How to Kill the Villian in Your YA Fantasy Series (with Style)

shutterstock_96012164The time has come, now that I’m wrapping up my YA/Middle Grade fantasy series, The Conjurors, to say goodbye to my favorite character – the villain. I hope it’s not a spoiler to say that he’s going to get the axe. Unfortunately, his actions have been so unforgivable that I can’t risk leaving him alive in a jail cell somewhere. He’d always be at the back of my mind, and I’d worry that he’d get loose and hurt the characters in my story who have earned their happily-ever-afters.

So what should be my weapon of choice? A simple thrust through the heart, perhaps? Or something more complicated, like when Voldemort’s own killing curse is reflected back on him and he technically dies by his own hand? If you sense that I’m morbidly excited to off him, you’d be absolutely right.

As I plot my own villain’s demise, here are some tips I’ve gleaned from all-star YA fantasy authors who have axed their villains with flair.

Make it personal.
Dark Triumph, His Fair Assassin Trilogy by Robin LaFevers
In order for readers to truly relish the demise of a villain, the protagonist needs to have a profound connection with her nemesis. In many cases she has spent years or even decades battling this foe, with a string of defeats behind her. That’s why it’s so sweet when the villain is slain at last – it makes the world better, yes, but it also fundamentally changes the protagonist for the better. When the heroine in Dark Triumph, Sybella, kills the truly horrible villain of the first two books, d’Albret, it isn’t abstract or at a distance. Raised as his daughter and tormented by him her entire life, the demise of d’Albret can be at no hand but her own for the reader to find it satisfying. And LaFevers doesn’t disappoint. Sybella personally plunges her dagger into his belly and damages as many organs as she can. Both the personal connection Sybella has with the villain and the personal nature of how she destroys him makes his demise gory but intensely satisfying.

Let your hero win the day but share the glory.
The Last Olympian, Percy Jackson & the Olympians, Rick Riordan
There is a cathartic enjoyment watching a protagonist ride into the sunset in a blaze of glory and recognition, but there is a deeper, more profound satisfaction from watching him give the credit away, giving up the fame and being the quiet, unsung hero. Riordan does a great job of executing this in the final battle of the Percy Jackson series. Percy is fighting a friend, Luke, who betrayed him and is now possessed by the villain of the series, Kronos. For a moment Luke manages to regain control of himself, and Percy gives him a knife and Luke kills himself, delivering the final blow to Kronos at the same time. Luke’s sacrifice makes him the hero. But Percy is a hero too, choosing to trust Luke to make the right choice and not to insist that he be the one to deliver the killing blow. As a reader, I never liked Percy more than at that powerful moment.

Have your protagonist tap into new strength/power/mental toughness.
Clockwork Princess, The Infernal Devices Trilogy by Cassandra Clare
If you’re writing a series and are finally coming to a point where it’s time to kill the villain of the series, your protagonist has likely had some successes. She has tapped into new powers, learned new skills, and grown as a human in every book. But now you have to top yourself one last time, and let her tap into something truly amazing within herself in order to finally emerge victorious. In Clockwork Princess, Tessa does just that. She has the power to change her form and become anyone, as long as she has an object that belongs to them. In the climax of the series, she turns into an angel who is trapped within a necklace, and destroys the villain, Mortmain, in a blaze of power. He dies scorched in her grip. I also like that Cassandra Clare makes Tessa pay a price for tapping in to so much power, and she nearly dies. Destroying your arch nemesis shouldn’t be easy.

Give your protagonist a positive motivator to destroy the villain (rather than being driven by hate).
Warm Bodies by Isaac Marion
It can sound counterintuitive to say that your protagonist shouldn’t be fueled by hate for the villain, but I’ve found again and again that the best protagonists grow to be motivated by a positive emotion, like love, rather than a negative one, like revenge or hatred. Warm Bodies is an unusual example of this, but bear with me. In this story, the true villain is a plague that turns people into zombies. That plague is really apathy and giving up on life, and the hero of the book, R, fights back, even though he has succumbed to the plague. When R chooses life and love, risking everything for his soul mate, Julie, he defeats this enemy by coming back from the dead, returning to life.


