My Theory of Maggie Stiefvater July 5, 2014Posted by ccbooks in Analysis.
Maggie Stiefvater, author of The Scorpio Races, Shiver trilogy and Raven Boys series, is one of my favorite authors. I love her use of mythology and fairy lore, the way she engages with her fans and how enthusiastic she is about everything from art to cars. I read her book The Scorpio Races first and only recently have I gone back to the Shiver trilogy, which was her breakout series back in 2009. Many people have commented on the shift in style that happened in her writing between the Shiver trilogy and The Scorpio Races. Now that I’ve read all of her work (with the exception of the next Raven Boys installment), I have a theory (okay, more like an observation) about this shift.
In Lament, the first of the Books of Faerie series (Ballad is the other and maybe eventually there will be a third, Requiem?) the story begins when harpist Deirdre Monaghan meets a mysterious boy at a music competition. In Shiver, main character Grace has had encounters with the wolves before the story begins, but essentially the fun starts when she finds ‘her’ wolf transformed into a human boy and bleeding on her porch.
All of Stiefvater’s books have these central relationships–partly because they are romances, to one degree or another and partly because she explores how people change. Both Lament and Shiver start with a surprise–a magical encounter completely out of the ordinary that pulls the main character away from everyday life. Deirdre and Grace then have to decide how to react.
In The Scorpio Races, the story begins when Puck Connolly makes a choice–she will compete in the races as a way of getting her brother Gabe to stay on their island just a little while longer. The Raven Boys is more complicated and takes longer to get going, but Blue Sargent also has a choice to make–whether or not to join the Raven boys on their search for Glendower.
This is what I see as the central difference between Stiefvater’s early work and later work–the way the main characters are launched into their stories. In her early work it is a big event–someone transforming, a mysterious figure showing up–that then pushes the main character into the crisis or conflict of the novel. In her later work, which builds more slowly, the main character makes a choice that gives them their purpose and leads them to the relationships that precipitate change. I think Stiefvater has been getting better and better as a writer; each book she writes impresses me more than the one before. I’m looking forward to Blue Lily, Lily Blue, which is out in the fall.