Resistance (Divided Elements #1)

The day has finally arrived! My speculative fiction / dystopian novel Resistance (Divided Elements #1) is now available for purchase!

resistance-read-now

To celebrate, I want to share with you some of my favourite excerpts from the reviews I have been getting on Goodreads. It has been such a beautiful and humbling experience to hear what readers have to say after finishing Resistance. Enjoy!

“A whirlwind cross between Fahrenheit 451 and Divergent. This novel grabs your attention and keeps it locked in place for 34 chapters.”

“Resistance isn’t like other dystopian novels you’ve read.”

“I couldn’t put this book down. Or I didn’t want to put this book down because I had to put it down many different times throughout the day and each time, I was incredibly disappointed that I wasn’t in the middle of the action of the book. I needed to know what was happening next and if I wasn’t experiencing it, I wanted to be.”

“This was an amazing book. A fantastic book. Something that I would read again in a heartbeat (and probably will, once I’m done with the next book on my list). Any book that makes me want to read it again and again to absorb everything it’s made of is something rare and I don’t think it’s going to happen more than a handful of times in the next year.”

“At first, you might think this is your typical dystopian future civilization YA novel. And you’re kind of right. But you’re also kind of wrong.”

“I would highly recommend this novel to fans of dystopian fiction such as George Orwell’s 1984 and Huxley’s Brave New World. The novel also reminded me of the video games République and the post-Paris cyberpunk adventure,Remember Me in setting and tone. But none of these other works do the novel justice: in Resistance, Indie author Mikhaeyla Kopievsky manages to create fresh and new dystopia worth exploring.”

“I’m excited to see where Divided Elements goes from here. It’s definitely a series to keep an eye on. If you’re looking a dystopian novel that’s original and entertaining, no look further.”

“I freakin loved this book!”

“I loved this as a first book in the series. I really hope that the rest of the series would be as amazing. I can’t wait for the next book to come out!!!”

“This is a delightfully complex story and I enjoyed immersing myself in this richly detailed otherworld.”

“This book. Is. Awesome. It’s Divergent’s bigger, badder, tougher, realer older sister. So much more than your basic dystopian fill-in-the-blanks, Resistance has amazing, almost magical worldbuilding.”

“I was attracted to this book by its cover and for once I was not disappointed.”

“This is probably one of only a handful of sci-fi books that I have read and liked. The plot is engaging and a one of a kind story that is fresh and interesting.”

“This was an interesting and quite quirky dystopian science fiction novel in which the author shows alot of flair and heavy doses of imagination.”

“I loved Resistance! It was well written, the characters were amazing and the story was awesome.”

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Resistance (Divided Elements #1)

Your First Act is not a plot device

By Mikhaeyla Kopievsky

Lately I’ve read a few stories that had something not quite right about them. At first it was difficult to place the troubling gremlin – these stories had great characters, nice pacing, interesting conflict. It was only when I reached the end of these books that I realised I still had a lot of unanswered questions. And then I realised – most of these questions were the ones that were raised in the First Act.

It hit me: These stories were introducing tension in the First Act not as the central theme or core conflict, but as a plot device – a way to get the protagonist to where they needed to be in the Second Act. 

Imagine a story where all your protagonist wants is to protect her little sister – from their incapable mother, from a dangerous and unforgiving world, from nightmarish memories of their father’s death, from poverty and disease. Then imagine this character gets the ultimate opportunity to do this – by volunteering to take their little sister’s place in a macabre and brutal spectacle that pits child against child in mortal combat for the general entertainment of the masses. This act sends the protagonist away from their little sister and thrusts them into a entirely different world.

And then imagine that the ensuing conflict has absolutely no relevance or reference to that stated goal and tension – where the little sister is forgotten and thoughts of protecting her from the big bad world are no longer plaguing her. Where the central conflict of Act One was just a means to an end – a way to force the protagonist into this new world, and nothing else. Where the Third Act answers a completely different question to the one posed in the First.

questions

Thankfully, in Hunger Games, this is not the case. Katniss ‘adopts’ a surrogate sister, Rue – an action that helps to maintain her humanity in an inhumane situation. The need to protect her sister, Prim, also permeates throughout the series (to varying degrees) and eventually evolves in a need to protect/save everyone. Especially those closest to her.

