.  In her heart she knows she can't trust him.  I think that would be a hard truth for her to accept.  And she still wishes things weren't like that. Besides, sadly, in real life many women stay in abusive relationships for a whole range of complex reasons.

A: [Re 2:] Okay, I guess I could rationalize and understand such a development.
But there is not even the slightest hint that he even considers he might be in the wrong. And it's an even longer way to remorse from there.
And it shows she is desperate for emotional attachment. But she should also have realized she is more likely to find it anywhere else but Harmon.

L: If she were older, or wiser, yes, she should have.  She's trusting by nature, though.  Which I think makes his abuse worse. And she is reaching out: to James, Emma, Dojo, Eagle, Father….

"She desperately wants to be needed, or even wanted.  Harmon knows that could be used..."

A: But he never did! That's what I meant in my previous question:  he could have used an emotional bond to steer her. Even if the emotions are mostly "faked".

L: Yes, it would have made things easier for him, and worse for her, if he could have brought himself to do that.  But he can't bear to start down that path.  It's why he reacted so strongly against what he'd learned from that first mind probe in the Institute, when he felt her overwhelming need for love drawing at him: and "ran away" from it by terminating the spell.

A: But by the end of book 2 it's too late for that. Seriously, do you see an emotional bond between them that would allow them to reconnect? After everything he did? After she realized what he did? I can't.

L: Their relationship is deep, and badly messed up, and damaging them both: her much more than him.  So I do see it as a possibility, but it's not an end I'm steering towards.

Their relationship will continue to be important, and will continue to change and affect them both.

L: "he could use his magic to block some memories and implant more compulsions and ideas."

A: If he erases her memory all the time she can't actually learn and develop.

L: Agreed.  But he wouldn't erase it all.  But not erasing it all would likely leave loose ends that might then be probed at to find inconsistencies and cause problems...

A: And he already put so many compulsions on her she is becoming an automaton quickly. And it's doubtful she can actually work under that condition. She definitely won't progress and develop and he probably would have to admit the experiment failed.

L: I don't agree that she couldn't develop in those conditions; but I think he could easily end up in a situation where unless he has her tied up with compulsions and behaving like an automaton, she'd be too dangerous to him personally.

But again, that's not something the story is heading towards.

A: I am just still so puzzled about Harmon's short sightedness. But again, this is the makeup of an interesting character, too. A pretty fatal flaw. Just because someone has power doesn't mean he has wisdom. And he is a poster boy for that.
It's just puzzling he actually could keep the upper hand for so long. Considering the amount of mistakes he made.

L: The mistakes come mainly from his character flaws, and to a lesser extent to Eagle's very subtle manipulations in the background.

And yes, by the end of Book 2 Leeth realises she can't trust him.

A: Also I don't quite get how he supposed her personal development should progress if he so totally controls her. The only thing developing there can be resentment.

L: Her development would be stunted if he controlled her to that extent. But even he knows that.

More importantly, her development doesn't depend on him. So I don't think he's being entirely delusional.  He is, however, seeing a rosier picture than is likely, given the way the two of them interact.

A: Well...  it is consistent with his personality. I can't argue that :}

L: The point they've descended to in their relationship — what you're calling the fire — I see more as the two of them now being a long way down in a deep pit.  I see the changes coming more as an attempt to climb back out of the pit (for one or both), rather than as putting out a fire.

A: Okay, I'd say both are fitting metaphors. Leeth realizes she has to do "something". And he should realize by now he pushed her to that.

L: Yes.

L: If not for Marcie's situation, Leeth would have stayed, directly confronting Harmon, fighting the problem head on, until something catastrophic happened. If she had run away for herself, or run away just to escape Harmon, she would consider that a massive "loss of points" in their unacknowledged battle.

A: ???

He just switches her into Zombie mode and she has to do whatever she does not want to do. Obviously she wants to fight this torture and abuse. But it doesn't look like she has any chance there. It's what made his betrayal so monstrous after all. And why I can't see any productive way those two actually work together. You already described her breakdown. And her realizations that "Keepie is dead and she had enough"

Running away was the only reasonable choice I'd say.

L: I can see other options.  But none that Leeth would have seen, or could have carried out plausibly at that point.  She could have chosen to stay and endure it: but when I peer into that alternate future, I see disaster and blood.

I think the running away was a wise choice for her.

---

Again, I think that will do for now. The next Q&A topic: "Who is the most evil character in the series so far?"

