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Things Your Writing Teacher Never Told You: The Younger Sibling of 1st & Tight Limited 3rd: Simple Limited 3rd & The Case for Choosing A Single-Character POV

Things Your Writing Teacher Never Told You: The Younger Sibling of 1st & Tight Limited 3rd: Simple Limited 3rd & The Case for Choosing A Single-Character POV

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Victorian POV

This is Part 5 in the Choosing Your Narrative POV Series.

We’re continuing our examination of eight POV approaches commonly used in Fantasy. (You can find links to the previous installments in this series at the end of this article.) This week we’re looking at another variation of 3rd Person that is more closely related to 1st Person than to the Omniscient 3rds. And, I’ll explain why I think a single POV is most often the best choice for a traditional fantasy narrative.

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World Fantasy 2015: It’s the Rosencrantz and Guildenstern Are Dead of Convention Reports

World Fantasy 2015: It’s the Rosencrantz and Guildenstern Are Dead of Convention Reports

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The Saratoga Hilton

The Saratoga Hilton, site of the 2015 World Fantasy Convention

Ask a literary agent how writers should pursue representation, and they almost always say, “Go to any convention, and we’ll all be in the hotel bar.”

In years past, I’ve tried agent/author speed dating at the Nebulas weekend, pitch sessions with agents at writing conferences, commenting on agents’ manuscript-wish-list blog posts — all the in-person variations but the bar, because the bar is not my natural habitat. Then again, in years past, I didn’t have an award in my pocket. Lots of people may be ambivalent about awards, but agents like them. This year I figured I might be out of my element, but I would no longer have that aura of desperation that surrounds unpublished novelists with no specific prospects. I finally had something an agent might want.

So I set my sights on the World Fantasy Convention, a con known for a base of attendees consisting almost entirely of professionals in the field. I love a good panel, I love a good reading, I love a good casual schmooze, but I had a mission. One that was certain to throw me into a wide variety of interactions that would range from the awkward to the absurd, with perhaps a little sweet spot of productivity in the middle.

When John O’Neill asked me to write a con report, I told him I had none of the kinds of impressions people record in them. What I had instead was my misadventures in agent hunting. John was laughing already, and urged me to post it.

If you want to know about the World Fantasy Awards and their banquet, memorable quotes from notable figures, the controversy over the toothless harassment policy, I’m not your girl. Not this time, anyway.

But you can time-travel back to the start of my most recent unfinished agent hunt and watch me indulge my hubris.

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The Series Series: Why Do We Do This To Ourselves? I Can Explain!

The Series Series: Why Do We Do This To Ourselves? I Can Explain!

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The Wheel of Time-small

What’s up with the Big Fat Fantasy books? Books that crest a thousand pages, books that fell forests, books that travel in savage packs of series. We wait three years, five years, ten years for the next volume. Meanwhile, the scope of what the author must remind readers about between installments expands (a storytelling problem anatomized over here by Edward Carmien). We click over to the fan-run online encyclopedia to remind ourselves who the characters are, both because it’s been so long since the last volume, and because the cast size is just that large.

Yet many of us love such books. In my case — and maybe yours, too — not just a few odd specimens of the type, but the type itself.

Thomas Parker laid out all the objections that can be leveled against the sprawl of our genre’s most popular novels, not as an outsider but precisely as an insider shocked at what has become normal to him. (Embrace the tongue-in-cheek hyperbole and just go with it — the main point’s still sincere.)

Someone please tell me. Why? Why do we do this to ourselves, we devotees of science fiction, horror, and (especially) fantasy? What did we do to deserve this? What crime did we commit in some previous existence that we now have to expiate with such bitter tears? Judge, I deserve to know! I demand answers!

If readers are asking themselves that question in that way, even in jest, you can bet the authors are, too, often with a greater level of frustration.

I have to marshal all my hubris to say this in public, but guys, I think I might have the answer. Seriously, not just an answer, but maybe the central answer.

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Things Your Writing Teacher Never Told You: Pro-Tip From Theodora Goss

Things Your Writing Teacher Never Told You: Pro-Tip From Theodora Goss

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Theodora Goss-smallThis week’s Pro-Tip comes from Theodora Goss, a popular and multi-award nominated writer of fairy tales and poetry who teaches writing at Boston University and the Stonecoast MFA program. She has been a finalist for the Nebula, Locus, Crawford, Seiun, and Mythopoeic Awards, as well as on the Tiptree Award Honor List. Her short story “Singing of Mount Abora” won the World Fantasy Award.

