Browsed by
Category: Writing

On Writing Modern Noir Fantasy

On Writing Modern Noir Fantasy

Comments 1 comment

Drake Peter McLean-smallMy first novel Drake has been described as a mix of Urban Fantasy and Noir, and I suppose it is, in a way. So what does that mean to me?

Well I think we all have an idea of what Urban Fantasy is – the king of the genre is obviously The Dresden Files, with the magical detective in a big modern city helping the cops solve the unsolvable, inexplicable paranormal crimes.

Drake’s not that.

Don Drake isn’t a detective, he’s a hitman. He doesn’t help the cops – hell, he doesn’t have anything to do with the cops if he can help it. Drake works for gangsters, and demons, and demon gangsters. He’s not Harry Dresden, not by a long way.

But he’s not Philip Marlowe or Mike Hammer either, for all that he’d like to be. The world Drake lives in is hard-boiled but he really isn’t. He’s a cynical, somewhat cowardly opportunist who does the best he can to make his way in a world he barely even understands.

A Noir world.

So what’s that? Noir needs to be dark, by definition, but I don’t think it has to be tied to any particular time period. The classic Hollywood Noir is set in LA or New York in the 1940s but it can work equally well in the backstreets of ancient Rome or the mean cantinas of Mos Eisley, or even in modern South London for that matter.

…

Read More Read More

Feast Or Famine?

Feast Or Famine?

Comments 4 comments

Tom Jones1Typically my characters don’t spend a lot of their time eating. It’s not because I’m not interested in food, quite the contrary (see my previous BG posts on the subject, here, here, and here.) No, it’s usually because, if I can paraphrase my agent for a moment, I’ve found my characters something more interesting to do. Having your characters sit down and eat is a useful device, however, in that it does give them something to do – even if it doesn’t forward the plot – while they’re talking, which usually does forward the plot. As a general rule, characters need to be doing something while they talk to each other, and if they eat, you can also use the details of the food to help with world-building and setting.

Joyce RedmanStill, even when my characters are eating, they’re not usually attending a banquet. Indeed, banquets and eating scenes in general are usually something we encounter visually, rather than on the page. Who can forget the scene in the Errol Flynn version of The Adventures of Robin Hood, where he walks into Prince John’s supper banquet with a stag on his shoulders?

…

Read More Read More

Things Your Writing Teacher Never Told You: Escaping the Darkness, or What to Do When Your Imaginary World Gives You Real Nightmares

Things Your Writing Teacher Never Told You: Escaping the Darkness, or What to Do When Your Imaginary World Gives You Real Nightmares

Comments 0 Comment

Teddy Bear Knight-small

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?”

…

Read More Read More

Let Lawrence M. Schoen Hypnotize You Into Becoming a Writer

Let Lawrence M. Schoen Hypnotize You Into Becoming a Writer

Comments 1 comment

Lawrence M Schoen-smallMost 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.

…

Read More Read More

Things Your Writing Teacher Never Told You: Pro-Tip From Craig Shaw Gardner

Things Your Writing Teacher Never Told You: Pro-Tip From Craig Shaw Gardner

Comments 0 Comment

Craig Shaw Gardner-smallOur Pro-Tip author this week is the prolific and funny Craig Shaw Gardner. Perhaps best-known for his humorous fantasy, he also writes horror and science fiction. Craig sold his first short story in 1977, and began writing full time in 1987. He’s written six or seven trilogies and a whole bunch of stories and novelizations. (At least 34 novels and two collections, and still going strong.) His trilogies include The Cineverse Cycle, Dragon Circle, and Arabian Nights.

Critique Groups and First Readers: Good Idea or Bad Idea?

Most writers (myself included) have something of a Love/Hate relationship with their prose. Often, when I start writing a story, I think “What a great idea! What a clever approach! This will be my best story ever!” And then, somewhere in the middle of the process, doubts creep in. “This is too long! No one will ever read this! I could have done a better job of characterization/ plot/ suspense/etc.”

Chances are, neither one of these visions of your work, both the high and the low, are entirely true. It’s hard to get the distance from your own prose to seriously judge yourself mid-story. This is where other readers come in. Many writers (myself included) depend on a writing group or first reader to give them perspective on what works and what doesn’t. A good writing group can gently tell you about the good and the bad in your story. You may not always agree with their proposed solutions, but their critiques will help you write a better story.

…

Read More Read More

Down These Mean Streets a Pastiche Writer Goes

Down These Mean Streets a Pastiche Writer Goes

Comments 5 comments

NOTE: The following article was first published on April 12, 2010. Thank you to John O’Neill for agreeing to reprint these early articles, so they are archived at Black Gate which has been my home for over 5 years and 250 articles now. Thank you to Deuce Richardson without whom I never would have found my way. Minor editorial changes have been made in some cases to the original text.

amis_colonel_sunPoodleSpringsPulp fans are united by an uncommon passion for literary authors and their creations. We read and re-read these seminal works time and again savoring each thrill as if discovering it anew. We read one another’s thoughts on these works in the hope of gaining a greater appreciation of the material or, at the very least, finding some justification for why they affect us so deeply. We dread to consider awakening to a world where there are no new tales of these characters to discover.

