About a month ago, I was inspired by an idea for creating a timeline for the HG books. As a visual learner, I felt that something that anyone could reference easily for the details on when certain events happened. So, I began going through the book, and what follows is a timeline based on the first book (page references are from the paperback edition).
My thanks to the always wonderful @mtk4fun and @norbertsmom for looking over and helping me correct mistakes and improve the details. You both are the best!
reTHG: The Hunger Games - Chapters Nine and Ten: Betrayal
“Why am I hopping around like some trained dog trying to please people I hate? The longer the interview goes on, the more my fury seems to rise to the surface, until I’m literally spitting out answers at him.”
Two things about this - First, since we’re basically obligated to view every one of Haymitch’s actions with suspicion, is there a purpose to his riling Katniss up to a state of near-rebellion? And if so, what?
Second, Katniss is very near Peeta’s viewpoint about not playing the Game on someone else’s terms, but she’s very narrowly focused on the interview - and her perspective is closer to Gale’s, an instinctive, angry reaction to the situation; the fire that she needs at the outset.
Let’s go back a moment to Katniss’ performance for the Gamemakers the previous day, where her reaction was very much the same - except that she was armed at the time. (In the movie, Catching Fire, we see a lot of Plutarch trying to manage Snow’s readiness to be just finished with her already - and while I don’t know about that, surely he must have had to fulfill the same function here.) Haymitch actually acts quite pleased by this turn of events, which perhaps presents him with a storyline for her in the Games. Is it the case that he is deliberately stoking her anger so that - despite what he tells her - it will stay with her when she gets into the arena and she can eventually display it?
Hello! I have a question on how best to navigate a large cast of characters. In my current story, I have two main and point of view characters and five regular supporting characters. Most of them don’t belong to the majority in terms of class-gender-sexuality-race and ability. I am reading up on various writing diversity blogs, and they all recommend giving these chars friends/family in order to avoid tokenism. Now I am looking for ideas on how to create a sense of community without a huge cast?
I like to think of cast as consisting of two parts: main and supportive. The main cast is obviously your primary characters, but the supportive cast contains a wide range of characters. It, too, can be broken down into parts, and I like to think of it like this:
1) Supportive Cast - Secondary Characters
These are what you refer to as “regular supporting” characters. They’re not main characters but they’re still pretty important. You couldn’t tell the story without them.
2) Supportive Cast - Minor Characters
These are characters who are important but not necessarily a huge part of the story. An example would be Padma and Parvati Patil in the Harry Potter series or Katniss’ mother and sister in The Hunger Games.
3) Supportive Cast - Background Characters
These are the “background extras” who fill roles that flesh out your world but aren’t necessarily important to the story. This could be a server in a restaurant scene, a creep who chases your character into the arms of his magical soon-to-be-boyfriend, or a little kid your character babysits. Greasy Sae and the avox girl in The Hunger Games are examples.
If you’re adding friends and family for secondary characters, odds are good they’re going to fall into the “background characters” part of your supportive cast. In other words, they serve a purpose as far as fleshing out your world, but they’re not really important to the story. Most novels have lots and lots of these characters, so they’re nothing to shy away from. In other words, don’t avoid them because you’re afraid of weighting down your cast. These characters don’t really count as part of your cast since they’re so minor.
Other things to consider:
– see if you can make friend/family connections between any of your secondary characters. If you can take two of the five and make them best friends or siblings, it adds an extra dimension to them and roots them to the world without having to create additional friends/family for them.
– remember that you can create friends/family for secondary without them having to make an actual appearance. Just having a character talk about their mom now and then: “My mom wants me home by midnight,” “I’m going to Sarasota with my mom this weekend to visit my grandma,” “My mom said we should stop by the cafe for free ice cream later,” etc. Once again, this adds a layer of realism to the character and roots them to the world, but without having to dedicate a lot of time to the character.