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Rev's PlanMo 2026

9 posts in this topic.

  1. Elevator Pitch

    Spoiler

    Seventeen-year-old Leonora 'Nora' Wilson still believes in the fairy tales her deceased mother, Clarice, wrote for her and is adamant that fairies are, in fact, real. She and her friends are preparing a musical named 'The Column' that brings these stories to life with her own twist, to perform at the end-of-year talent show.
    When she records a raw song about her mother's death with a backing track made by her best friend and next-door neighbour, Kit Brian, Kit secretly uploads it, and it goes viral. Nora is ecstatic, but Kit has been passing off their music collaborations as his own, and Nora's fairytale world and dream romance with Kit begin to fracture. When Kit discovers a secret in the attic of Nora's house, he goes off the rails and disappears; Nora must revisit the stories she loves so much and uncover the real tragedy behind them.
    Colossus is a coming-of-age YA tragedy about music, grief and obsession, in which songs become myths, friendships become legends, and survival means choosing which stories to keep and which to leave behind. It will appeal to readers of A Monster Calls, Skellig, and This Song Will Save Your Life.
  2. Character & Location List

    Characters:

    Spoiler

    Nora's Family
    Leonora Violet Wilson, 17
    Clara Marianne Wilson, 13
    Jack Felix Wilson, 5
    Mr Wilson
    Clarice Chester (deceased mother of Leonora and Clara)
    Maria Wilson nee James- Mr wilson’s new wife, mother of Jack, stepmother of Leonora and Clara
    Kenneth “KJ” James - maria’s older son from her first marriage who lives with his dad

    Kit's Family:
    Kit Brian, 18
    Nico Brian, Kit's older brother, who disappeared 10 years ago, shortly after Clarice's death
    Mr. Brian
    Mrs. Brian

    Nora's Friends:
    Harrison 'Arris'
    Mischa
    Lily

    Teachers:
    Mr Meredith (drama)
    Miss Connor (form teacher)
    rest tbd



    Locations:

    Spoiler


    Leonora’s family home in Christchurch, Dorset
    Kit’s house next door (it's a semi-detached house, so literally connected)
    Leonora’s bedroom
    Kit’s bedroom
    The School (currently unnamed), including the drama classroom, sixth form common room, school hall, classrooms, and playing fields.
    An art shop in town
    Leonora's attic (which has a secret door into Kit's)
    A seaside town from Kit’s childhood, where he lived before his family moved to Christchurch
    Christchurch Priory and quay, the river Stour, Mudeford, Hengistbury Head

    Some more unlikely ones, but that I would love to include:
    A folklore museum or antiquarian bookshop
    The New Forest
    nearby college or university

  3. Main Character

    Spoiler


    Growing up, Leonora Violet Wilson's mother, Clarice, would tell her intricate stories about another realm that humans could not see, where fairies live. The two of them built and painted tiny fairy doors to nail to trees in the garden and sprinkled 'fairy dust' in the flowers to encourage them to visit and spent hours in the garden with hagstones trying to spot the smallest flutter of a pair of delicate wings. This was something Nora and her mother did together, without her father or younger sister Clara. When Nora was six, a new family moved in next door: the Brians. They had two sons, seven-year-old Kit and sixteen-year-old Nico, and Mrs Brian and Clarice quickly became friends. A year later, Clarice is found dead by suicide in the bathroom of their home by Nora and Kit, who had been playing in the garden, and from that moment they formed a trauma bond that kept them as firm best friends. A few months after this, Kit's brother Nico, now seventeen, fails to return from school one day and is reported missing, never to be seen again.

    In the years that followed, neither Nora nor Kit are particularly adept at making new friends, always falling back on one another. Kit is enamoured with the fairy stories, and the two work on a volume of tales to keep Clarice's tales alive, both claiming to believe in the truth, researching folklore, witchcraft and the fae. Too young to be told the truth of her mother's death, she believed that her mother might return as a fairy and is keeping watch over her, and if she pays enough attention to the signs, she will find meaning and answers to the tragedy. Mockery from Clara, silence from her father and sneers from classmates only made it more private and more fiercely held.