There is something deeply satisfying, for a reader, in following the evolution and resolution of the core conflict established in the first act (and, indeed, the first book of a series). Stories that forget about this central question – will Katniss save her sister from the evils of Panem? (Hunger Games). Will Mark Watney be able to ‘science the shit’ out of his lonely and tenuous existence on Mars? (The Martian). Will Montag succumb to his Fireman role or break free from it? (Fahrenheit 451). Will Anaiya break free of her legacy and bring down the Resistance? (Resistance (Divided Elements #1)) – are in danger of ‘losing their soul’ and creating forgettable stories with no emotional resonance or connection.

 

What do you think? Have you read (or written) a story where the First Act conflict was forgotten by the time the Third Act rolled around?

 

Image courtesy of Emily via Flickr Creative Commons
Your First Act is not a plot device

Vote Now for Divided Elements | Resistance on Goodreads!

by Mikhaeyla Kopievsky

Divided Elements #1: Resistance is now up on Goodreads! You can add it to your “Want to Read” shelf and join the conversation with other readers excited about its release on 30 January 2017.

While you’re over on Goodreads, I would love it if you would nominate Resistance as one of your 2017 Anticipated Reads by voting for it on these lists:

 

resistance-kindle

Vote Now for Divided Elements | Resistance on Goodreads!

Divided Elements (Book 1) – Resistance. Website Launch & Cover Reveal

by Mikhaeyla Kopievsky

Break out the champagne! The official website for my author brand and debut novel Divided Elements | Resistance will be launched this Friday! Stay tuned for details and don’t forget to drop by and check out the shiny new digs on the day.

(Don’t worry – I’ll be maintaining my wordpress blog to dissect my writing journey as it continues over future works in progress).

A photo by Dave Lastovskiy. unsplash.com/photos/RygIdTavhkQ

 

 

image via unsplash
Divided Elements (Book 1) – Resistance. Website Launch & Cover Reveal

Plotting to the Midpoint: Why you need a half-time plan

by Mikhaeyla Kopievsky

With Divided Elements in the hands of my copy-editor, I’ve been using July to get some new writing done. Having signed up for both #JulyWritingChallenge and Camp NaNoWriMo, I was worried that my efforts would falter the way my first attempt at NaNoWriMo did – a lot of angst and procrastination, not much writing. Pleasantly enough, I am slaying it! (Already at 12,000 words (I set my target at 15,000))

The two secrets to my success?

  1. Detailed and logically-structured plotting – thanks to my awesome plot roadmap
  2. Detailed and logically-structured plotting only up to the midpoint

The second secret is the important one (at least, for the purposes of this post).

I’m not sure whether it is pure genius or a product of my creative limitations, but it seems to be working. The thing is – when I get an idea for a story, it usually goes like this:

  • Thematic image and general premise – aka A visual and a one-liner ‘this is a story about…’

    Since I don’t want to give away the juicy details of the new WIP just yet, let me show how this would work if I was writing Sons of Anarchy … (bear with me, it’s been a while since I’ve watched it and the memory may be rusty…)

    Jax and Tara

    I would picture that moment where Jax takes on the Presidency and Tara stands behind him as his Old Lady, a corruption of two individuals who had the potential to escape a violent and toxic environment but have ended up as the next generation of everything they didn’t want to be – Clay and Jemma.
    That image also gives me my premise – the story of a son who seeks to escape the corrupted legacy of his father, who finds that escape in the return of an old girlfriend, but who ends up corrupted and corrupting her in his efforts to escape. Like struggling in quicksand – it only conspires to work against you.

  • That image and one-liner (okay, okay – one paragraph) give me everything I need up to the Midpoint – I get the status quo (Jax in the MC, Tara at the hospital), the hook (Jax finding his Dad’s journals), the inciting incident (reconnecting with Tara), the first plot point (going after Clay), the Midpoint (Jax and Tara as the new Clay and Jemma).

And that’s usually where the ideas run out – not because I can’t think of what happens next, but because there are so MANY paths this story can take. I generally know where I want it to end. I just don’t know how to get to that end.

