Showing posts with label Writing How To. Show all posts
Showing posts with label Writing How To. Show all posts

Friday, March 31, 2017

World Building


One thing readers of fantasy look for is a journey to a magical world that is unlike the mundane world we all inhabit, so building that world is one of the most important tasks of a fantasy writer and also one of the most fun.
There are two basic types of world builders, sometimes called architects and gardeners. Before they even begin to write the story, an architect takes days, weeks, months outlining every intricate detail of their world from economics to politics to magic. They will create whole notebooks full of climate data, geography, types of inhabitants, religious systems, and even holidays. There are two basic dangers to this type of world building. The first is using it as an excuse to delay beginning the actual story. It can become a distraction/procrastination tactic to combat a writer’s anxiety about whether or not they are truly good enough to be a writer. (An anxiety nearly all writers share.) So a writer needs to know when to stop world building and start writing. The second danger is to use every detail imagined within the novel itself. You spent time creating it, so you need to share it, right? Wrong. The writer will always know more about the world that actually appears in the story itself. As an author, you only reveal as much of your world as the reader needs to know. The details of the world should emerge gradually as they are needed for plot and character development, not be dumped on the reader because the writer created a cool aspect of their world that doesn’t matter to the story itself.
The second type of world builder is often called a gardener. A gardener will have the seeds or the very basics of their world in mind and allow that world to grow as they write the story. They don’t know everything about their world when they begin, but allow it to emerge as the story needs it. This type of world builder also faces potential problems. The first is a shallow or insufficient developed world with too many aspects of it unexplored. A shallow world will not satisfy the reader. The second problem is continuity errors. The author may claim one thing about the religion on page 5 that is contradicted by the scene on page 94 that doesn’t mesh with what they bring out on page 296.
Either method can work and work beautifully as long as the author is aware of the dangers and guards against them. The problems of both methods will be inevitable in the first draft and is one of the many tasks that will need to be addressed in revision.
Some people believe that since they are creating something that doesn’t exist, they can do anything they want with it. This is true only to an extent. When you are creating a new world, you are asking your readers to suspend their disbelief for the length of the story. The reader knows that dragons and magic don’t exist, but during the time they are emerged in your story, they should be willing to pretend they do. In creating a suspension of disbelief, the author will find the reader a willing accomplice. Fantasy readers come to a fantasy novel with an absolute willingness to loose themselves in a make-believe world. If they didn’t want to temporarily believe in unicorns and fairies, they would have chosen a different genre. But the reader will turn against the author if the author doesn’t create a believable world, and once a reader loses their suspension of disbelief, it is almost impossible to get back. They probably won’t finish the current novel, and they certainly won’t read another by the same author.
So how does an author keep the readers’ suspension of disbelief? The following 4 rules lay that out. (Note: The only unbreakable rule of writing is, does it work? However, if these rules are followed, it will work most of the time.)

Rule #1: Your world needs consistent rules. Unicorns can’t be drawn only to virgins at one point in the story and then come to your non-virgin main character at the moment she has need of a unicorn. Dragons can’t need 100 lbs of meat a day, but exist in a desert without much life. Fantasy doesn’t mean illogical. Readers will readily believe something that they know not to be true, but they will balk at anything that insults their sense of logic.

Rule #2: Anything in your world that also exists in the real world either needs to be consistent with what the reader knows of reality or have an explanation for why it isn’t. So if you’re including such aspects that you have little experience with, you need to research them. One glaring examples of this problem are horses. Horses are a staple of epic fantasy, but few in the modern world have had much interaction with horses. They aren’t like cars with legs, which you can ride all day with only brief stops to load them with fuel and simply park and forget about at night. They are living beings that need a lot of care and have restrictions on their physical strength and endurance. If you are going to include horses in your world, make sure you understand horses.

Rule #3: Include diverse people. No group of people (or elves, fairies, or dwarfs) is all good or all bad. If you have a large enough group, you will some assholes in the mix, some truly caring and good people, and a whole lot of people with varying degrees of assholeness and niceness. Nor will they all think, believe, or act the same way. You may decide in your world that dwarfs are obsessed with mining gold and gems, but if your novel has a large enough sample of dwarfs, there should be some who prefer to play the lute or carve pictures into the rock walls of the caves. A society of only knights and nobles also couldn’t exist. It would also need farmers and artisans.


Rule #4: Your world needs to be structured in such a way that it addresses real world realities, such as food, clothing, shelter. If a society is to exist, human needs must be met. If they aren’t, society is unstable and won’t last long.

What's your favorite fantasy world? Please tell us in the comments below.

Friday, March 17, 2017

Novel Openings: Don't Begin at the Beginning

(Note: some of the following has been adapted from Rayne Hall's blog.)

I can't remember what show I was watching or which book I was reading, but one character needed to tell another what had happened. She says, "I don't know where to begin."

He responds, "Begin at the beginning."

