Black Gate

My Exploring Fantasy Genre Writing course was designed based on the idea that “story” can be told in a vast array of forms; and exploring those forms, both through observation and by wading in and taking a crack at them, enriches the way we work when we return to our preferred art form. Even if one’s painting skills are closer to a kindergartner’s finger-painting “masterpiece” than Leonardo da Vinci’s “Mona Lisa,” the act of working with paints can help us better understand the use of color to create a desired mood.

The course is designed specifically to look at the reach of the Fantasy genre across a wide array of media and forms including fiction, fairytales, film, television, cartoons, children’s books, music (classical and otherwise), music videos, plays, radio plays, audio and video blogs, art, photography, fashion, comic books, mock journalism, poetry, games, and any other form we may stumble across.

Each week starts with an exploration of a Fantasy theme that has a large body of work built around it, such as Mermaids, Pirates, The Big Bad Wolf, Alice in Wonderland, Voodoo, Arthurian Legends, the dizzing array of Faerie creatures, The Ring of the Niebelung, and psychic detectives. After covering the basics of the theme, we read, look at, watch, and listen to various works based on or inspired by that trope.

For example, for the Pirates unit we: read issue 2 of the comic book Cursed Pirate Girl; read the short story “We Are Norsemen” (because Vikings are simply Norse pirates), recite three short poems about pirates by Shel Silverstein and laugh at his cartoon drawings; watch a short, animated historical film about Jean Lafitte, America’s most famous pirate, on YouTube; then read an essay I wrote about some little-known pirate women from around the world.

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I’m pleased to have author and agent Lucienne Diver in the Pro-Tip seat this week. She’s a literary agent with The Knight Agency with twenty-three years of experience in the areas of fantasy, science fiction, mystery, romance and young adult fiction. She’s also author of the Vamped young adult series and the Latter-Day Olympians urban fantasy series.

Plot vs. Character?

Plot and character are both vital to your writing, BUT you can have the greatest plot in the world and no one will read your work if your point of view character isn’t compelling.

On the flipside, if your main character is intriguing and original with a voice all his, her or their own, you can truly invest your readers in what’s going on and keep them turning the pages to make sure everything turns out okay for your protagonist. A unique, dimensional antagonist is equally important. People are complex; your characters should be no less.

I guarantee that if you come up with amazing characters, you won’t settle for ho-hum things for them to do. Interesting characters will have interesting goals and real stakes. This is what really drives your story.

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Virtually anyone who writes dark fantasy, horror, thrillers, or any other type of fiction with violent or disturbing subjects, sooner or later gets asked the question, “How do you write that kind of stuff?” While it may be couched as a question, it usually sounds like and is intended to be a moral judgement along the lines of, “That’s awful stuff, and only awful, dangerous, twisted people write that stuff (or so I believe), and I don’t think you’re awful, so please don’t write it anymore – you’re making me uncomfortable.”

However, that same question can be asked as a no-judgement, sincere query, one writer to another. That’s what happened when my Advanced Fantasy Writing class was doing a Q & A via Skype with Laura Anne Gilman, a Nebula nominated author, prolific novelist, and former NYC editor a few weeks ago. One of my students asked a really good question: “If you’re writing something really dark, and have to go to a really disturbing emotional place to do it; how do you get out of that headspace when you’re done?”

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Most writing advice takes the form of simple directives — Don’t be afraid to make mistakes / Write every day, even if it’s crap / Stop over-editing and submit that story / If it doesn’t sell, put it in a drawer and move on — all of which are useful bits that have certainly helped me over the years. Unfortunately, their common focus is on what one does as a writer. None of them gets at the core issue: how to be a writer.

So let’s talk about that, about being a writer. At one level, I think this is simply something you choose to do. You’re a writer when you decide you are, and an easy test is when someone walks up to you and asks what you do. If you say, “Oh, I’m a [insert day job title here]… and I also write” then no, you’re not a writer yet, not in your own head. You haven’t embraced that choice.

To help you with that, I’m going to switch hats for a bit, and go from being a writer to being a hypnotherapist. All that other writing advice, that’s all stuff for your conscious mind, all stuff you should do. To get to how to be a writer, we need to tap into your unconscious.

The unconscious is where all your emotional memories live, it’s that portion of the metaphorical mental iceberg below the water line. It’s a realm that’s much more interested in possibilities than problem solving, and it can be notoriously difficult for a person to access (let alone guide) directly. Fortunately, you have me.

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