Write a Prologue that Hooks Readers

shutterstock_117237259Among those of us who proudly call ourselves writing geeks, the topic of prologues can be like discussing the morality of the death penalty in other circles. I know authors who hate them, as well as readers who skip prologues and go straight to the first chapter. Personally, I love a great prologue. I think of a well-written prologue as a teaser pulls me in to the story right away.

Don’t get me wrong, there are definitely times to avoid the prologue. I thought this post by Kristen Lam on The Seven Deadly Sins of Prologues did a great job of summing up some of the ways that prologues get abused.

When used appropriately, prologues can be a powerful tool to hook readers and add an extra layer of tension or depth to the first reading of a story. Below are some of my favorite prologues in YA fiction and the lessons I took away from them. Each of these authors used their prologues to achieve different ends, but they all created an opening that hooks the reader and enhances the story that follows.

Add dimension to your story by giving away a key piece of information.
Eleanor and Park by Rainbow Rowell
The prologue for Eleanor and Park sets up from the get-go that the two title characters in this teen romance are no longer together. By giving this away from the beginning, it makes the romance that follows all the more bittersweet. It also adds an element of danger – are they broken up because the heroine died? Constructing the prologue this way adds to the tension of the story in key scenes, and the payoff in the end is very satisfying.

Inform readers of key backstory.
Paper Towns by Josh Green
Paper Towns was the book that got me thinking about the effectiveness of backstory. The author uses a prologue to introduce readers to a key scene that is telling about the two main characters in the story, a suicide that they witnessed as children. The scene is prologue-worthy not only because it reveals the personalities of the two main characters, but also because the incident has an impact on how they process the world for the rest of their lives.

Give readers a peek into the future.
Timebound by Rysa Walker
A prologue can be the perfect tool to drop readers in the middle of action without frustrating them. It’s a great hook, and you can then back up and tell your story more slowly when you begin with Chapter 1. In Timebound, we quickly discover that the protagonist is time traveling, and is in incredible danger. The mystery of what’s happening in this scene become unraveled throughout the book, and we only discover how it is resolved in the climax.

Use your prologue to set the stakes.
Sanctum by Sarah Fine
In Sanctum, the heroine goes to a kind of hellish afterlife to save her best friend from an eternity of limbo, while risking her own chance at finding heaven. To understand why she would go to these lengths, the reader has to understand the relationship. Fine skillfully uses her prologue to establish the roots of the friendship, as well as the roots of the problems that lead to the premise of the story. The prologue captures the reader’s attention and leads seamlessly into the story that follows.

Subvert expectations.
Twilight by Stephanie Meyer
The Twilight series has its detractors, but I thought Meyer did an excellent job with her prologues, particularly in the first book of the series. As the heroine explains that she is happy to die for love, it not only tells us something about her character, but also sets us up for the climax of the book. Throughout, we are sure that Bella will be sacrificing her life for her new soul mate, but in fact the prologue is talking about her love for her mother. The surprise was sweet and increased my sympathy with the protagonist.

Did you include a prologue in your story? If so, what purpose does it serve?

Best YA Fantasy Books for Your Book Club

shutterstock_141036148One of the best parts about being a YA author is the fact that I get to read all the latest and greatest YA fiction in the name of research. As fun as it is to dive into a new world, analyzing the text afterward is even better. That’s why I love being a part of a monthly book club were we tear apart everything from fantasy to romance to nonfiction.

Since YA fantasy with strong heroines is my passion, I thought I’d share my top picks in this genre to read and discuss with your book club.

Divergent by Veronica Roth
One of the most lighthearted and enjoyable book club discussions I’ve had surrounded this book. In Roth’s world, everyone is split into five factions that are essentially personality types. Our book club had a blast deciding which faction we would belong to, and what it said about our character. The book also has a strong and unconventional female heroine who resonated with each of us in different ways. The author doesn’t shy away from making tough choices, and debating Roth’s decisions led to more serious discussions. Click here for some great questions to kick off your book club discussion on Divergent from the official HarperCollins guide.

Hunger Games by Suzanne Collins
Despite being a hot topic in pop culture right now, this trilogy raises some surprisingly complex questions about he nature of love, PTSD, and ethical questions of war. Click here for some great questions to kick off your book club discussion on Hunger Games from the Galesburg Public Library.