For novel openings, this is bad advice. Hall likens this to starting to cook after your dinner guests have arrived. The beginning of nearly anything is boring and won't catch your reader's interest. The other common advice is begin with action. Although this is slightly better than begin at the beginning, I don't find it fantastic advice either. For one thing, action can be confusing when none of the characters or even the setting have been introduced. (And confusing the reader is the greatest sin of an opening. Nothing stops a reader reading more quickly than confusion.) Second, if the reader doesn't care about the characters, the action has little to no emotional impact.

An effective opening needs to do three things:

1) Set time and place. 

Readers need to be oriented to the world they are inhabiting right away. Not in intricate detail, but enough so they feel grounded. The reader needs to know if she is in contemporary USA, medieval Europe, or a space colony orbiting the planet Xenon. Let's look at the opening of Storm Front, the first book in Jim Butcher's Dresden Files series:

The mailman walked towards my office door, half an hour earlier than usual. He didn’t sound right. His footsteps fell more heavily, jauntily, and he whistled. A new guy. He whistled his way to my office door and then fell silent for a moment. Then he laughed.
Then he knocked.
I winced. My mail comes through the mail slot unless it’s registered. I get a really limited selection of registered mail, and it’s never good news. I got up out of my office chair and opened the door.
The new mailman looked like a basketball with arms and legs and a sunburned, balding head, and he stood chuckling and reading the sign on the door glass. He glanced at me and hooked a thumb towards the office glass. “You’re kidding, right?”
I read the sign (people change it occasionally), and shook my head. “No, I’m serious. Can I have my mail, please.”
“So, uh. Like parties, shows, stuff like that?” He looked past me, as though he expected to see a white tiger, or possibly some skimpily clad assistants prancing around my one-room office.
I sighed, not in the mood to get mocked again, and reached for the mail he held in his hand. “No, not like that. I don’t do parties.”
He held on to it, his head tilted curiously. “So what? Some kinda fortuneteller? Cards and crystal balls and things?”
“No,” I told him. “I’m not a psychic.” I tugged at the mail.
He held onto it. “What are you, then?”
“What’s the sign on the door say?”
“It says ‘Harry Dresden. Wizard.'”
“That’s me,” I confirmed.
“An actual wizard?” he asked, grinning, as though I should let him in on the joke. “Spells and potions? Demons and incantations? Subtle and quick to anger?”
“Not so subtle.” I jerked the mail out of his hand, and looked pointedly at his clipboard. “Can I sign for my mail please.”
The new mailman’s grin vanished, replaced with a scowl. He passed over the clipboard to let me sign for the mail (another late notice from my landlord), and said, “You’re a nut. That’s what you are.” He took his clipboard back and said, “You have a nice day, sir.”
There is no long description of setting here. But the reader is oriented. We have a mailman delivering mail in an office building. This clues the reader in that he is in contemporary America. Also, that we are probably in a city. We also get the idea that this is urban fantasy because Harry insists that he is "an actual wizard." The reader can feel comfortable; more details of setting can follow later.
2) Make the reader care about your main character.
If the reader doesn't care about the character, she rarely cares about the plot. If we don't care about a person, why would we care what happens to them? Butcher makes us care about Harry in his opening. He is about to get bad news. We can sympathize with someone getting bad news. He is used to mocked. We tend to side with people being made fun of. Yet he has an attitude. The sign on his door announces him as a wizard even though he knows he'll be laughed at for it, and in the midst of being mocked, he doesn't take the easy out the mailman gives him about doing children's parties. We like that kind of strength. 
3) Intrigue the reader.
You want to present the reader with a mystery, make them curious so that they need to read on to learn the answer. What is this bad news that Harry just got? Few readers would stop before learning that. What does a wizard do in a world where people think he's a nut? 
This beginning is certainly not at the beginning of Harry's story, which we will learn later through flashback. Nor is there a lot of action. A mailman knocks, Harry answers and gets his mail. But if the reader is anything like me, she will certainly go on reading, for the next fifteen books. When, oh when, will #16 be here?
While the beginning of a novel is absolutely crucial to selling your book to publishers, agents, or directly to readers, as a writer, don't worry about this when starting to write the novel. It's nearly impossible to write a compelling beginning or to even know where the story should start if you haven't written the novel yet. A compelling beginning is created in the revision process, not the first draft. So don't spend so much time agonizing over your opening so that you never actually write the novel. Start wherever you feel inspired, and fix it on revision.

Friday, March 10, 2017

Summary Versus Scene

I have been really busy getting the expanded version of The Goddess's Choice ready for the editor, so I haven't been as faithful in keeping up my blog. Sunday, I sent the manuscript off, so hopefully I'll have a little more time.

Today's writing topic is Summary versus Scene. What are they? When do you choose one over the other?*

Summary is where you take what happened in a relatively long period of time and convey it in a short space. It compresses time and detail, and it is mostly used to transition between scenes, to jump in time when nothing of vital importance happens to the story, or to fill in bits of background. It tells things that are necessary to know for the story to make sense, but aren't as significant to the plot or development of the character. Summary should be used sparingly and generally only in short sections. Think of the montage technique in film making.

In Scene, on the other hand, you deal at length with what happened in a short period of time. Scene invites the reader into the story and makes them part of the action. Scene makes your readers see, feel, smell, taste, and hear what it happening. It is in scene where everything important should happen.