Although before that I may write a quick article on updating your ebooks at Amazon, when you have post-publication corrections you want to make.

Blog changes, status, Q&A part 1

First, a tiny status update and some news about the blogs.

I'm working on book 4, and I think progress is good. But I've also been too quiet on social media, so I'll return to blogging as often as I used to. I think part of the reason for my near silence is that I got a little burned out. And at a suggestion from a writer friend, Barbara Strickland, I've re-thought my idea of running two separate blogs. This one has until now focused just on what I've been learning about self-publishing. The other, All About Leeth, focused on the writing side and the books themselves. But the two do blur together a little, and I can see several advantages (for me and my select group of readers) in merging the two.

So, this blog post will be the 1^st one using the new, merged scope.

Back in December 2016 I received my first email from a reader of The Leeth Dossier. AndyK had reviewed the first two books and asked for an advanced review copy of the 3^rd. From there we moved on to a deeper discussion. Feeling that other readers might be interested too, and with AndyK's agreement, I thought I'd try to summarise it into a sort of question and answer format. We covered a lot of ground, so I'm breaking it up into several articles.

This 1^st one covers: the Shadowrun connection; the series as a whole; and plots, pacing and story arcs.

The 2^nd will cover Harmon and Leeth's relationship.

The 3^rd will discuss the question: which character is most evil?

The 4^th (and final?) will cover the topic of the darkness of the story.

If there's a demand for it, I'll finish with our discussion on the topic of how explicit the stories are, but only if there's demand for it. I think four articles will be more than enough, myself!

Spoiler alert!

Note that because we discussed the first two books, this will contain some spoilers if you haven't read them: in other words, this article is only intended for people who have already read Wild Thing and Harsh Lessons.

To provide some context, here is AndyK's review of book 1 (Wild Thing):

4.0 out of 5 stars - Shadowrun reimagined!

Describing the Leeth Dossier without mentioning the strong connection to the Shadowrun world would be hard. Pretty much all the premises of Shadowrun are here as well.

BUT that is not a bad thing. There is enough world-building here to stand on its own and it is always better do do a great copy than a bad invention.

That said I'd like to just list the pro and cons that caught my eye:

(***SPOILERS***)

The good

+ It's a world that is vastly different from ours but feels very alive and "real"

+ Very good editing and hardly any spelling mistakes (which is pretty remarkable for self-publishing)

+ strong and very engaging characters. You WILL start to feel for the main heroine!

The bad

- The main heroine is abused, raped and mind-controlled. Tortured and abused. Alone and desperate. She goes down a slope of pain and suffering. And then the book ends. Everybody who knows the Shadowrun magic system realizes the "escape" won't last.

- There are story threads that just end. Like Berlusconi and his former partner meet to investigate the murder. And are never heard from again....

- Her "Uncle" turns into such a monster that you will start rooting for the "Alien Spirit" and hope he receives Leeth. Simply because he actually is less bad. Which results in the suspense being a bit off during reading.

- If you get emotionally attached to your protagonists then this is not for you. Plain and simple. There is too much suffering and pain and no light at the end of the tunnel.

So, yes, Shadowrun was always a somewhat dark and dystopian future. But this is FAR darker still. Also I like dark and dystopian stories this one is too much so. It will cause you actual emotional pain. Which of course speaks for the talent of the author.

Various threads of discussion started from there, so I'll pick the ones I feel may be of widest interest.

The Shadowrun connection

L: Leeth was created for a Shadowrun campaign. I'm writing the series to bring Leeth to (public) life, and to find out for myself how her story ends.

I won't be drawing any elements from the campaign until book 6, probably.  I'm acutely conscious that re-tellings of a role-playing game campaign are generally awful as novels, so I'll be taking just bits and pieces.

L: In the youtube video from my series launch, I spoke a little about the Shadowrun genesis for the story: how I basically tried to keep the general feel of that world (the key element in my view being the mix of near future with magic), and altered the magic system to make it different, by mixing in more of what people who believe in magic down the ages think is real. I also invented the whole world future history, keeping equivalents of some of the Shadowrun species.

A: I played an elven hermetic mage in SR 2^nd edition for like 10 years. So the magic system in SR is second nature to me. And the descriptions of magic felt very familiar. "Mind Probe" and "Suggestion" I could instantly recognise. Also "The Deeps" I recognise as the Metaplanes for Initiates.

But again I see that as something positive since I adore the SR magic system and building on that was a great decision on your part.

