The time period between The Magician’s Nephew and The Lion, the Witch, and the Wardrobe has so much fanfic potential. Polly and Digory should have at least one, possibly two books’ worth of adventures. Maybe one could explain how the Lone Islands came under Narnian rule. Maybe they could be involved in events surrounding the founding of the other nations.

I’d also like the story of the last king before the White Witch takes the throne and starts the eternal winter. This one would start within Narnia from the king’s POV, paralleling The Last Battle. The tree Digory planted was supposed to protect Narnia, and do so in a way that kept it from becoming a cruel empire. So while it’s possible Jadis corrupted the later kings, I think there’s also a real chance that a decent portion of the royals would remain faithful to Aslan. But it would be tough–the Witch is coming ever-closer and she’s getting harder and harder to keep back. Some people would be tempted to terrible things to try to save Narnia.

Maybe Jadis kills the ruling king–who had tried compromises and alliances to placate her, only to be betrayed–but the crown prince and a loyal remnant are given a way to escape to Earth. And they have to set in motion some things that will eventually help save Narnia. (I’d kind of like them to end up in the 19th-century so some Narnian refugee could be the ancestor to Frank the cabby, but that does interfere with the whole “son of Adam” thing.) One of the Narnians definitely makes the wardrobe.

Potential December Reads

• The Lion, the Witch, and the Wardrobe by C.S. Lewis
• The Mystery of the Yellow Room by Gaston Leroux
• Midnight in Everwood by M.A. Kuzniar
• A Christmas Carol by Charles Dickens (or some other Christmas story)
• Verbum Domini by Pope Benedict XVI

@lady-merian, Well, now you’ve made me curious. How does each chapter of The Lion, the Witch and the Wardrobe end? I’m going to use the same categories I used to classify the Hunger Games chapters, but there are a few things that alter how these endings function in this book.

• Genre: This is a portal fantasy, not an action-adventure book. To borrow terminology from Orson Scott Card, this is a Milieu story rather than an Event Story. The tension comes as much from exploring a new world as from navigating a plot, so a lot of the revelations and narrative changes aren’t going to be as dramatic or devastating as they might be in a more intense narrative.
  
• POV: Rather than a first-person narrator, this book has an omniscient narrator who can show us things that the main characters don’t know about. This means that chapter endings are classified by how they function for the reader rather than the characters, since we know things that the characters don’t know.
  

The Categories

Bombshell: A surprise event or revelation occurs that’s outside the characters’ control. We want to turn the page to see the fallout from it.

Cliffhanger: Something is about to happen or be revealed, but we’re not sure what it is yet. We turn the page in the hope of learning this new information.

Tension-builder: We’ve just learned some new information that  makes the situation more difficult or stressful.. It’s sort of a long-term cliffhanger–we know this is going to have an effect on the story, but not necessarily at the beginning of the next chapter.

Initiative: Characters are about to or have done something to take action.

Resolution: Main conflict of the chapter has been successfully resolved.

The Chapters

Chapter 1: Lucy has just entered Narnia and seen a faun. The faun is startled by her and drops his packages. Bombshell.

Chapter 2: Lucy comes back to the spare room and announces to everyone that she’s alright. Resolution.

Chapter 3: The witch demands to know what Edmund is. Edmund says he doesn’t know what she means, and says he’s at school, but it’s the holidays now. It’s a very odd place to end a chapter, since the next chapter picks up with the same argument, and this is the second time that the Witch has asked what Edmund is.  I’ll call it a Cliffhanger, since we’re waiting to find out what the Witch means by asking “what” Edmund is.

Chapter 4: Edmund and Lucy are going back to the wardrobe. Edmund feels sick knowing that his siblings are on the side of the animals and he’s sympathetic to the witch. Lucy says, “What fun we shall have now that we’re all in it together.” A nice little bit of irony that serves as a Tension-builder.

Chapter 5: The four children hide in the wardrobe (and they don’t shut the door, because you never shut yourself in the wardrobe). Cliffhanger.

Chapter 6: Edmund and Peter argue if they can trust their guide, and Edmund points out that they don’t know the way to get back home. Bombshell.

Chapter 7: The children have just finished a meal with the Beavers and Mr. Beaver says it’s time to get down to business (and that the snow means no one will find tracks if someone’s trying to follow them). The gentlest form of Cliffhanger. We’re about to get an infodump, and we turn the page to learn the answers to questions, but it’s not a dramatic need-to-turn-the-page-now kind of tension.

