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“Help! I Want to Write a Novel But Don’t Have Any Ideas!!!”

“Help! I Want to Write a Novel But Don’t Have Any Ideas!!!”

Pulp-O-Mizer_Cover_Image
Their problem, then, is how to Be Creative.

“How do I come up with an Idea for writing a novel?” comes up sooooo very often on the writing forums that… well, that I am writing this.

On the face of it, the question sounds silly; how can you aspire to write if you don’t have any ideas?

Actually, the questioner usually does have ideas. However, they are (1) expecting a Novel Idea to stand out because it has a choir of angels flying around it singing Vode An or (2) sense that their ideas are too vague to lend themselves to story building.

However, let’s assume the rare case #3, that the wannabe writer’s mind is actually blank. They love the idea of telling a story, think they would enjoy the process, but can’t think of what to write about.

Their problem, then, is how to Be Creative.

There are, of courses, lots of workshops on freeing your creativity. You can also buy all sorts of self help books. Most of them come down to, Stop Self Editing/ Switch off your internal editor.

There is truth in this. The book The Midnight Disease shows that there really is both an Internal Editor and an Internal Mad-as-a-Hatter-Creative. The idea is that you tell the Editor to shut up and just let the Creative splurge out whatever falls out of your brain. Only once you have a whiteboard/notebook/screen full of jottings do you unmuzzle the Editor and pick the ideas that have legs.

In this model of creativity, only this filtering process is what distinguishes professional creatives from people… well, in need of a different sort of professional help.

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Clarkesworld Magazine Now Accepting Novelettes

Clarkesworld Magazine Now Accepting Novelettes

Clarkesworld 84-smallNeil Clarke has had quite a year. His magazine Clarkesworld published its 100th issue in January — an extraordinary milestone for any fiction magazine, let alone one of the earliest online venues — and in November he and fellow Clarkesworld folks Sean Wallace and Kate Baker received a Special Award from the World Fantasy Convention. And at the Nebulas this past weekend, Neil had no less than three stories he’d edited up for awards — more than any other editor. But I think the biggest news from Neil was this low-key announcement on his blog on June 2:

For several years now, I’ve capped the upper limit on Clarkesworld’s original fiction at 8,000 words. There were several good reasons for doing that, but they were mostly financial. This past week, we passed our latest Patreon goal and secured funding for a fourth original story in every issue… Assuming the Patreon pledge levels hold, this puts us in a situation that provides me with some flexibility.

I’m considering raising our upper limit to 16,000 words. That would take us firmly into novelette territory. (Right now, we barely scrape it.) Each issue would feature no more than one novelette… We would also accompany this change with an increase in pay rate on the 4000+ side of our scale.

And in a very brief post the next day, Neil confirmed that Clarkesworld would now publish fiction up to 16,000 words. Its rates have changed as well: it now pays 10¢ per word for the first 5,000 words, and 8¢ for each word over 5,000.

This is very good news for fantasy writers of all kinds. Clarkesworld is one of the most acclaimed publications in the industry, and the fact that it published exclusively short fiction was a source of continued frustration for many writers. So if your great fantasy novelette has been languishing in your desk drawer for years without a home, now’s the time to take it out and polish it up. Clarkesworld‘s submission page is here, and we covered the May issue here.

Neil Gaiman and Kazuo Ishiguro on Sword & Sorcery

Neil Gaiman and Kazuo Ishiguro on Sword & Sorcery

Neil Gaiman in The New Republic-small

The New Republic has posted a lengthy conversation on fantasy, titled Breaking the Boundaries Between Fantasy and Literary Fiction, between Neil Gaiman (The Graveyard Book, American Gods) and Kazuo Ishiguro (The Remains of the Day, The Buried Giant). Among other fascinating topics, the two discuss sword & sorcery, and the different cultural approaches to swordfights.

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R.A. MacAvoy’s The Book of Kells

R.A. MacAvoy’s The Book of Kells

MacAvoy KellsLately I’ve been exploring portal fantasies, and last time I talked about Charles de Lint’s The Little Country. This week I’d like to take a look at R.A. MacAvoy’s The Book of Kells.