The history you built around it is one of your great achievements. The Enemy of Mankind, The Dragon Emperor, World Storm and your Melt Virus explanation for Metas really makes this stand on its own outside SR. That was really well done.

L: Thank you!

The series

L: I think Books 1 and 2 will be the darkest in the series — at least for a good while: I myself don't entirely know what will happen.

A: That is good to hear. Having a main character that is totally at the mercy of a sadist the whole time is an emotionally taxing read :-}

And I do ask myself the same question Leeth asked "How can it be that none of the agents realized what goes on?" How can Eagle be clueless what Harmon does to her in his own base? How should an agent ever be effective if all she thinks about is escape?

L: Neither Leeth nor Harmon ever discuss it.  Harmon had the Dept disable the cameras in their rooms.  Mother is emotionally stunted; Father a little less so; Nelson... !; Preacher has more enmity than sympathy for her; James and Emma are in turn manipulated by the Dept.  Emma suspects something is going on. Dojo intuits that something is not right. I think it would be defensible for Eagle to be unaware; but I don't want to say too much about his position on that topic.

A: He doesn't care as long as he gets his operative?
But he isn't stupid. So I guess he should be able to put one and one together and realize that what happens there can't possibly lead to an operative who is actually useful.

L: He would certainly take a close interest.  A lot more of this begins to be revealed in vol 3.

A: And of course they did disable the cameras, right? o.O "Nelson! Get rid of that damn camera. And plant a few without that stupid autofocus!"
Also, what about the microphones?
I mean… top secret facility… questionable new recruits… wanted for murder… no way out anyway…

L: But Harmon is insightful enough to be aware of that possibility (and prone to casting Mind Probes), so if the Dept did learn what was going on, he would know they knew.  So, I feel Eagle would give them the privacy they demanded.

I also see Eagle as at least as insightful as Harmon, however.

A: Well... "murder", "accessory to...", "obstruction of...", the list of crimes Eagle can pin on them is endless. They are in no position to demand anything. Obviously Eagle likes to be in control. So why should he have the two newest wildcards completely without surveillance?
But of course I take your word for it. It's your story after all and Eagle has a right to make mistakes for the greater good! :))

A: Also Eagle directly confronts Mother at the end blaming her for driving Leeth away. Okay, she denied her request like everybody else. But the one who drove her away was Harmon so I'm a bit puzzled there.

L: Mother has never believed Leeth would be an asset, thinking her much more likely to expose them and cause other problems.  And has not been shy in hiding that from everyone.

A: Mostly because he demands that Mother "restore her faith in us". Which sounds like he wants Leeth to work for them of her own free will. Which makes sense since she obviously was head over heels for all the spy stuff when she came to them. So obviously (for him) something went wrong. But I can't see his reasoning there with Mother....

L: Cool: you're more insightful than Mother, then!  It seems there may be something more going on there, in that case?   Again, this aspect of the story is developed a bit more in vol 3.

A: Really curious where this leads. I do have the impression you wrote yourself into a bit of a corner but I'm curious how you will get out of it.

L: It's a constant question: pull back to make things easier for Leeth, or make things hard as possible for her and see what she comes up with to deal with it.  So far I haven't had to try the first approach.

Later books will start resolving the four longest arcs (two of which, as you thought, are the Dragon Lord and Godsson).

A: So much to look forward to and so long the wait.

L: Well, my plan is to keep working full time on being an author for the next 20 years.  Fingers crossed!  I'd like to get to the end of the longest story arc within 5-10 years. I want to find out how her story ends, for myself.

A: I'm VERY curious about that, too. How many books do you have planned?

L: I can't see myself getting to the end of Leeth's story in under ten. When I first "finished" the MS, I thought there would be about five. But that MS will end up turning into the 1^st four books — so I'm very uncertain.  If I can manage to wrap up one major plot per book from now on, it should be about ten or twelve.  But I wouldn't be surprised if it was more.
Hopefully, the fact that Harry Dresden and Anita Blake and Joanne Walker have been popular means some readers enjoy what I think of as "long form" fiction.  It's also possible — after I wrap up all the major plots — that it might change into something more episodic and self contained (like the Modesty Blaise books, or Sherlock Holmes).
That said, there are a couple of other much shorter stories I want to write, in worlds related to ours, but not to Leeth's — probably only a book each.

I'm aiming for a dramatic, satisfying, and happy ending. Though I doubt it will be completely rosy.

A: Wow, you are picturing the ending already? Even though it's a dozen books away?