The Giver by Lois Lowry
The Giver is a simple, relatively short book that yields awesome discussion. Lowry is a master of her craft, and everything from the futuristic society that she created to her complex characters resonates. Whether you love it or hate it, everyone has strong opinions on their take on Lowry’s world. Click here for some great questions to kick off your book club discussion on The Giver by LitLovers (incidentally, LitLovers is a great site to check out for book club questions and ideas in general).

Twilight by Stephanie Meyer
I know, I know. The Twilight series is probably not the most intellectually stimulating collection of books that you’ve stumbled upon. But it brings out the teenager in you, and you’re kidding yourself if you don’t think you’ll enjoy debating Edward vs. Jacob. If you need a break from discussing heavy, serious texts, this is the perfect vacation for a lighthearted book club. Click here for some great questions to kick off your book club discussion on Twilight by Shmoop. I like these questions because they are some of the same ones I had in my head about the series.

Do you have favorite YA fantasy books that your book club has loved?

How to Create a Great Setting for Your Fantasy Novel

shutterstock_189557657Creating a believable, compelling setting is a key ingredient in helping readers to immerse themselves in your novel, regardless of the genre. But I believe that in fantasy novels, setting is even more critical. The rules of the world you create must make sense, and often the setting can be a compelling incentive to pick up your story in the first place.

Below are some tips from popular series that have nailed the task of creating a unique, fascinating setting.

Ensure that your setting reinforces the key concepts of your story.
Example: Divergent by Veronica Roth
In Roth’s world, people are split into five factions by personality types. The setting builds upon this concept and enables readers to understand the world better. For example, the people of the Abnegation faction, who value self-sacrifice, live in austere, simple buildings that don’t even have mirrors. The Dauntless, who value courage, live in an underground pit with paths along the sides that have no railings. Anyone could easily plunge to their death with one wrong move. The impact of Roth’s use of setting makes the world instantly feel more believable.

Reveal your setting slowly, letting readers absorb the nuances.
Example: Silo series by Hugh Howey
Howey is a master at leading readers expertly through his imaginative world. When readers are first introduced to the setting in the Silo series, which is an immense, self-sustaining underground building, it isn’t clear exactly how this world functions, or how it came to be. But through the point of view of different characters, the layers are slowly revealed. Readers see how the silo sustains itself, and how the very nature of the different levels of the silo creates divisions between people, and a class system emerges based on how close to the top of the silo people live. It is amazing how quickly the world makes sense, and as additional details are revealed, the setting continues to fascinate.

Hook readers with a mystery about the setting.
Example: The Maze Runner by James Dashner
The setting in The Maze Runner is very simple and contained, but even the characters within the story don’t understand it. The entire world is a small homestead surrounded by a giant maze that the characters can’t escape from. The only way into this world is from an elevator that only goes one way – up. Solving the mystery of who created this world and how to escape is at the crux of the story.

Create a setting that is a fantastic twist on on the real world.
Example: Wicked Lovely by Melissa Marr
I could point to a number of popular fantasy series for this example, because it’s a device that works well. A favorite of mine is Wicked Lovely, because Marr seamlessly weaves the world of fairies into the world as we know it, and the setting is a key component of making this work. Everyday places deserve a second look for the protagonist, Aislinn, because she is aware that an almost invisible world is overlaid on her own.

Indulge your imagination and don’t be afraid to take risks with your setting.
Example: Harry Potter series by J.K. Rowling
I’m finishing with Harry Potter because Rowling created the most compelling world that I’ve ever encountered in YA fantasy literature. Staircases that move, secret passages, and pictures that talk all make the world feel incredibly fantastical, like imagination come to life. Fantasy-lovers are looking to be immersed in a world that is new and different, so let your imagination run a little wild.

Which fantasy novels do you think have done the best job with setting?