A small number of us set out on the precipitous path of making that dream a reality by adding to the existing canon of our favorite characters. Many of those who do so choose to work in the relative safety of fan fiction, content in the knowledge that none will judge their efforts too harshly. Fan fiction, however, is a double-edged sword for while it allows us to work free from criticism, we do so in the knowledge that none will treat our work as a legitimate continuation and that, at the end of the day, is what we all strive to achieve.

…

Read More Read More

Mysterion Submissions

Mysterion Submissions

Comments 0 Comment

MysterionCoverI’ve discussed Mysterion: Rediscovering the Mysteries of the Christian Faith, the anthology my wife and I are editing and publishing, on Black Gate before (here and here). We’re nearing the end of our submissions period, so I thought I’d discuss some of what’s going on with us. There’s a week left until submissions close on December 25th, so there’s still time to submit if you’d like to.

I’ve been keeping track of submissions on a weekly basis. As of Wednesday, we’ve received 385 submissions since we opened on October 15th, of which we’ve responded to 315. Most of those were rejections, but we’re currently holding 39 stories that we’re interested in publishing.

We won’t select any stories to go into the anthology until we’ve read them all. Instead, when we read a story that we think would make a good addition to the anthology, we tell the author that we’re planning to hold their story. After we’ve finished, I expect we’ll have somewhere around 50 stories that we’re holding. From those we’ll select the the ones that will go into the anthology.

At this rate, it looks pretty certain that we’ll pass 400 submissions overall. It’s even possible that we’ll pass 500, if we get a surge in the last week equal to what we got in the first week, but I think we’ll probably end up somewhere between 425-450.

…

Read More Read More

The Halt And The Lame

The Halt And The Lame

Comments 0 Comment

Heinlein WaldoOne of the details that made Richard Lester’s The Three Musketeers so unusual at the time of its filming (1973) was a level of realism previously unseen in the historical adventure movie, (think Errol Flynn’s The Adventures of Robin Hood). Lester showed us illness, filth, and poverty in  ways we hadn’t really seen in a movie that wasn’t about illness, filth, or poverty.

Aside: Oddly enough, there’s more realism of this kind in comedy than in any other genre, as though it’s okay to present disease and disfigurement in a way that make us laugh. (Disclaimer: the psychological basis of laughter is not the focus of this post)

Blade Runner did a similar kind of thing for SF movies. Maybe it wasn’t the first time we’d been shown a dark future, but it certainly was the first time we’d been shown one that wasn’t clean.  We may argue that George Lucas did it first, in the original Star Wars movie, where Luke was driving what was obviously a used flying car. (And that’s my Star Wars reference for today.)

…

Read More Read More

How to Get From Worldbuilding (or Research) to Story

How to Get From Worldbuilding (or Research) to Story

Comments 15 comments
Golden Falcon
How do you get from the cool world you just built — or researched — to an actual story?… Let’s imagine a knight on a revenge quest.

Worldbuilding is a thing.

People build Fantasy worlds for fun.

They’ve pretty much always done it, either collectively — like the storytellers who built Greek mythology and or theologians who created the medieval vision of Hell — or individually, like the quirky medieval mapmakers and of course Tolkien, and every modern GM who spends more time creating their world than playing in it, and every wannabe Fantasy author who loses themselves in the act of creation.

For a fictional world to live, however, somebody has to tramp its surface.

We need a Homer to dump Odysseus  on the Island of the Cyclops, Dante to have Virgil lead him through the Circles of Hell, and “John Mandeville” — whoever he really was — to take us to the Land of Prester John. Meanwhile, Tolkien must stop building and start writing, the GM has to assemble their players, and the modern wannabe Fantasy author has to…

Ah. That’s the thing.

Once upon a time, you could just take your hero from A to B to C, picking up plot tokens or even just getting closer to the goal while having quirky adventures on the way. We now expect a little more from our authors.

How do you get from the cool world you just built — or researched — to an actual story?

…

Read More Read More

Things Your Writing Teacher Never Told You: Pro-Tip from Gemma Files

Things Your Writing Teacher Never Told You: Pro-Tip from Gemma Files

Comments 0 Comment

Gemma Files-smallFormerly a film critic, teacher, and screenwriter, Gemma Files is a Canadian horror author who’s published four novels, two short fiction collections, a story-cycle, and two chapbooks of speculative poetry.

Five of her stories were adapted into episodes of The Hunger, an erotic horror anthology series made for Showtime by Tony and Ridley Scott. Her story “The Emperor’s Old Bones” won the International Horror Guild’s 1999 Best Short Fiction award. She’s a two-time Shirley Jackson Award nominee, and has twice appeared in the Year’s Best Fantasy and Horror. Her latest release is Experimental Film (a contemporary ghost story novel) from ChiZine Publications.

Plot vs. Character — What’s Your Opinion?

My opinion on Plot vs. Character is that you really do need time, space and wordage in order to explore both at once, like in a novel: a long-form, chaptered narrative which develops organically, changing as much through reaction as it does through action. That’s why, when I’m writing a short story, I often find myself making a calculated decision to sacrifice one for the other. It all depends on where you want to place your emphasis: if it’s a deeper exploration of character you’re after, that can mean an overall flattening and simplification of plot, whereas a complicated plot with lots of exposition involved doesn’t leave a lot of room for complex characters. Instead, you get a conglomerate of sketches as your main cast, trope-y but hopefully not cliché, people easily reduced to a few simple traits — the kind of people who show up in movie credits as Angry Librarian or Homeless Artist.

…

Read More Read More