L: In broad terms, yes. The details however are completely unknown. Just the general shape I'm hoping for.

A: So no Caribbean island where she enjoys her life with all the other Shadowy People who made it? :}

L: I honestly don't know: even that might be possible.  A lot of my pleasure in writing the series is seeing what evolves as the characters act true to themselves, and face the obstacles coming (some as yet undreamed of).

A: It makes the stories feel natural and it's evolving realistically. But I really hope you don't corner yourself in the process :} Or lose important threads.

L: I feel pretty confident I won't corner myself.  And I'm a pedantic and careful person, so I'll be tracking all the threads carefully.  It is possible I might slip up, but given I'm using an external editor (Dave Taylor) and I feel strongly about producing high quality work, I would consider any such errors to be a failure.  Which I hate!

A: Do you outline?

L: Mostly not.  When I wrote the 1st draft, I had outlined the Dept, the Institute, and Harmon for the SR campaign when I generated the character.  But when it came to writing, I had no outline at all: I just started with the scene between Harmon and the Mother Superior, and wrote.

And somewhat bizarrely, half of each of the 1st four books looks like they will have come (with little change) from that 1st draft.

A: That is really a unique approach. I always hear of authors using a somewhat top down bottom up method.

L: For the rewrites for books 1-3, I did need to outline the new plot threads (more so for books 2 and 3 than 1) - that helped me add the completely new stuff without the result looking like Frankenstein's monster (I hope)!

A: I haven't felt any of the plot threads being out of place so far. Just that the focus and intensities might be a bit off in my opinion. But I know I am pretty biased in that matter.

L: That encourages me.  I felt for many years that plotting was my weakest point.  But I feel I'm getting a handle on that, as well as beginning to grasp pacing and focus and intensity.

L: I've converted the existing "half a book" (which will become the 4^th one) from troff/mm to RTF to LibreOffice. I'm re-reading and editing it, to load back into my subconscious to see what needs to be added to turn it from a story into a plot.  There might not be much extra needed, as the stuff I've woven into the 1^st three seem to have aligned perfectly.

A: You seem to have a pretty unique workflow…

L: (grimace) I hope to settle down into a more normal model for the later books!

L: For the idea I'd had, of Leeth dealing with mean girls in a drama school: Marcie was invented simply as a target for the mean girls. Her name started as a pun on Mousie (for the insult value), but she blossomed into a really important character.

And I love seeing that happen.

A: And it was a good idea to let Leeth out of that swamp of abuse at that point.
But also it was a bit cut short. You know it just had to have a first boyfriend kind of thing. I waited for that the whole time. But then that probably would have kicked the story and characters out of whack.

L: Heh. Yeah, I think Leeth's first romance(s) will hugely derail whatever agenda other people are running for her.  I think it will come in due course. I have a few ideas in mind.

Plots, pacing, and story arcs

A: There are story threads that just end. Like Berlusconi and his former partner meet to investigate the murder. And never heard from again....

L: That plot thread largely resolves in book 3.

A: I expected as much. But.... I am a big fan of self contained books. You know.. the story resolves at the end, and the big questions get mostly answered. A sense of closure. That's why I am not really behind the arc in Harsh Lessons. Things only go downhill and at the end she still is under total mental domination. So there is no sense of closure. But I understand it directly continues in book 3 and you split the story up there.
The first book had a better and more satisfying arc in that regard.

L: Fair comment.  But I like to have several plot arcs running simultaneously, of varying lengths.  At least one arc that started in book 1 won't resolve until the end of the series!  I suppose I'm still learning how to flag to the reader which plots will wrap up in the current book, and which ones they'll need to be more patient for.

A: What I would definitely find important is to quantize the sense of urgency for the different arcs correctly. You don't fix the fridge while your house is on fire.

L: I split book 2 mainly because of length: the mass of the story as it was made the pacing too slow. So I had the choice of deleting half the book, or breaking it in two and adding something to each part to make them satisfying in their own rights.

A: Okay, makes sense. But had its downsides.

If I had to guess I'd say the Dragon and Godsson will be around to stay?

L: Yes. And there are more hints in vol 3 (small developments) of a couple of the other long running plots, too.

My original plan, before I had to split book two in half (aargh!), was that the Disten plot would be the main arc.

A: Yep. Introduced in the first book and then clearly came to the foreground in the second.
The only little problem I had there is simply a matter of priorities. That's what I wanted to express with my burning house and fridge analogy. Nobody cares about the fridge while the house is burning. And who is interested in a hunt for a strange spirit while the life of the hero is made a living hell by a maniac with delusions of omnipotence?