How to Write a Great YA Fantasy or Sci-Fi Book Blurb

shutterstock_94921276It’s ironic, after writing thousands of words to create your novel, that a 100-200 word blurb pitching your baby to potential readers could completely stump you. But that’s exactly how I felt after writing the first two books of The Conjurors Series. I had a ridiculous number of blurb drafts that all seemed cheesy and didn’t do my story justice. So now, as I’m planning to re-release the first book in my series and the second book shortly after, I decided to examine the blurbs of some of my favorite YA fantasy and sci-fi novels.

I was surprised at just how many blurbs for great books didn’t hook me. In a way it was a relief to know that even the pros struggle with describing their masterpieces succinctly. But I did find a number of blurbs that were incredibly compelling, and I analyzed what was working in these cases. Below are the tips that I’ve gleaned from awesome YA fantasy and sci-fi book blurbs.

Tip #1: Echo the tone of your book in your blurb so readers get a sense of how you write.
Example: Daughter of Smoke and Bone, Laini Taylor (Blurb: 170 words)
Around the world, black handprints are appearing on doorways, scorched there by winged strangers who have crept through a slit in the sky.

In a dark and dusty shop, a devil’s supply of human teeth grown dangerously low.

And in the tangled lanes of Prague, a young art student is about to be caught up in a brutal otherwordly war.

Meet Karou. She fills her sketchbooks with monsters that may or may not be real; she’s prone to disappearing on mysterious “errands”; she speaks many languages–not all of them human; and her bright blue hair actually grows out of her head that color. Who is she? That is the question that haunts her, and she’s about to find out.

When one of the strangers–beautiful, haunted Akiva–fixes his fire-colored eyes on her in an alley in Marrakesh, the result is blood and starlight, secrets unveiled, and a star-crossed love whose roots drink deep of a violent past. But will Karou live to regret learning the truth about herself?

Tip #2: Give readers an accurate sense of the plot of your story, especially if you have compelling but complicated setting or premise.
Example: Divergent, Veronica Roth (Blurb: 213 words)
In Beatrice Prior’s dystopian Chicago, society is divided into five factions, each dedicated to the cultivation of a particular virtue—Candor (the honest), Abnegation (the selfless), Dauntless (the brave), Amity (the peaceful), and Erudite (the intelligent). On an appointed day of every year, all sixteen-year-olds must select the faction to which they will devote the rest of their lives. For Beatrice, the decision is between staying with her family and being who she really is—she can’t have both. So she makes a choice that surprises everyone, including herself.

During the highly competitive initiation that follows, Beatrice renames herself Tris and struggles to determine who her friends really are—and where, exactly, a romance with a sometimes fascinating, sometimes infuriating boy fits into the life she’s chosen. But Tris also has a secret, one she’s kept hidden from everyone because she’s been warned it can mean death. And as she discovers a growing conflict that threatens to unravel her seemingly perfect society, she also learns that her secret might help her save those she loves . . . or it might destroy her.

Debut author Veronica Roth bursts onto the literary scene with the first book in the Divergent series—dystopian thrillers filled with electrifying decisions, heartbreaking betrayals, stunning consequences, and unexpected romance.

Tip #3: Consider writing your blurb in first person (if your story is in first person) so readers can relate to your protagonist.
Example: Delirium, Lauren Oliver (Blurb: 125 words)
Ninety-five days, and then I’ll be safe.

I wonder whether the procedure will hurt.

I want to get it over with.

It’s hard to be patient.

It’s hard not to be afraid while I’m still uncured, though so far the deliria hasn’t touched me yet.

Still, I worry.

They say that in the old days, love drove people to madness.

The deadliest of all deadly things: It kills you both when you have it and when you don’t.

Lauren Oliver astonished readers with her stunning debut, Before I Fall. In a starred review, Publishers Weekly called it “raw, emotional, and, at times, beautiful. An end as brave as it is heartbreaking.” Her much-awaited second novel fulfills her promise as an exceptionally talented and versatile writer.

Tip #4: Arouse readers’ curiosity with a compelling mystery.
Example: Miss Peregrine’s Home for Peculiar Children, Ransom Riggs (Blurb: 155 words)
A mysterious island.

An abandoned orphanage.

A strange collection of very curious photographs.

