My new novel Daffodil Uprising is a meatier, more emotional work than its earlier incarnation, Daffodil Sunrise.
Here are ten reasons.
- The people and events are now seen from Cassia’s perspective. Just look at her snide commentary for amusement and relief. Really.
- Many of the characters have been renamed, starting with the one who would become her father in What’s Left. They’re more fully developed, for sure. In the previous version, the dorm inmates ran as a pack. Now they’re spread out by age and interests, and three of them serve as wise elders for the newbies.
- Her father’s reasons for coming east to Indiana are more clearly defined. As a photographer, he’s part of a fast-track program in the fine arts.
- Two new characters introduce elements of fantasy and paranormal. The Victorian elements in the earlier version are now amplified.
- The focus in now more on their emotions in reaction to the happenings.
- The story is now character-driven, more than erupting from the plot.
- This is about boyz, especially, trying to make sense of a confusing world, even before they get to the girls.
- This version, for all of its light playfulness, is now more baroque and brooding. That matter of loving a flower child, for one, is far more difficult than you might imagine. Or, for her, that matter of sticking with someone as flawed as Cassia’s future father could produce a really baffling relationship.
- More dark sides of the era are introduced. It’s not just early questions about vampires or ghosts on the campus, but the violent fringe of the time, too. Just what are they to make of the protest bombings or the drug overdoses, for instance? Or their failure to live up to the responsibilities of living together?
- This is clearly focused on the Sixties rather than reaching out into what would come after. It’s the making of a hippie, in particular. Hey, just don’t blame him.
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