L:  Harmon's treatment seems to have lead to a magical Unfolding, however. So it does seem to be effective, if you can ignore the morals, ethics, and humanity!

A: Which begs the question: why did you split that book up? Forgive me for saying that but looking at book two… that seems to have been not the best choice. So many things seem to be left hanging. Most of all the Harmon-Leeth-Department dynamic. Her running away showed she can't continue like that and also no resolution of this arc.

Overarching story lines are a good idea in serials but usually that means you have arc(s) developing in the background and the most pressing main arc finds some resolution. Book two brings some pressing stuff into the foreground but doesn't resolve much.

L: I'm reluctant to allow the plot to steer the characters — constructing the plot to allow Leeth to resolve her biggest personal issues — and I also see the Leeth-Harmon dynamic as a key element in the series as a whole. That's a larger arc, in my view, along the "character development dimension".

A: As I am experiencing it, it is the very heart of the book. No question. What I mean is they are at a point in their relationship where something has to give. It's not simmering, it's boiling. And water does not boil forever. Either it cools or it's… gone.

Also "She does whatever he says because he can set her to Zombie mode" will get quite… stagnant I guess.

L: Don't underestimate her determination to achieve what she sets her mind to.

For the plot side of things, Harmon and Leeth's relationship is an important input — obviously, since it's shaped Leeth's development.  But there are a lot of other important inputs, too: like the return of magic, Godsson, the Dragon, and other things.

A: I saw those more as a frame for the story. The center stage is Leeth and Harmon and how he makes her life a living hell. Especially in the second book everything else is on the sideline. At least that's how I experienced it.

The first book had this Godsson dynamic which was rather strong. The alien spirit didn't deliver that in book two. And with the direct mind control and torture (and humiliation) the Harmon-Leeth dynamic became nearly unbearably intense.

L: Fair comment!  What Godsson created is a key element in book 3.

For the ethical threads (and character development), their relationship is also extremely important.

For me, I intended the surface stuff in Book 2 — learning to become an assassin/secret agent and learning how to be a bit more like a normal person, and the school abduction — to be the main plot arc. The character development stuff adds depth. Their relationship, and Leeth's own morals, are still developing.

A: I can see that. And it works to some extent. It's just the problem [analogy] with the house and the fridge again.

Also I think it would have been a good idea to expand on the school plot a bit. Provide some more much needed relief on one hand and some "normal" on the other. Add some fun. It felt somewhat cut short. But that might be just me.

L: I don't yet have a good feel for how much is right to add; and I do think different people like different amounts of it. As for relief, I think Leeth stopped being a victim in its purest form once she realised she was being manipulated. Another big step for her was his betrayal when he implanted his magical controls...

A: Weeeeelll... She made a desperate gamble and completed her selfless goal (saving her friend). But she still has all of Harmon's compulsions and controls active. And actually no real way to get away.
If I would play Leeth in a campaign I could only see like 3 faint possibilities to get rid of the spell construct (provided you do hold onto the SR canon in that regard):
1) Find a mage or shaman who is willing to make a brute force attack on the spell construct. With all the negative side effects that might cause. I could only see Berlusconi as that option. But all in all… unlikely
2) Get to Godsson. He is obviously a powerful hermetic initiate. So he probably can simply dispel it. But I guess her visit to the Deeps (metaplanar projection) was by chance so it is doubtful she can reach him again that way so soon. And getting to him physically… well that would make an interesting arc in and of itself I guess. But also unlikely because too difficult.
3) Find and hire a (good) wet-worker. It's SR-ish after all. Problems get fixed by putting bullets into them >;] She wanted to kill him but couldn't because of the compulsion. So why not find someone who can. Probably the most promising way.

L: It will be interesting to see what people think of Vol 3. And there could be other approaches too.  Who knows what Leeth could come up with, if pushed? (smile)

A: I am really curious how that resolves. The preview chapter you posted doesn't leave much hope for her to be honest…. It shows she got caught, is back in the Department and works the mission as planned. As if nothing much happened.…

L: Fair point; it does look that way (smile). For a while, it was looking like that preview would have to change, or even be cut.  But in the end, I found a surprisingly plausible and satisfying path that let her pursue her dream career — at least for a while.

I think that's amply long enough for now. Next time, the topic is Harmon and Leeth's twisted relationship.