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ON WRITING FANTASY: The Plot Thickens

ON WRITING FANTASY: The Plot Thickens

elric-storm1“Plot is what the characters do
to deal with the situation they are in.”
     — Elizabeth George

“The beginning of a plot is the prompting of desire.”
     — Christopher Charles Herbert Lehmann-Haupt

“Character is plot, plot is character.”
     — F. Scott Fitzgerald

What happens next?!?

In this third installment of an ongoing series I’d like to talk about the role of “Plot” in Fantasy Fiction. (Previous installments covered Originality and Style.)

On the surface, Plot sounds extremely simple. And it can be. But what is it exactly? Basically, it’s nothing more than What Happens. Plot is a series of events that follow one another in a logical order. Although sometimes that order can be intentionally mixed up to create more dramatic tension (ala Tarantino’s PULP FICTION). There is an art to writing a good plot, to being original, to rising above the recycling of “stock plots” and tired formula.

So what is the secret of writing a great plot? One word: CHARACTER.

Fitzgerald said it best: “Character is plot, plot is character.” This is a sentiment Alan Moore also echoed in his writings about the craft of writing. Another way of saying this is that Characters Will Follow Their Desires. When you have a well-imagined setting all you have to do is drop some well-imagined characters into it and let ’em go. Like scientists dropping mice into a little maze. What do the mice want? The cheese at the end. So they run and run and run until…Voila!…they solve the maze and get the cheese. (Or run themselves to death, if the story is a tragedy.)

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Borderlands Press announces 8th Annual Writers Boot Camp

Borderlands Press announces 8th Annual Writers Boot Camp

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Borderlands Press, who’ve been publishing specialty books for collectors since 1989, announced their 8th Annual Writers Boot Camp, January 28th – 30th , 2011 in Towson, Maryland.

They call it “Boot Camp” for a reason. You won’t wandering through lonely forests, wondering what it means to be a writer for countless hours. This from the website:

You will be expected to log in many hours of intensive analysis and criticism from your peers and the four guest instructors who will be guiding you through all the major elements of writing fiction. You will be required to read (in advance) the submissions of your fellow workshop participants. (ALL OF THEM)

The weekend-long boot camp consists of lectures, round table critiques, readings of your work, Q&A panel discussion, and analysis of your work by the instructors. Instructors this year include Gary Braunbeck, Mort Castle, Ginjer Buchanan, Richard Chizmar, Douglas Clegg, Jack Ketchum, Elizabeth Massie, David Morrell, Thomas F. Monteleone, F. Paul Wilson, and Douglas E. Winter.

There will be two Sessions, Novel and Short Fiction, and each accepts only 16 to 20 participants, so be sure to get your application in early. Any and all genres are accepted; fee is $995.

Complete details are on the Borderlands Press website.

Climbing Aboard the Dragon: Battles Inside and Out

Climbing Aboard the Dragon: Battles Inside and Out

I love writing.  I love the swirl and swing of words as they tangle with human emotions.
— James Michener

So you’re ready to embark on writing your new fantasy story, hopefully one that the folks at Black Gate will want to snatch up as soon as you type the words “The End” on it.

You’ve got your story idea, sitting there like a lump of Play-Doh that still conforms to the shape of the plastic container you just shook it out of.  You know, that perfect cylinder shape that is exciting to absolutely no one.

Time to start squishing and pulling and twisting. But where to begin, you ask? It all starts, of course, with your main character.

As we discussed earlier, most people tend to start a story with a person, in some sort of situation. But let’s just say you haven’t even gotten that far. You just have an average person, sitting in a white room. Nothing’s happening.

Let’s start by getting inside that character’s head. Which you can do most effectively by asking questions:

  • What is the one thing he or she (or it — this is speculative fiction, you know) wants the most out of life?
  • What’s the one thing your protagonist will do nearly anything for?
  • Is it an object? Another person? A goal? An idea?

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Wolfe’s lost road: Discovering an author’s personal essay on J.R.R. Tolkien

Wolfe’s lost road: Discovering an author’s personal essay on J.R.R. Tolkien

gene-wolfe-1Freedom, love of neighbour, and personal responsibility are steep slopes; he could not climb them for us—we must do that ourselves. But he has shown us the road and the reward.