    Only four years after her mother's death, her father remarries Maria, and they have a son, Jack. To Nora, Maria is the antithesis of her mother: a stern, cold, callous woman who believes in nothing whimsical and dismisses the stories as nonsense. Maria also dislikes Kit and thinks he is leading Nora astray. Maria's son from a previous relationship, KJ, is a thieving troublemaker and her half-brother Jack is a snotty little goblin. Clara, her true sister, has grown tired of the stories and wants to grow up, and their father is often silent and doesn't know how to talk to his daughter, for she reminds him of her mother.

    What she wants, more than she’d say aloud, is to be seen without having to explain herself. This is what Kit has been there for: someone who does not judge her beliefs or interests, and he is the one to suggest they start making music together as a way to channel those feelings. She wants to be able to talk about her mother without upsetting someone, to understand her more deeply and connect with her even in death. Her songs and musical, The Column, are a way to have her imagination praised and taken seriously, and the first time she has an audience that doesn't laugh at her. She dreams of teaching drama because Mr Meredith’s club is the one place where being imaginative isn’t a fault.

    Where she is in her life, before the story, is a threshold. She is nearing the end of Year 12, the first year of sixth form, meaning she only has one year left before leaving home and heading to university, yet she still has so many unanswered questions about her childhood. Why did her mother commit suicide? Why did Nico disappear? Why did her father destroy all of her mother's paintings and artwork? Nora loyal to a fault, generous with her trust, and quick to cast people in roles. Kit is her human boy, Maria is the wicked stepmother, her mother is the lost fairy queen. This is her gift as a writer and her blind spot as a person. She narrates people before she knows them, and she’d rather keep a beautiful version than risk a true one. Perhaps it is time she grew up and found out these answers for herself.

    The plot changes her because it takes apart her story at every joint. Kit’s betrayal shows her that the person she cast as her collaborator and closest friend was always performing, and that her work could be taken, renamed and sold without her, and there was nothing she could do about it. What she discovers in the attic reveals that the fairy tales weren’t just comfort but concealment: her mother’s stories were hiding a deep secret and a despair that no one named. Rescuing Kit from his demons, and then losing him straight after, forces her to accept that her love and belief can’t save everyone, and that a story can be both a shield and a lie. By the end of the story, she can’t go on believing in the fairies the way she did, because the belief was built on not knowing the truth. She loses her magic, but what she gains is authorship. She stops being someone inside a story she inherited and becomes someone who chooses what to tell, and why. The Column, in its final form, is the proof: the same fairy world, but now written with her eyes open.

  4. Side Characters


    TW for mentions of SA, drugs, etc

    Spoiler

    Kit Brian:

    Kit wants to matter. He wants to be someone. He wants to outlive the shadow of his older brother's disappearance - since he believes Nico was the favourite child and that he was a mistake or a changeling - and build something for himself. However, he has little belief in his own talent, which is why he steals Nora's work. Deep down, he loves Nora, but is slowly becoming more socially conscious that she is seen as weird by school and peers, and wants to shake her off. He starts to become 'cooler' and more desirable to the girls in school. His grades start to slip, and he ends up buying drugs from KJ, Nora's stepbrother. He starts dressing differently, acting weirdly, and experiencing mental health problems that perhaps explain what happened to his brother. When he discovers Nora's mother's secret diary and letters in the attic, he realises that Nora's family was the reason for his own family's downfall, and also realises it is a ticket out of his relationship with Nora. But throughout all of this, he truly despises himself, and acts mean to keep Nora from getting too close, not wanting to hurt her but always ending up doing so. Leonora’s belief in him is the thing he needs most and trusts least, since he feels he has tricked her into it. He also envies Leonora’s belief, because he has never been able to believe in anything, despite claiming that he did. That makes him both the human boy of her play and the story’s tragic mirror: someone who can be adored and still be beyond reach. What Kit adds to the story is its engine and its heartbreak, because he’s the reason the music succeeds, the reason it’s poisoned, and the reason Leonora has to learn the difference between loving someone and being able to save them. In the end, all is too much for Kit, who feels he was doomed since birth.