Do You Write for More Than One Medium or in More Than One Genre? Why?

Let’s see, what have I written? A novel, which is coming out from Saga Press in 2017, with a sequel in 2018. Novellas, short stories, poems, essays. Some of my poems have been set to music, although they weren’t intended as song lyrics. I’ve written a poem to accompany a work of art in an exhibit. I’ve even written academic articles. There are certainly things I haven’t tried, but I’d like to . . .

Why do I write in different genres? Part of the reason is that for me, writing is half craft and half art. Writing in different genres lets me work on my craft: writing a poem, for example, will force me to pay attention to rhythms and the sounds of language, while writing a novel is an exercise in plotting, in constructing a more thoroughly realized world than I can create in a short story. Every genre requires something different from me, and writing in them all allows me to remain flexible, to practice my craft in a variety of ways.

The other part of the reason is that I love doing different things, just like a dancer who is trained in ballet but does modern and jazz, for the fun of it, to see what they will require from her, to rise to new challenges. I love new challenges! I haven’t yet written a script or a screenplay, but who knows… maybe someday!

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Living in a Moroccan Medina

Living in a Moroccan Medina

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The Jemaa al-Casbah, the mosque in the Casbah, just uphill from my house, that broadcasts predawn sermons over a loudspeaker.
The Casbah mosque, just uphill from my house, broadcasts predawn sermons over a loudspeaker.

Hello again, Black Gate readers! You may have noticed that I dropped off the blog, and indeed the rest of the Internet, for all of October. You did notice, didn’t you? You didn’t? Well, I was gone. I spent the entire month on a writing retreat in Tangier, Morocco. I’ve written about visiting Tangier before on this blog, but this time I decided to dedicate a longer time in the city to some writing. My current project, The Last Hotel Room, is a novel set in contemporary Tangier, and I thought it a perfect opportunity to try out my own version of a writing retreat.

Through local contacts I was able to rent a house in the medina, the old historic quarter. My house was a traditional building of northern Morocco — two stories and a rooftop terrace surrounding an airshaft topped with glass. Sunlight and ventilation came courtesy of the airshaft, the only other windows being small ones in the downstairs kitchen and upstairs kitchenette. The interior was cleverly designed so that each room felt open to the sunlight from the airshaft while remaining out of view of the other rooms, providing openness and privacy at the same time.

This sort of architecture has an unusual acoustic effect. Noises next door and on the street just outside sound like they’re coming from inside the house. Your neighbor’s door opening sounds like your door opening. It’s a bit weird at first, but it never makes you nervous because your house is a fort. Doors are made of metal and secured with heavy bolts. The airshaft has a cage-like barrier to keep people from dropping in unannounced. My two windows were both well above street level and protected with iron bars.

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Things Your Writing Teacher Never Told You: 1st Person and Tight Limited 3rd – A Closely Related Duo

Things Your Writing Teacher Never Told You: 1st Person and Tight Limited 3rd – A Closely Related Duo

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water drop POV

This is Part 4 in the Choosing Your Narrative POV Series.

We’re continuing our examination of eight POV approaches commonly used in Fantasy. This week you’ll find our second and third POV forms – First Person and Tight Limited 3rd – are so similar they’re virtually identical twins. Think of the I vs. He or She pronouns as names: the equivalent to dubbing twins Mary and Carrie.

  1. 1st Person

This uses the I/Me/My pronouns. This can be a very powerful and intimate point of view.

But it can come across as self-indulgent and can slow the pacing of the story. It is more difficult than it first looks to do it successfully, though it’s not nearly as difficult as 2nd Person.

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Things Your Writing Teacher Never Told You: Pro-Tip From Martin Mundt

Things Your Writing Teacher Never Told You: Pro-Tip From Martin Mundt

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Martin Max-smallThis week’s Pro-Tip comes from Martin Mundt, who has a cult following among attendees of live readings series in Chicago, and fans of dark, twisted, humorous horror. His third short story collection, Synchronized Sleepwalking, has just come out.

To Outline or Not to Outline — What Works for You?

I don’t know if I approach the concept of outlining a story in the same way as anyone else. I start with an idea, and then I begin brainstorming about it, coming up with scenes, characters, dialogue and descriptions that seem appropriate. These can be anywhere from one sentence to one page long. Somewhere along the line of writing down these bits and pieces of the story – whether they’re bits and pieces I end up using or not – I end up figuring out the story and the characters. I normally end up with between 4 and 20 pages of notes, and I usually get the opening and closing scenes near the beginning of the process. The bulk, but not all, of the scenes, in the middle of the story, come later. Then I arrange the scenes in order, and fit them all together from beginning to end.