–Gene Wolfe, “The Best Introduction to the Mountains”

J.R.R. Tolkien has so many readers, and his works have become so pervasive in the broader culture, that coming to his defense hardly seems necessary anymore. Haven’t we established Tolkien’s credentials by now? Magazines like Time have selected The Lord of the Rings as one of the top 100 novels ever written, according to Wikipedia it’s one of the top 10 best-selling books of all time with 150 million copies sold, and the movies upon which it’s based won several Academy Awards, including Best Picture. Tolkien has made it onto several college syllabi and there are academic journals and numerous critical studies devoted to his works, including Tom Shippey’s par excellence works Author of the Century and The Road to Middle-Earth.

But someone always comes along to attack Tolkien on the basis of his conservatism or religion, his perceived racism, and/or the perceived shallowness/non-literary nature of The Lord of the Rings, and I’m reminded of why we need to vigilant. For example, David Brin of Salon.com, Science fiction/fantasy author Richard Morgan (author of The Steel Remains), and Philip Pullman (author of the His Dark Materials trilogy) have all taken shots at The Lord of the Rings and/or Tolkien himself in recent years, calling him outdated and dangerously conservative (Brin), a refuge for 12-year-olds and adults who have never grown up (Morgan), and shrunken and diminished by his Catholicism (Pullman).

Now I’m not saying Tolkien is above criticism, but critics like Brin and Morgan have essentially gutted The Lord of the Rings, attacking it on an existential basis and more or less claiming it should be placed in the dustbin of history. When people take aim at classics like Ulysses or Moby Dick you rarely see criticism elevated to the level of calling into question the very existence of these works. Yet Tolkien criticism for whatever reason frequently ascends to shrill peaks of outrage.

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ON WRITING FANTASY: A Timeless Style

ON WRITING FANTASY: A Timeless Style

dunsany“If any man wishes to write in a clear style, let him be first clear in his thoughts…”
–Goethe

“Don’t tell me the moon is shining; show me the glint of light on broken glass.”
–Anton Chekhov

“A good style should show no signs of effort. What is written should seem a happy accident.”
–W. Somerset Maugham

 

The five basic Elements of Fiction are character, plot, setting, theme, and style. In a previous post I added Originality to this list, especially when it comes to Fantasy Fiction. This time around I’d like to talk about Style…what it is, why it’s important, and most importantly how to get one.

Style is important in all kinds of writing, but Fantasy has its own stylistic demands. Very few people alive today are experts at writing in Old English, Middle English, or other antique forms of language. And what’s more, very few readers want to read stories/book written in such a style.

Consider this passage from E. R. Eddison’s fantasy masterpiece, THE WORM OUROBOROS:

“Then befell great manslaying between the sea-cliffs and the sea. The Demons, taken at that advantage, were like a man tripped in mid-stride by a rope across the way. By the sore onset of the Witches they were driven down into the shallows of the sea, and the spume of the sea was red with blood. And the Lord Corinius, now that he had done with feigned retreat, fared through the battle like a stream of unquenchable wildfire, that none might sustain his strokes that were about him.”

worm1For those of us who relish Shakespeare and thrill to antique forms of language, this brilliant passage is highly enjoyable. Yet there is no doubt that its style is vastly outdated and many modern readers would shy away from this fantastic novel simply because of its weight of style and ponderous language. Beauty is in the eye of the beholder, but keep in mind that Eddison published his masterwork way back in 1922. Although beautiful and perfect for the feel of high fantasy, that language just doesn’t fly today…unless you’re staging a production of HAMLET.

Instead of antique language, today’s fantasy demands a certain timelessness of language. That’s where the writer’s Style means everything.

There’s on old show-biz joke that goes: “How do you get to Carnegie Hall?” The punch line: “Practice.” It’s much the same with Style. The absolute WORST thing you can do as a young/beginning writer is consciously emulate someone’s style. Imitation may be the sincerest form of flattery, but it is NOT the best route to great writing. Style comes mainly from a writer’s subconscious and natural tendencies…it is as distinctive as a thumbprint and it can change over time. We all change as we grow, learn, and develop in life, and so it’s only perfectly natural for our writing style to change.

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Climbing Aboard the Dragon: 10 Tips to Better Productivity

Climbing Aboard the Dragon: 10 Tips to Better Productivity

Every writer I know has trouble writing.
— Joseph Heller

Previously in this series about writing, we’ve talked about ways to get story ideas as well as different approaches you can take to writing your story, novel, comic script, screenplay, or other related screed, tome, or pamphlet.

Pen image by Michael ConnorsBut what about the single most important aspect of the writing process? Yes, I’m talking about butt-in-chair time. How do you get yourself into a good schedule and motivated to write?

Very good question.