It all waits to be discovered in Miss Peregrine’s Home for Peculiar Children, an unforgettable novel that mixes fiction and photography in a thrilling reading experience. As our story opens, a horrific family tragedy sets sixteen-year-old Jacob journeying to a remote island off the coast of Wales, where he discovers the crumbling ruins of Miss Peregrine’s Home for Peculiar Children. As Jacob explores its abandoned bedrooms and hallways, it becomes clear that the children were more than just peculiar. They may have been dangerous. They may have been quarantined on a deserted island for good reason. And somehow—impossible though it seems—they may still be alive. 

A spine-tingling fantasy illustrated with haunting vintage photography, Miss Peregrine’s Home for Peculiar Children will delight adults, teens, and anyone who relishes an adventure in the shadows.

Tip #5: Draw readers into the romance in your story.
Example: Beautiful Creatures, Kami Garcia and Margaret Stohl (Blurb: 113 words)
Lena Duchannes is unlike anyone the small Southern town of Gatlin has ever seen, and she’s struggling to conceal her power, and a curse that has haunted her family for generations. But even within the overgrown gardens, murky swamps and crumbling graveyards of the forgotten South, a secret cannot stay hidden forever.

Ethan Wate, who has been counting the months until he can escape from Gatlin, is haunted by dreams of a beautiful girl he has never met. WhenLena moves into the town’s oldest and most infamous plantation, Ethan is inexplicably drawn to her and determined to uncover the connection between them.

In a town with no surprises, one secret could change everything.

Some race to win. Others race to survive.

Tip #6: Expose how high the stakes are for the protagonist.
Example: The Scorpio Races, Maggie Stiefvater (Blurb: 166 words)
It happens at the start of every November: the Scorpio Races. Riders attempt to keep hold of their water horses long enough to make it to the finish line.
Some riders live.
Others die.
At age nineteen, Sean Kendrick is the returning champion. He is a young man of few words, and if he has any fears, he keeps them buried deep, where no one else can see them.
Puck Connolly is different. She never meant to ride in the Scorpio Races. But fate hasn’t given her much of a choice. So she enters the competition – the first girl ever to do so. She is in no way prepared for what is going to happen.
As she did in her bestselling Shiver trilogy, author Maggie Stiefvater takes us to the breaking point, where both love and life meet their greatest obstacles, and only the strong of heart can survive. The Scorpio Races is an unforgettable reading experience.

Before I embark on the final draft of my blurbs, are there any other great tips that helped you pitch your story to readers?

Best First Sentences in YA Fantasy

shutterstock_123859036Now that I’m writing the ending of the second book in The Conjurors Series, I find myself looking back to the beginning – particularly the very first line of the story. I read a great article in The Atlantic about Stephen King’s approach to writing great first lines – make it an irresistable invitation to continue reading and introduce your style and protagonist. This master of the craft spends weeks and even years perfecting opening lines, and once he does, the rest of the story flows.

But for me, I find that writing a great first line means having a complete grasp of the story as a whole. No matter how detailed my outline is, the story is still nebulous until it’s written. I love to research the “greats” when I’m looking for inspiration, and I thought you might enjoy some of the best first lines from young adult fantasy novels that I encountered on my search.

In these dungeons the darkness was complete, but Katsa had a map in her mind.
– Kristin Cashore, Graceling

This is a simple, graceful opening line that introduces the reader to the protagonist with an interesting tidbit about her personality. It also puts the reader in the middle of the action without being confusing or disorienting.

I felt her fear before I heard her screams.
– Richelle Mead, Vampire Academy

An excellent example of an attention-grabber that propels the reader straight into the story.

“Aaaaaaaaaaaaarrrrrrrrrrrrgggggggggghhhhhhh!” His fall seemed to go on forever.
– Jamie Thomson, Dark Lord: The Early Years

We’re smack dab in the middle of action, and the tone is already set for the offbeat humor that is unique to this story.

Look, I didn’t want to be a half-blood.
– Rick Riordan, The Lightning Thief

This short sentence both establishes the conversational, first person voice of this series as well as immediately making the reader relate to the protagonist.

Lyra and her daemon moved through the darkening hall, taking care to keep to one side, out of sight of the kitchen.
– Philip Pullman, The Golden Compass

A girl and her daemon sneaking around in the dark? Please tell me more!

