Welcome to the author commentary for The Bridge. This book holds a special place in my heart, but might be the most devisive installment in the DSA’s opening season. SPOILER WARNING is in effect.
Let’s take a look at the process behind the book, shall we?
The Bridge
DSA has always been about connections, about second chances, and the decisions we regret in life always–ALWAYS–coming back to haunt us. The Bridge was a chance to spotlight those moments for the cast.
This book started as a character piece, which is how books should start, in my opinion. I knew I had a fantastic ensemble cast with multiple players able to take the lead on an adventure whenever the need arose.
The Bridge was my attempt to spotlight those characters, by splitting the team up along three separate tracks.
Using the ensemble cast
To me, there is no point in writing the book if the characters don’t contribute to the storyline. I wanted to pull apart each player and do a deep dive into how they arrived at the DSA and why. Be it Lincoln, Morgan, or Ben, all had a past that has brought them to the DSA, some trauma carried over that has molded these people into who they are.
Morgan and Ben are the main leads. I wanted to establish that in Promethean. This is their “show.” But they don’t stand alone in this.
Lincoln’s arc was a crucial element to explore in this season and The Bridge offered the perfect setup to bring that to life.
B Plot to A Plot
I love serialized storytelling. You know that about me at this point. Building subplots until they explode to the forefront is something I am always looking to do throughout this series, and everything I write.
Lincoln was relegated to the backburner in Promethean. Here, he is given the room to tell his story in a way that provides insight into his background, while also pushing the main narrative forward toward the end of the season.
Isolating the cast
Over the first two books, you followed these characters interacting with each other and building relationships. Morgan and Ben. Zac and Metcalf. Lincoln and Ruth. Even Lincoln and Metcalf to some extent. These are established dynamics.
My goal with The Bridge was to isolate the major players in the series and throw them into situations that push them to their limits. Ben is snatched by the NSA and confronted by Stallworth and Sullivan. Morgan is forced to deal with her brother, his family, and her past mistakes. Lincoln, alone on an unsanctioned mission, confronts the Witness and is forced to relive the worst day of his life.
I wanted to test the characters. Pushing them, forcing them to deal with the past in order to face their futures was something I thought was very important to connect readers with these characters.
The action issue
Here is where the divisiveness comes out. There are only a few moments in the book where action is at the forefront of the conflict. Lincoln’s past in the Middle East offers a taste, as do the other flashbacks dealing with the Engers’ tragedy, but for the most past the action comes at the climax of the book between Lincoln and Marcus.
That’s it.
I’ve heard complaints about it. Looking back, I totally understand those complaints.
But I also see conflict slightly different than most readers. Beating the hell out of someone is certainly one way to go. Setting up massive action set pieces is always a treat and a visual spectacle for the imagination.
Conflict, though, can also be internal. Morgan’s thread in The Bridge is rife with conflict. Her past mistakes, her dealing with her brother’s suicide attempt and the distance between Morgan and her brother’s family are full of tension and conflict.
Dialogue plays a huge part in conflict. Ben’s inability to trust anyone after the events of Promethean play a large role in his interactions with Kanigher, Martin, Stallworth, and Sullivan. I wanted those moments to be tense, to feed into Ben’s paranoia over his new life with the DSA. No fights were necessary, though the chase at the beginning was added in after the initial draft to build suspense.
Conflict comes in many forms. To readers here, though, The Bridge didn’t fulfill their hopes on that front.
Criticisms
I take them to heart. You won’t see another book like The Bridge again in the DSA. There will always be those tense scenes where dialogue plays the main role in adding to the conflict, but they won’t monopolize the entire book.
Personally, I love this book. It was incredibly challenging to write such personal stories about Lincoln and Morgan, and I thought they really helped connect them with readers.
What did you think of the book?