John Thornburn is a Canadian artist living and teaching in Dublin. He’s a bit of a klutz socially and emotionally, and has a tendency to focus on his work to the exclusion of everything else. His friend and sometime lover Derval O’Keane is an academic historian. The story begins when a young, injured girl suddenly appears in  John’s bathroom, having come through a portal  he inadvertently opened while working on the tracing of an old Gaelic pattern. It takes a bit of doing, but John and Derval finally figure out that Ailesh is the survivor of a Viking attack on her village in the Ireland of 985, saved by her father’s throwing her through the portal.

John and Derval take Ailesh back to her own time, and find the injured poet Labres MacCullen among the dead. John doesn’t know how to open the portal from this side, or even if it can be opened, so they accompany Ailesh and Labres to Dublin, where they hope to get help and justice from the King. Though the King in Dublin is himself a Dane at this point in history, they also want to warn him that the Vikings seem to have come as invaders, not as mere raiders who, having struck, will now go away.

Unknown to them, however, these same Vikings offered the lives of all the villagers to Odin, and the fact that Ailesh and Labres escaped puts them in a bit of a quandary. The leader decides that they must find and kill those who escaped, or forfeit their own lives – and the success of their expedition – to Odin’s displeasure.

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Averting War: It’s Not as Simple as Pacifism

Averting War: It’s Not as Simple as Pacifism

Trial-of-Intentions-small2This is Part Two of a two-part article, wherein I explore two fundamental responses a people or nation might have to the threat of war. In Part One, I talked about the “Escalation to Fight.” This time, I want to discuss averting war in the first place.

Folks who read part one will remember that I started out with the phrase, “War. What is it good for?” — a reference to Edwin Starr’s version of the song by the same name. We’ll see if the song snippet is relevant by the time I’m finished.

First, let me say, that I don’t pretend these are the only two responses to the threat of war. In fact, nations can and do engage in war as a perennial part of their industry. Or, it’s a response on religious grounds. (Thanks to those who’ve commented on Part One of this article for drawing attention to these things.) And I’m sure there are more. I’m having to be overly reductive due to spatial constraints. So, please bear with me.

So, then, if a nation or kingdom elects not to escalate to violence, another response is to try and avert war before it begins. They might engage in peace talks. They might surrender. They might try to buy their way out of the conflict. Etc. In essence, they work to find resolution to the alternative, which would eventuate in massive casualties.

To avoid the deaths of so many countrymen, a nation may prefer to be conquered. Or to cede any number of things: land, wealth. You get the idea.

And I can see how in a fantasy novel, the writer could take any of these approaches and make them work. I’m not of the opinion that it must always be an Armageddon-level battle to be interesting.

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Fantasy Clichés Done Right

Fantasy Clichés Done Right

James P. Blaylock
James P. Blaylock

Like all genres of fiction, fantasy has a growing list of clichés and played-out tropes: the orphaned farm boy who’s actually the chosen one, the quest for a magical artifact to save the world, the generic medieval European setting, the Tolkien-lite denizenry of humans and elves versus orcs, goblins, and trolls…. On one hand, it’s surprising to see these tropes crop up over and over again. Authors are supposed to be imaginative. Is it really that hard to come up with original ideas? On the other hand, it makes a good bit of sense to see certain recurring tropes. Fantasy is, after all, rooted in mythology, and one can make a strong case that fantasy taps into symbols and archetypes coded into the human psyche, whether we’re talking about Joseph Campbell’s Hero’s Journey or the simple Jungian archetype of the shadow representing the basest of human instincts.

In practice, of course, the truth lays somewhere in the middle. Mediocre writers reuse certain tropes and make them cliché because they do nothing new with them. Expert writers create new tropes or take old ones and make them new in the context of unique characters and original words.

This holds true not only for the classics, but also for new fantasy fiction, as author James P. Blaylock discovered when he was a judge for the World Fantasy Awards in 2012. “I was certain that zombies and vampires had been so overworked that I’d have no interest in any of them,” he recalls, “but then I ended up putting one of each on my shortlist: ‘From the Teeth of Strange Children’ by Lisa Hannett and ‘Younger Women’ by Karen Joy Fowler.”

With this idea in mind, here are a dozen or so books that transcend the tired fantasy clichés they utilize, as recommended by an assortment of writers in the genre. (The list is hardly comprehensive, mind you, so make sure to add your recommendations in the comments.)