This is why the first half of my plot outline for the new WIP is pages long and full of cool details. And the second half is … um, well… it’s blank.

I was kind of worried about this, but then I figured it could be a good thing. And I figured this while watching my beloved Wests Tigers play (and lose) another game (don’t get me started…).

A book, much like a game of football, is a tale of two halves. Every team goes into a game knowing the starting point (kick-off) and the end goal (walking away with a win, preferably a crushing defeat, that supplies two points on the ladder and a fantastic points differential). There will also be a detailed game plan – based on last week’s performance, where they are on the ladder, what current issues/injuries are affecting them, players playing out of position, whether it’s a home game, what they focused on in training, etc, etc.

But that game plan is only good up to the half time siren.

You walk into the sheds at half time with a 20 point deficit, you shake things up. You end the first forty minutes with three major injuries and a player sent off, and you start thinking twice about your earlier plan of putting on early points.

What it boils down to is this:

You can’t plan your second half until you know what position your first half has put you in. 

Same goes for stories. I’ve spoken about this before – sometimes the little details you use to fill in your plot outlining can introduce a range of subtleties and nuances that shift the direction of your story. In the beginning the shift is negligible – but as it continues on that same trajectory, the difference becomes more and more noticeable.

Tangent

It was the same with Divided Elements – what I had planned for my second half and what I executed were wildly different. In a good way. If I had stubbornly kept to the original game plan, I would have ended up with a incoherent, disjointed story with a lot of loose ends and an unsatisfying ending.

Which is why I am blissfully writing my way through the first half of this WIP without having a game plan for the second half. That can wait. I figure I will use the Midpoint as my new status quo and plot from there once I know my backstory (the first half).

What about you? If you are a plotter, do you plot the entire novel? And if so, do you ever allow yourself to change the plan late in the game?

Plotting to the Midpoint: Why you need a half-time plan

Gonzalez @ Berlin Graphic Days

by Mikhaeyla Kopievsky

For those of you that have been following along, you’ll remember that my debut novel Divided Elements is soon to be published. I am so excited to announce that Leonardo Gonzalez, Grammy Award winning and multi-­laureate art director, is designing the cover – stay tuned for the cover reveal later this year.

I selected Leo, a  Berlin-­based Venezuelan artist, to do the cover because he is a master at rendering (in his words): “beautifully-drawn-­yet-­fucked-­up characters” – which is exactly what my lead character is – a beautiful and tortured soul.

While you’re waiting for the cover reveal, you can catch his work online or at the Berlin Graphic Days.

Berlin Graphic Days – a three-day arts festival running from 1 – 3 July 2016 – will feature  around 100 national and international graphic artists, illustrators, street artists and screen printers, who will converge on Urban Spree Gallery in Revaler Street, Berlin, to create, display and offer works of art for sale.

Leo will be offering some silkscreen prints, including the awesome one below, as well as risographs and his comic book. Go check him out and tell him I said hello 🙂

Gonzalez - Know your place, shut your face

Gonzalez @ Berlin Graphic Days

Dystopian Archetypes – 2. Divided Population

by Mikhaeyla Kopievsky

One of the recurring plot devices in dystopian literature is the ‘Divided Population’. This is to be expected, given that dystopian stories (and their more up-beat counterpart, utopian stories) are, at their heart, socio-political narratives. Population structures and methods of control are, therefore, a key aspect of many dystopian stories.

We see this archetype in classic dystopias, such as 1984, Brave New World and Divided Kingdom, as well as in modern dystopias, like Hunger Games and Divergent. My WIP, Divided Elements, also draws heavily on this archetype in its exploration of identity, loyalty and rebellion.