The demon exploded in a shower of ichor and guts.
– Cassandra Clare, Clockwork Angel

Starting in the middle of an action scene is a classic way that authors hook readers, to the point where it sometimes feels cliche. But Clare decides to go big or go home with this approach, and it got my heart pumping from the first line.

The children were playing while Holston climbed to his death; he could hear them squealing as only happy children do.
– Hugh Howey, Wool
Foreshadowing at its finest. The contast between the squealing children and the prospect of death is riveting, and it also introduces us to the first protagonist of the story.

It is the first day of November and so, today, someone will die.
– Maggie Stiefvater, The Scorpio Races

This first line shares some of the characteristics of the first line from Wool, but I loved it even better because of its perfect mystery and simplicty.

Dear Reader, I’m sorry to say that the book you are holding in your hands is extremely unpleasant.
– Lemony Snicket, The Bad Beginning

Lemony Snicket has a very unique tone in his stories, and from the first line of the A Series of Unfortunate Events series, readers can instantly get a sense of it. I also admire the use of reverse psychology. What is it about him warning me away from this horrible book that really makes me want to keep reading?

I am dead, but it’s not so bad. I’ve learned to live with it.
– Isaac Marion, Warm Bodies

One of the best first lines I’ve come across. Readers get an instant sense of both the tone of the writing and the personality of the protagonist. It also introduces us to a unique concept right away. It doesn’t take pages to discover that we’re in a world unlike anything we’ve read about before.

Did I miss any of your favorite YA fantasy first lines?

Adapting The Hero’s Journey for a Heroine

Heroesjourney_svgThe hero’s journey (also called the monomyth), outlined by Joseph Campbell in The Hero with a Thousand Faces, identifies common elements in stories from around the world, particularly myths and quest tales. I’ve been fascinated with the concepts Campbell defined since I first encountered his book, and I immediately wondered how it could be adapted for a heroine.

It has been pointed out by others (Maureen Murdock’s book The Heroine’s Journey and an awesome blog post on the FANgirl blog, for example) that the outline of the hero’s journey is inherently sexist. While I don’t dispute the truth of that argument, as a writer I’m less concerned with analyzing the pattern outlined by Campbell and more interested in how it can make my own stories richer. Being too strict in following each step in a particular order can stifle any good book, and in particular with a heroine, it’s critical to be flexible and adapt this outline to maximize its effectiveness.

Campbell’s pattern is split into three pieces, each with sub steps – the departure, initiation and return. I have found with The Conjurors series that it is helpful to have these three elements as a basic outline for each book as well as the series as a whole. It helps me to keep my thoughts organized and to keep the adventure exciting. Below I walk through how each of these steps can work for a heroine, including examples of modern young adult fantasy heroines who have walked the walk.

The first section, Departure, has five subsections:

The Call to Adventure
The moment when the heroine discovers that something exciting is in store for her is one of my favorite moments to write. Suddenly her world expands and the possibilities seem endless. A great example of a heroine’s call to adventure is in The Scorpio Races by Maggie Stiefvater, when Puck Connolly realizes that one way to earn the money she needs to support her family is join the incredibly dangerous Scorpio Races as the first girl to ever compete.

Refusal of the Call
As tempting as the new adventure may be, the heroine usually doubts her ability or desire to embark on the incredible journey. This can be an especially powerful step for heroines, who may have more insecurities or a greater sense of duty to parents or even their own children than male heroes. Veronica Roth does a great job with this in Divergent. In this novel, society splits everyone into different factions based on a different virtue. Tris was raised in Abnegation (where everyone is selfless) but has the opportunity to join the Dauntless community (where bravery is cultivated). Leaving her life and family behind is an incredibly difficult choice, and makes the stakes high for her when she takes the leap into a new life.