Chapter 8: They’ve just found out that Edmund has gone to the White Witch, and the Beavers tell them they have to flee immediately. I’m going to call this a Bombshell, because Edmund’s defection is a huge surprise to the other three, and the announcement that they have to leave feels like an extension of that surprise.

Chapter 9: Edmund has just told the witch where his siblings are, and the witch orders her sled without bells to be prepared. Tension-builder.

Chapter 10: After everyone enjoys tea and sandwiches in the cave, Mr. Beaver tells them it’s time to move on. Initiative.

Chapter 11: The dwarf tells the White Witch that winter has been destroyed and it’s Aslan’s doing, and the Witch says anyone mentioning that name will be instantly killed. Tension-builder.

Chapter 12: Peter, still shaky after killing the Wolf, kneels before Aslan and is dubbed Wolf’s-Bane. “Whatever happens, never forget to clean your sword.”  Peter has just been prepared for the coming war. Initiative. 

Chapter 13: Aslan announces he’s made a deal and the Witch has renounced her claim on Edmund. When the Witch questions his promise, Aslan roars, and she flees for her life. Resolution.

Chapter 14: The children cover their eyes as Aslan is killed. Bombshell.

Chapter 15: Aslan brings the girls to the Witch’s home and they find themselves in a courtyard of statues. A resolution, because Aslan is alive, the journey’s over, and they’re safe, but as I’m reading it, it feels like a mild Cliffhanger, because we’re still curious about what Aslan’s going to do next.

Chapter 16: Aslan’s forces join the battle; Peter’s tired forces cheer, Aslan’s forces roar, and the enemy gibbers. Cliffhanger, since we’re not told how the battle goes, but an extremely joyful one, since it’s clear that circumstances are on the side of good. (And the first line of the next chapter tells us the battle was over in minutes). 

Chapter 17: “And that is the very end of the adventure of the wardrobe. But if the Professor was right it was only the beginning of the adventures of Narnia.” Resolution of the whole story, but with a tantalizing promise of more.

Observations

The children are pulled along by the narrative and make no decisions for themselves (at least in the chapter endings). Even in the two chapters that end in Initiative, other characters are telling the children what action to resolve upon: Mr. Beaver tells them to keep moving after tea and Aslan tells Peter to go forward in the fight. And in both cases, they’re just continuing actions that have already been happening: the flight from the Witch and the battle against the Witch’s forces. This is part of the function as a middle-grade portal fantasy. First off, they’re children, who usually need authority figures to tell them what to do. Second, the characters are just vehicles to explore the world; we don’t need to explore their struggles with finding the right course of action. We just need them to go along for the ride so we can see more of Narnia.

Only three chapters end with neat Resolutions: Lucy coming back from meeting Mr. Tumnus, Aslan sending the Witch fleeing in terror, and the very end of the book. The first one serves to set the tone: this is a place where you can go on wild, fantastical adventures, but don’t worry because you’ll get home safely in the end. (It’s like those two chapters are a miniature form of the entire book). The second one gives us a moment of triumph before the ultimate, heartbreaking defeat of the story’s lowest point. And the last one is there because the book has come to an end (though we do get imagination-firing sequel promises).

The tension-builders all relate to the villain’s wider plot. They all relate to Edmund, and two of them come when Edmund is with the Witch and separated from his siblings. This makes sense, because the villain’s plot is the only large-scale thing happening in this otherwise very immediate quest story. The story isn’t driven by tension between the characters (except the tension introduced by the Witch). It’s a very concrete “we need to go here and do this” kind of story, which provides more opportunities for the promises of immediate resolution that we get from cliffhangers and bombshells.

The cliffhangers are all very mild. It’s not “oh no, are they going to be okay?” It’s a much gentler, “I want to find out what happens next” or “I want to find out what’s going on.” We turn the page, not necessarily because we’re worried about the characters, but because we’re curious. This makes sense with the portal fantasy structure. The story is driven by that sense of wonder and curiosity.

The bombshells are the hardest-hitting moments of the story. And this story provides plenty of opportunities for them, since the children aren’t the ones driving the narrative. The four bombshells actually provide some of the turning points of the story according to Seven-Point Story Structure.

• Plot Turn 1(The character’s world changes): Lucy discovers Narnia in the wardrobe
• Pinch 1 (forces the characters to action): Learning that they don’t know the way home forces them to continue with the adventure, but the third bombshell is the actual pinch point that forces them to act, because Edmund’s defection is what them to flee from the Beavers’ home.
  
• (Midpoint is Peter joining the battle after meeting Aslan)
  
• Pinch 2 (lowest point): Aslan’s death