The prevalence of the ‘Divided Population’ archetype is arguably due to the fact that it draws on two long-established and fundamental philosophies:

  • Divide and Rule (politics)

[The] gaining and maintaining power by breaking up larger concentrations of power into pieces that individually have less power than the one implementing the strategy. The concept refers to a strategy that breaks up existing power structures, and especially prevents smaller power groups from linking up, causing rivalries and fomenting discord among the people. (wikipedia)

  • Self vs Other (sociology/psychology)

…when individuals that identify closely with their own ethnic or religious beliefs begin to gain the mentality that those who are different from them are problematic. This can lead to extreme separation, alienation, and exclusion of the person or of people that is seen as different or unusual to the typical lens of one’s societal views. Othering can be described as discrimination of people or a population that is different than the collective social norm; since they are different they are also seen as deviant or in need of being cultured by the group that is othering them. (wikipedia)

 

Despite the common reference to these philosophies, many dystopian stories present the archetype differently. The main axes along which these stories differ are:

  • The basis on which the population is divided
  • Whether the division is reinforced by a geographic divide
  • Whether the division is static or dynamic (i.e. whether people can change which division they belong to)
  • Whether the division is absolute or imperfect (i.e. whether there is opportunity for inconsistencies within the divide)
  • Whether an additional class or group exists outside the division

 

1984

In 1984, the divide is socio-political – with the population generally inhabiting the same space (albeit in separate (yet, accessible) neighbourhoods) but divided into three hierarchical classes: The proles (proletariat), outer party (bureaucracy) and inner party (oligarchy). The divide is maintained organically – with each new generation born into the class of their parents. No additional class or group exists outside these divisions – rebellion comes from within the structure.

In Hunger Games, the divide is predominantly geographic and labour-based. The population is divided into 12 districts and each district is responsible for fulfilling a mandated role in resource production – District 12’s core industry is mining, District 4’s core industry is fishing. Like 1984, the divide is maintained organically with each new generation born into their district and, therefore, role. Unlike 1984, however, the Districts are equal in power/standing, with the true political divide presented between the Districts and the Capitol. A 13th district is later discovered existing outside the core division, and it from within this district that the rebellion is built and sustained.

brave new world

In Brave New World, the divide is biological – the population ‘hatched’ into a hierarchy of five castes of different intellectual magnitude. Stemming from this biological divide is the division of labour – whereby members of each caste are conditioned for roles appropriate to their level of (manipulated) competence. Like 1984, their is no geographical divide – but the strict hierarchical model means that interactions between castes is distasteful at best, social suicide at worst.

As a counterpoint to this manipulated world, there exists a more organic world – the ‘savage reservation’ –  where the population is not divided. This world (and its inhabitants) serve as a the key narrative device to illustrate the differences between the two ways of living.

In Divided Kingdom, the divide is based on personality types – the population divided into four types (represented by a different humor: blood (red), phlegm (blue), black bile (green) and yellow bile (yellow)). This divide is also geographic, with each type occupying a designated quarter that is quarantined from the others by security walls. There is no hierarchy – all types are equal in power and standing.

Unlike the above examples, the division is not static, but continually manipulated – with children born into a type (and quarter) and then taken for assessment and re-assignment (if necessary) at a predetermined age. A fifth group, not sanctioned by the state or part of the greater population structure, is known as the White – consisting of people who embody all four personality types and none of them, they are able to roam freely between the four quarters, reviled in some, revered in others.

divergent

In Divergent the divide is also personality-based and geographic. The population is divided into five factions based on personality types (Abnegation, Dauntless, Candour, Erudite and Amity) and each faction occupies its own part of the city. Movement between the different parts is allowed (although, seemingly uncommon?). While there is no specific hierarchy, in that each group is equal in general power and standing, one faction is given responsibility for leadership (the pivot on which much of the action in the story turns).

The division is not static – with children born into a type and then taken for assessment when they reach a predetermined age in their teenage years. Unlike Divided Kingdom, where membership is mandated by the state, in Divergent, the assessment is used as guidance only – with candidates allowed to choose which faction they wish to join (or remain in). The divisions are largely imperfect: A candidate more suited to one faction can nonetheless choose membership in another;  A candidate who fails their faction initiation test ultimately becomes ‘factionless’, joining a loosely-organised group occupying their own part of the city; A candidate who is predisposed to more than one faction is labelled ‘divergent’.

 

So, as you can see, despite the common theme of a ‘divided population’, each of these stories is able to present a unique narrative by mixing up the other key considerations. I’m hoping to do the same with my own novel, Divided Elements. 

 

Find this post useful? Let me know in the comments!

Dystopian Archetypes – 2. Divided Population