So, it’s not an outline actually, but it’s the way I’ve always written stories, and probably one of the reasons my stories sound a little off. For good or bad, I can’t say.

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Quick and Dirty Outlining for NaNoWriMo

Quick and Dirty Outlining for NaNoWriMo

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Pulp-O-Mizer_Cover_Image
In a retro SF setting, Derick and Tina are freelance archaeologists. He’s a veteran soldier but she’s a poor little rich girl who thinks it’s all an adventure…

(I was going to blog about stuff related to Swords Versus Tanks (so about swords and tanks, mostly) but I’m busy editing Episode 3 (“Pyramid of Blood”) and NaNoWriMo is here…)

The writing process is always a cycle of trial and error, call it “create and tinker.” Humans are better at problem solving than inventing in a vacuum. No surprise, then, that the real story building usually happens in the tinker phase. Unfortunately, most new thoughts apply to characters and plot, e.g. we look at the scene we just wrote and realize it would be better with ninjas, and if the main character lacked her right foot. Sure we can write the rest of the book as if that were now true, but as the changes accrue, most of our first draft becomes condemned, which seems… inefficient. This is why I like outlining.

Now I think the optimum outlining system helps you engage with different levels of your story, hence my book Storyteller Tools: Outline from vision to finished novel without losing the magic. Alas, since NaNoWriMo is now on us, you’re probably feeling too twitchy to read it or anything like it!

So, here instead is a hacked-down approach that should still help…

First, Review Your Objectives

Your aim is to produce a 50,000 word novel in a month. Allowing an average of 5K words a chapter, that means a mere 10 chapters. Each chapter comprises 1 big scene or 2 regular scenes.

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Hearing Gulf: A Conversation With Allyson Johnson

Hearing Gulf: A Conversation With Allyson Johnson

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This Gulf of Time and Stars-smallI’m delighted to have the chance to introduce you to the voice of the audible.com audiobook edition of This Gulf of Time and Stars, as well as the Trade Pact trilogy. Hi Allyson!

Allyson: Hi Julie! It is truly a pleasure to be having a conversation with you about the Trade Pact world. Ordinarily, the only person I’m able to speak with about a book is the engineer who’s recording me. So this is a real treat!

For me too. I didn’t expect to be involved with the audiobook process at all, let alone meet the actor! You and I have had a few phone calls to discuss vocabulary over the four books. Anyone who clicks on the sample of the latest will know at once what a wonderful job you’ve done, Allyson. I know you prepared well in advance. You told me you listened to your own recordings of A Thousand Words For Stranger, Ties of Power, and To Trade the Stars before you tackled Gulf. What did that help you accomplish?

Thanks so much for your kind words. To be honest, although I tuned into a few choice sections of the other two titles, I only had time to listen to Trade all the way through, prior to recording Gulf. But I always take copious notes about character descriptions, vocal characteristics, accent choices, pronunciations, etc. whenever I prep a book. So I was able to refer back to the index cards I’d previously created for the trilogy and create a spreadsheet that would allow for quick and easy reference in the booth. It had, however, been three years since I’d last entered Trade Pact space, as it were, and there’s nothing like hearing long passages of dialogue to refresh my mind. Listening also reminded me of plot points I hadn’t thought about in a long time, which allowed me to pick up where the story left off once I actually began narrating Gulf. I try to be mindful of the fact that listeners sometimes elect to hear books in a series back-to-back. So I need to make the transitions between those stories as seamless as possible.

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Things Your Writing Teacher Never Told You: A Closer Look at Some POV Styles Commonly Used in Fantasy (Starting with Some Intriguing Uses of 2nd Person)

Things Your Writing Teacher Never Told You: A Closer Look at Some POV Styles Commonly Used in Fantasy (Starting with Some Intriguing Uses of 2nd Person)

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Castle POV

This is Part 3 in the Choosing Your Narrative POV Series.

Most English teachers will tell you there are 3 Point of View (POV) forms: 1st Person, which uses the I pronoun; 2nd Person, which uses the you pronoun; and 3rd Person, which uses the he, she or they pronouns. That’s true, as far as it goes. But like a good jazz improvisation, there are a lot of unique riffs that can be built around these three foundations, often mixing, matching, and masquerading as one of these three forms.

My friend and former co-editor Eric Cherry and I once brainstormed more than 25 POV variations, and realized we could have come up with even more. But over the course of this series of articles, I’m going to highlight and explore eight of them.

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