Supernatural Aid
Of course, there would be no story if the heroine didn’t ultimately accept the adventure thrust upon her. Once she does, there is usually a guide or mentor who gives her advice and help – sometimes even an object that can be used to help her on her quest. Coming up with creative talismans and mentors for a heroine can be incredibly fun. In Amanda Hocking’s Trylle Trilogy, the mentor, Finn Holmes, is also the heroine’s love interest. The dynamic changes between them from as the series progresses so that they are on more equal footing, but early  in the series he is her guide into a new world of magic where she will be a leader.

silhouette2The Crossing of the First Threshold
This is the moment when the heroine leaves the known for the unknown. She leaves behind who she was to embrace who she could be. In Divergent, Tris literally takes a leap of faith and jumps off of a moving train onto a roof, and then off the roof into a hole. She doesn’t know what’s down there, but she knows she’s leaving her old life behind for a new adventure.

Belly of The Whale
Now officially on her quest, the heroine gets her first taste of the danger that she will be facing. Often this can be a threat or a fight that really shows her what her limitations are. We know Katniss is really in the belly of the whale in Suzanne Collins’ Hunger Games when she enters the arena and all of the competitors begin killing each other as they fight for a pile of food and weapons on the first day of the games. She narrowly escapes being killed herself, and the survival of the fittest begins.

The second section, Initiation, has six subsections:

shutterstock_136940549The Road of Trials
All heroines must undergo trials to prove they are worthy of their quest, and also to get them ready for the journey ahead of them. These tests can be physical tasks, but often they have a deeper meaning for the character and help develop them into a stronger person emotionally as well. In Lauren Oliver’s trilogy, beginning with Delirium, she does a creative job of the road of trials for her heroine, Lena. Lena doesn’t have to face physical tests, but rather emotional trials to open her up to the possibility that love is not a disease, as she has been raised to believe. She opens herself up to friendship and ultimately love, making herself vulnerable and sharing her past and present feelings.

The Meeting With the Goddess
Several of the steps in the Initiation section are particularly geared toward male protagonists, beginning with the meeting with the goddess. This is traditionally about a hero finding the unconditional love of a woman who is worthy to be his companion. But for a heroine, this step can be abstracted, which in my opinion makes it more interesting. The importance of this step is about the heroine realizing the importance of finding a love that is the ultimate inspiration for her adventure. Whether it’s romantic or platonic, it can be the beating heart of story. P.C. and Kristin Cast also used this step in a very different capacity in their House of Night series. The heroine, Zoey, has a literal encounter with the goddess Nyx, who identifies her as special. It is her first clue that she will be different from other vampyres and has an important destiny to fulfill.

Woman as Temptress
This can be a very frustrating step if you take it too literally. For traditional heroes, there will typically be a woman who tempts him to abandon his quest for her, or distracts him from what’s really important. But for the heroine, it doesn’t need to be a man (or woman) or even a sexual distraction. To me, this element is about tempting your heroine to take the easy way out. For Rose in Richelle Mead’s Vampire Academy, she is tempted a number of times. First, she is tempted to have a relationship with Dimitri, even though it would be a major distraction from protecting her best friend. Later, when Dimitri is turned into an evil vampire called Strigoi, she is tempted to abandon her duty to kill him and love him instead.

Atonement with the Father
This is another step that needs some serious reconstruction for a heroine. I think of this step as the heroine’s confrontation with someone who has a lot of power over her. It is time to fight that person and cast of the shackles. Sometimes it can be the big battle with the major villain of the series, but it can also be the person who makes the heroine doubt herself. In Kristin Cashore’s Graceling, for example, Katsa, who is gifted with the ability to fight to survive, has been working as her uncle’s thug, killing off his enemies. He manipulates and uses her from a young age, and when she finally announces that she is done doing his bidding by detailing how she would kill every single one of his guards if they all tried to stop her at once, I felt like cheering.

The heroine always has a divine moment separate from her adventure that is a turning point for her. Sometimes it is a brush with death, and other times it is having a moment of peace and clarity where she can regroup and prepare for the final leg of her adventure. Madeleine L’Engle does a great job of doing both with her heroine, Meg, toward the end of A Wrinkle in Time. Meg is nearly killed and left paralyzed when she travels through the Black Thing that represents evil. But her paralysis is cured by a gentle creature she calls “Aunt Beast” who allows Meg to find both physical and mental peace. She needs this moment of emotional stability to face the ultimate evil and rescue her brother from it.