    Kenneth James (KJ)

    KJ is Maria's older son from her first marriage. He grew up an only child and, within a few years is thrown into a family with 2 step-sisters and a younger half-brother. He is trouble, often drinking, smoking, and getting into trouble. He has an on-again, off-again girlfriend, Thalia. He sort of yearns to be a part of the 'picture-perfect family' and is somewhat thrilled to discover the family has secrets. He feels ignored and forgotten by his mother, despises his stepfather, and gets close to Kit in order to find our secrets about the Wilsons. This leads to him supplying Kit with drugs and alcohol, inviting him to parties, and even getting Thalia to give Kit a tattoo. Deep down, he just wants a connection with someone, and Kit becomes an unlikely anchor.

    Clara:

    Clara does not remember her mother and doesn't understand Nora's obsession. he’s grown up in a house where Leonora’s grief takes up all the available room. Her mockery of the fairies is partly resentment and partly fear: if Leonora’s beliefs are real, then their mother chose a magical world over them, and if they aren’t, Leonora is hiding in a fantasy while Clara has to deal with the family as it is. She wants an ordinary family, warms to Maria and becomes a real sister to Jack, even bonding with KJ whilst Nora refuses to. She is blunt, straightforward, cynical, and perhaps a little mature for her age. She straightens her curly hair to rid herself of any reminders of her mother. Clara’s fear is that she is the only one who sees how things really are and that no one will thank her for it. Her function in the story is to voice the rational, unwelcome perspective, and to be the sibling who, in the end, might offer Leonora the first real conversation about their mother that isn't a fairy tale. Her bluntness can turn out to be a kind of love. She is also a good device for the attic reveal: she may already know more than Leonora assumes, and has been quietly keeping the secret.

    Lily, Arris and Misha:

    These are Nora's friends in school, who all despise Kit and think he is bad for Nora. They are creative, weird, and unapologetically so. They have been helping Nora with The Column, and have plans to all attend the same university when Nora drops; she wants to go to the same one Kit has applied to. Mischa is queer, has brightly coloured hair, dresses gothic, is politically active, and is often the first to call out bullshit. Lily is quieter, softer, and often overlooked, but has a beautiful singing voice and does ballet, often providing the more emotional outlook. Arris is a humorous and cocky stage manager who fears he may be left behind in a year when everyone goes to university, as he secretly has been struggling with his grades and exams due to dyslexia, which he is ashamed of. He also admires Kit in secret and copies his hair, hoping it will get Nora to like him. Together they add warmth, comic relief and a counterweight to Kit’s dramatic pull. Their reconciliation with Leonora at the end shows what she has learned: that the people who told her the truth were loving her, too.

  5. Most Challenging Character

    TW for mentions of SA, drugs, etc
    Spoiler


    My most challenging character will definitely be Kit. It's going to be hard to present a character who is not always the nicest person, who is full of flaws, mental health challenges, and deep turmoil, but also make the reader understand why Leonora loves him so much. He has to be genuinely lovable, cute, charismatic, etc., so that Leonora’s loyalty makes sense, whilst also being genuinely harmful, so that the betrayal lands realistically. If he’s too charming, the theft reads as a plot device. If he’s too obviously manipulative, Leonora looks foolish. The other difficulty is that Leonora is the narrator in first person, and for most of the story she is blind to his true ways. I need the reader to see what she can’t, using gaps, mismatches and details she misreads, without a character telling us.

    He also carries the heaviest material in the book: undiagnosed mental illness, drug use, grooming and sexual assault. These are topics where a careless choice can romanticise suffering, make a mental health condition into a plot twist, or turn an assault into spectacle. A young adult readership raises the stakes further, because some readers will be close to this material, and some will never have encountered it before.

    I'll go about this challenge with careful research using credible sources (NHS and Young Minds material, memoirs and first-person accounts by young men) rather than relying on stereotypes. For the grooming and assault, I’ll look at how organisations such as the NSPCC and Rape Crisis describe grooming dynamics, so the pattern of flattery, isolation and false opportunity is accurate, and the aftermath of shame and disorientation is believable.