My answer? Below I’ve listed my top-ten list of tricks and techniques I’ve used that help me get more productive (and less annoyed with myself for not having gotten and writing done):

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ON WRITING FANTASY: The Quest for Originality

ON WRITING FANTASY: The Quest for Originality

silmarillion“Utter originality is, of course, out of the question.”
 –Ezra Pound

“It is better to fail in originality than to succeed in imitation.”
 –Herman Melville

“Originality is nothing but judicious imitation.”
 –Voltaire

How does one go about writing a great piece of fantasy? Everybody seems to have his or her own answer. A lot of that depends on what you (personally) consider to BE “great fantasy.” In my view, the fantasist must be, first and foremost, original. That’s easier said than done.

We all know that fantasy tropes, plots, and devices are recycled endlessly, and that’s as it should be, since fantasy fiction is simply the modern equivalent of the myth cycles of early humanity. The heroes, conflicts, and adventures touch on the timeless themes that run through all literature, from BEOWULF to THE ODYSSEY to LORD OF THE RINGS to our modern fantasy epics. It’s been said before that “There are no new stories, just new ways to tell them.” And that’s the job of the modern fantasy writer: to tell a mythic story in an entirely new way. 

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Climbing Aboard the Dragon: Three Paths To a Story

Climbing Aboard the Dragon: Three Paths To a Story

“There are nine and sixty ways of constructing tribal lays, and every single one of them is right.”
— Rudyard Kipling

Get out the map...Okay, writers. Let’s say you have a short story idea or two, but you don’t know the best way to write it. Some sage writers with some sales under their belts tell you that you Must Outline. Other wisened authors tell you to just, “Go where the story takes you,” that you shouldn’t outline at all.

So what’s a new writer to do? Who’s right?

Well, they all are, of course. They’re right about what works for them.

You have to figure out what works best for you.

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Locus magazine announces the 2010 Locus Awards Winners

Locus magazine announces the 2010 Locus Awards Winners

boneshaker2The 2010 Locus Awards winners were announced today, at the annual Science Fiction Awards Weekend in Seattle. The winners include:

     Best SF Novel: Boneshaker, Cherie Priest (Tor)
     Best Fantasy Novel: The City & The City, China Miéville (Del Rey; Macmillan UK)
     Best First Novel: The Windup Girl, Paolo Bacigalupi (Night Shade)
     Best Young Adult Book: Leviathan, Scott Westerfeld (Simon Pulse; Simon & Schuster UK)
     Best Novella: ‘‘The Women of Nell Gwynne’s,’’ Kage Baker (Subterranean)
     Best Novelette: ‘‘By Moonlight,’’ Peter S. Beagle (We Never Talk About My Brother)
     Best Short Story: ‘‘An Invocation of Incuriosity,’’ Neil Gaiman (Songs of the Dying Earth)
     Best Anthology:  The New Space Opera 2, Gardner Dozois & Jonathan Strahan, eds. (Eos; HarperCollins Australia)
     Best Magazine: The Magazine of Fantasy & Science Fiction

The Locus Award has been presented annually since 1971. It’s given to winners of Locus magazine’s annual readers’ poll. You can find the complete list of winners at Locus Online.

Congratulations to all the winners!

Graham McNeill’s Empire wins the David Gemmell Legend Award

Graham McNeill’s Empire wins the David Gemmell Legend Award

graham-and-pigstickerGraham McNeill’s novel Empire: The Legend of Sigmar (Black Library) is this year’s winner of the David Gemmell Legend Award for Best Fantasy Novel of 2009.

The list of nominees, including Brandon Sanderson, Joe Abercrombie, and Robert Jordan, was announced April 7.

The David Gemmell Legend Award  is a fan-voted award administered by the DGLA. The Legend Award for Best Fantasy Novel was first granted in 2009, to Andrzej Sapkowski’s Blood of Elves.

As winner, McNeill received a replica of the mighty Snaga, the axe wielded by Druss in David Gemmell’s novel Legend.

I think George Mann, publisher of Black Library, captured my thoughts nicely when he said:

‘We are delighted for Graham – not only is this a wonderful acknowledgement of a fine writer, but it is an important victory for franchise fiction, which is often overlooked by the wider genre community.’

The Ravensheart Award, for best Fantasy Book Jacket/artist, went to Best Served Cold – art and design by Didier Graffet, Dave Senior and Laura Brett.

The Morningstar Award for Best Fantasy Newcomer/debut went to Pierre Pevel’s The Cardinal’s Blades.

Black Library editor Nick Kyme has a lengthy blog entry on the awards ceremony here.