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Paolo Bacigalupi on Black Swans, Crashing a Drought Conference, and Being in a Weird Place

Paolo Bacigalupi on Black Swans, Crashing a Drought Conference, and Being in a Weird Place

headshotTheWaterKnife-PaoloBacigalupi-201x300Paolo Bacigalupi’s first novel, The Windup Girl, was named one of Time magazine’s top ten novels of the year, and yet he still talks to people like me, which makes him either very strange or very cool (probably a little of both.)

On May 25th his latest, The Water Knife, will be out, and this near future science fiction novel is set in a mega-drought-stricken, American southwest. The story explores issues of water rights, climate change, and the gratuitous destruction of the state of Texas, all of which we discuss in the interview.

He also takes the time to talk about his long and winding path towards a writing career. Anyone who’s ever reached the point of despair (in other words, all aspiring writers) will want to give this a listen.

After getting off Skype with me, he had another interview with NPR. So, without further ado: Paolo Bacigalupi’s warmup interview on the day he spoke to NPR.

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Escalation to Fight: Understanding Magic in Trial of Intentions

Escalation to Fight: Understanding Magic in Trial of Intentions

Trial-of-Intentions-small2War. What is it good for?

For some reason, when I sat down to write this two-part article on war in fantasy fiction, Edwin Starr’s version of the song “War, what is it good for?” popped into my head. There’s probably a reason for that. We’ll see if it bears out as I go.

In the broadest possible terms, there are two ways a people or nation will attempt to deal with war: escalate and fight (with the hope of victory), or do all they can to avert war (without sacrificing their freedom). I admit of the oversimplification here, but it’s a short two-part article series, after all.

For part one, lets hit the first topic: escalation to fight. And I’ll use some examples from my current series to try and illustrate the point.

War is a mainstay in fantasy fiction, and in epic fantasy, particularly. The stakes are high — freedom, the right to rule, stuff like that. To win or defend such things usually requires armies, dangerous political intrigue, and war.

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Charles de Lint and The Little Country

Charles de Lint and The Little Country

The Little CountryIn talking about portal fantasies last time, I was moved to reread one of the more unusual examples of the sub-genre, Charles de Lint’s The Little Country (1991).

The book is in a very real sense two books, but it isn’t a simple play-within-a-play, story-within-a-story thing: Each book is being read by the protagonist of the other. The now-overused self-referential concept known as “meta” wasn’t so common when The Little Country was written, but it might have been invented to describe the novel. The book is extremely self-aware, something which even the protagonists are forced to recognize.

The two stories do run parallel to one another, but this isn’t a case of success in one world reflecting or depending on success in the other world, as we see in King and Straub’s The Talisman, for example. The characters don’t overlap, the settings aren’t the same, though you might say that the outcomes are. There is a physical object common to both worlds, a standing stone with an opening through which objects and people can pass. Both worlds have the tradition that passing through the stone nine times at moonrise effects some magical change – entrance into the land of the faerie, a cure for sickness or barrenness, etc.

In the thread which most resembles our world, Janey Little, a twenty-something traditional musician, finds a book in her grandfather’s attic – a one-of-a-kind hitherto unknown work left in her grandfather’s keeping by the author, an old and eccentric friend. The book is called “The Little Country.”

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How To Write a Good Fight Scene

How To Write a Good Fight Scene

Marshall Versus the Assassins-small
…my fight scenes trigger your mirror neurons (apparently).

You can’t. Not a generically good fight scene. Just like a good love scene, “good” for a fight scene depends on the literary purpose and the audience.

Let’s assume, though, that you are writing some kind of action adventure yarn — I’m qualified to advise on this because this is what I write professionally, and my fight scenes trigger your mirror neurons (apparently) — here’s what I’d tell you over a beer.

Have a Model of How the Relevant Martial Art Works

By “model” I mean that you can describe to yourself how this kind of fighting works. E.g. is it all “cut parry cut”, or about crossing blades then working on the blade, or wrestling or what?

It helps if your model is based on reality or at least experimental reconstructions — if you’re using any European weapons, check out Youtube using the search term “HEMA”. You can of course make everything up, however more and more people are becoming HEMA-literate, so there is a good chance your book will date horribly.

The model should account for all the equipment used by your combatants, e.g. What is a shield for? What weapons break the armour? This ties the combat scene into the rest of the world story and brings to life the military culture and technology. For example, if combat requires a shield, then losing a shield can drive part of the plot. Oh, and, whatever you do, don’t treat armour as set dressing or costume. If it doesn’t stop weapons, nobody would wear it.

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