The Ultimate Boon
After facing her demons and conquering the villain, the heroine is rewarded for what she has achieved. For Campbell, this is usually an item or piece of knowledge that his hero is meant to bring back to the rest of humanity. But in modernizing this step for a heroine, the ultimate boon can be the achievement of their heart’s desire, such as love or a new confidence. At the end of Melissa Marr’s Wicked Lovely, Aislinn becomes the Summer Queen after facing her greatest fear – becoming fey (fairies), which she has always believed are evil. Ultimately, she risks exile to save a group she has always hated because she knows it is the right thing to do.

The final section, Return, also has six subsections:

Refusal of the Return
After the journey is over, it is natural for the heroine to not be able to imagine returning to regular life. There is a resistance to abandoning the quest even after it is complete. Despite the reluctance with which she started , now she doesn’t want to accept its end. A wonderful example of a refusal to return is in the first of the Thursday Next series by Jasper Fforde, The Eyre Affair. The heroine, Thursday, is pulled into the novel Jane Eyre, where she has to protect the characters from being hurt or killed. But understandably, she loves the story and admires the hero, Mr. Rochester, and even though she knows her return to the real world is necessary and inevitable, she can’t help feeling a pull to the characters she has grown to care about even more than she already did to begin with.

The Magic Flight
Even after the heroine realizes that she must return to reality, the adventure isn’t completely over. The return trip usually includes a few final surprises for the heroine. Marie Lu does an amazing job of the flight in the first of her trilogy, Legend. The heroine, June, has already realized that the boy she thought killed her brother is actually innocent (and she is falling in love with him). Her realization and change of heart is the true climax of the book, but helping him escape is an awesome final adventure as they outwit guards and barely escape after a thrilling chase. Her story isn’t fantasy, so it isn’t a magic flight, but it does an excellent job of adapting this step for a modern heroine.

Rescue from Without
An adventure of this magnitude has to have consequences. Despite her victory, an emotional or physical toll was taken on the heroine. She isn’t able to recuperate on her own. At the end of The Hunger Games trilogy, Katniss is almost insane from all of the horror she has witnessed and her grief over losing her sister. But with the help of Peeta, her true love, she is able to reclaim her mind and live her life. The tragedy of what she has experienced doesn’t vanish, but she is able to find some measure of happiness again.

The Crossing of the Return Threshold
Every great adventure must come to an end. But for the heroine, she has been changed, and her return to life as she knows it means bringing with her the knowledge she has gained on her journey. Philip Pullman has a powerful moment of crossing the return threshold for his heroine, Lyra, at the conclusion of the His Dark Materials trilogy. In the context of the story, there are many parallel worlds that are connected by windows. At the end of the story, these windows must all be closed between the different worlds. Lyra and the boy she loves, Will, come from different worlds and must each return to their own in order to live full lives. As a result, when Lyra returns to her world, she is leaving behind the love of her life. It is at once empowering and heartbreaking.

shutterstock_58598566Master of Two Worlds
At the end of the quest the heroine has found a new balance in her life. It may be abstract – a better grasp of how to balance conflicting elements in her life. Or it can be literal, where the heroine is part of both the world she started in at the beginning of her journey as well as the new world that she explored on her adventure. Aislinn in Wicked Lovely is also a great example of being a master of two worlds. She has one foot in the mortal world, and the other with the fey as queen of the summer court. This means balancing her mortal friends and boyfriend (never mind school) with her duties to protect her people. It is a complex opportunity and challenge rolled into one.

Freedom to Live
At the end of the adventure, the heroine is fundamentally changed. She has a confidence in herself and her abilities, and is at peace with the trials she has gone through. She now has the freedom to live and enjoy her life. Katsa in Graceling chooses to live in the woods with the love of her life and ignore the rest of the world. Rose in Vampire Academy is no longer bonded to her friend Lissa, so she can live her own life with her soul mate. Katniss in the Hunger Games has finally left behind the brutality of life before the revolution that she inspired and can have a life and love of her own.

Some of these sections are more difficult to adapt for a heroine than others. I allow myself to ignore certain elements as it suits the story, or radically change them in other cases. Ultimately this is a tool to help you think of new ideas and complications that can make your story more interesting.

Have you ever used the Hero’s Journey as a model for your story? If so, how did it work out for you?