    To craft his character, I need to make him real: I’ll give him real talents, humour and tenderness (fairy hunts, tarot readings, the way he layers sound under her voice in the music, his guitar and acting abilities) so he exists as a person before he exists as a problem. His lies should be consistent with what he wants at that moment, not random. I’ll use dramatic irony, as the reader will notice details Leonora explains away, such as the bravado after a bad night, the story that doesn’t quite add up, the missed rehearsal.

    Because Kit is the subject of Nora's love and affection, scenes involving him mighe need to be written in a happier, warmer tone than scenes with her family, but this later shifts around as his troubles grow larger, and Nora comes to accept her family. If I get Kit right, readers will grieve him and also understand why Leonora can’t save him. I think that really is the core of the novel: the difference between loving someone and being able to rescue them. I want the reader to sympathise with him but also with Nora's fictionalised version of him.

  6. Worldbuilding Secrets


    Spoiler


    My world is realist and contemporary. It's even set in my real hometown, with real landmarks, so the secrets here are less about landforms or magic rules, but more about the hidden layers of meaning, family history, and perhaps about whether there is any truth at all in Nora's belief in fairies.

    The central secret is both the truth about the fairies and the truth about Leonora's mother. I don't want to give away the truth, since it is the major plot twist, but both of these are entwined. I do want to give hints that there MAY be a tiny bit of real witchcraft or the fae, but this would be up to the reader to decide if it's real or not.

    Names carry a lot of meaning in this story. Leonora is named after a real person: Leonora Blanche Alleyne, the wife of Andrew Lang, credited with much of the translating and retelling behind his Fairy Books while he took the fame. It mirrors Kit taking credit for Leonora’s work. The name of Kit and Leonora's musical project is 'Colossus' which is the name of a Sylvia Plath poetry collection, which was passed down from Nico to Kit, and then Kit to Nora, but was actually purchased originally by Nora's mother. Kit's own musical project is called 'syrinx '; Syrinx is the nymph in Greek myth who is transformed into reeds to escape Pan, and whose reeds become the pan pipes: a woman turned into an instrument for someone else’s music. That fits Kit’s alias and the theft of Leonora’s voice.

    The town of Christchurch, where I grew up, has a lot of it's own folklore and tales, including the infamous 'ducking stool' used to test if women were witches, and a legend of a carpenter who appeared when the old Priory church was built and put in a 'miracle beam' whom people believe was jesus. Nearby, there is the New Forest, where Wicca was first started by Geraldn Gardner, and many more interesting stories. It's definitely the kind of place you might spot a fairy; i used to play in a small forest named 'Fairyland' with my friends!

  7. Vibes

    Leonora's playlist

    Kit's playlist

    moodboard of the aesthetic:

    Image
  8. Extra Challenge 1

    Inspiring Music

    I have a few that remind me of the story!

    Of Kit/Nora's relationship:

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    Of Kit, the kind of music he likes to make:

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    of the sort of weird/offputting vibe of love that runs throughout the story"

    phpBB [media]
  9. Extra Challenge 2:

    Inciting Incident

    Spoiler


    The inciting incident is definitely when Kit uploads Leonora's song, Viole(n)t Fairy ,without telling her, and it goes viral.

    Before that moment, Colossus is a private, sacred project between only her and her best friend. Her life is stable, for the most part, but after, her grief is public to the world and her best friend has stolen her music. Though she does not see it for what it is right away, this moment changes everything for her. Nothing in the rest of the plot happens without it: the label contacts, the syrinx alias, the discovery on his laptop, the truth about nora's mum, the rewritten The Column, the rehearsal fall, his disappearance. I think it works as an inciting moment because it is not a decision she makes, but something that happened to her. It also looks like a gift; she should be happy her music is popular, and she is until she realises Kit never plans to tell the world it was her and is planning to steal her ideas and run away to London to record them with a producer.



It doesn’t smell old, it just smells like a bad idea.
— James Hoffman