This is the beginning scene from The Bull Riding Witch:

I woke with my head pounding and my tongue coated with the fur balls of ten thousand cats. I nearly gagged at the stench that filled the air, a scent that combined the reek of inside of a knight’s armor after jousting with the odor of rotting flesh.
Confused, I examined my surroundings. Hung on the wall facing me was a portrait of a huge bull with its head down and its heels kicked high into the air. Incredibly, a man, hanging onto a rope with only one hand, sat on the bull’s back. Why would anyone ride a bull? Bulls were dangerous and impossible to control.
Piled high on the bedside table were plates covered with the remains of several meals, bowls with a few dregs of sour milk, and empty bottles. The sheet I laid on was stained with various substances I didn’t want to identify. Where was I? This was certainly no place worthy of me, the crown princess. Maybe I had somehow ended in the servants’ quarters, although I couldn’t imagine how.
I tried to sit up, and my head felt as if it were going to split in two. I groaned, and the sound was deep and masculine. What the . . .? I looked down at my arms. They were muscular and covered with hair. I grabbed my naked chest. My breasts were entirely flat, and my chest was covered with thick, coarse hair. When I rubbed my hand across my face, I felt thick stubble. I looked down at the short clothes, which were the only thing I was wearing; there was a bulge that just shouldn’t have been there. I lifted the waistband and peeked. Dear gods, how had I gotten one of those? I poked it with my finger, and it twitched. I snapped the waistband closed and jumped away, but I couldn’t get away from the body I was wearing.
            My breath came in dizzying gasps, and my pulse raced. This was just a dream, I told myself. It couldn’t be real.


You feel the thickness of her tongue, smell the stench, see the bull riding poster, and sense her confusion. You are with Daulphina coming awake in a body that isn't hers. A little bit later in the first chapter, I have a short summary of how she got there:

I tried to think back to how this could have happened. I’d been going to the Temple of Cailleach to meet my lover. Clenyeth had told me he had important information and I should come alone. Clenyeth and I had had to be careful. If my father found out about us, Clenyeth could hang.
I’d seen Clenyeth near the entrance to the cave that housed Cailleach’s temple. As I hurried toward him, someone had grabbed me from behind and put a cloth that smelled sickly sweet over my mouth and nose, and then . . . And then . . .

And then, I woke up as a man.

This gives the reader necessary background information, but they don't experience it the same way as you do the scene. They aren't there with her. It tells them things, but it doesn't invite them into the story.

So a general rule, if it's important, make it scene.

Share your thoughts on writing in the comments below. Remember every comment enters you into a contest to win a signed copy of The Bull Riding Witch or a $25 Amazon gift card.

*Disclaimer: The only unbreakable rule in fiction writing is "Does it work?" However, there are things that work more often than not. Make sure you understand a rule before you decide to break it in your case.

Friday, February 10, 2017

What Nobody Told Me, but Every New Author Needs to Know

Five years ago this coming April my first novel, The Goddess's Choice, was published by Reliquary Press. I sent them the final version of the manuscript and thought my job as the author was finished. The book came out. I sat back and waited for it to sell. Anyone at all familiar with the publishing world (which I wasn't) will be unsurprised to learn that six months later only a handful of copies had sold. Maybe it should have been obvious, but no one ever told me that an author needs to market her novel if she wants it  to sell. I had a publisher. Marketing was their job, right?

As I've learned since, I could not have been more wrong. Large publisher do some marketing. Small ones do almost none. Marketing is mostly the author's job, a revelation that really sucked. I'm a writer, not a business person. I knew absolutely nothing about marketing. On top of that, I'm an extreme introvert. I don't like talking to people, except the imaginary ones that inhabit my head.

I tried to do things. Listened to various advise. Some good, some bad, and more copies sold, but not anywhere near what I would have liked. Lately, I have come across three excellent books that have taught me a lot on the topic. I want to recommend them to those of you who are just starting out as authors or those who could also learn more about the part of the job none of us ever wanted.

Book #1: Steve Weber's Plug Your Book

I found this book about six months ago. Lots of good advice of about blogging and other online marketing tools. Since I read it, I have increased my blog views from about 3 a day to 300 a day.











Book #2: Chris Kennedy's Self-publishing for Profit

I met Chris at Marson last month. He chaired the best panel I've ever attended on book marketing and promotion. I learned a lot from him and even more from his book, especially about twitter, which I just didn't get. Besides, being very knowledgeable about how to profit from writing, Chris is a really nice man. I can't recommend his book more strongly.









Book #3: Kim Iverson Headlee's The Business of Writing

I also met Kim at Marson. She was on the panel with Chris. As well as excellent advice on marketing, Kim's book covers many more aspects of the business end of being a writer. I also highly recommend her book.










Don't be like I was, completely ignorant of the business end of being an author. Yes, marketing sucks and isn't why I became a writer, but if you want people to read your books, it has to be done. These three books will give you a place to start.

Please recommend other books you've found useful in the comments below.


Friday, February 3, 2017

The Best Writing Advice There is

The best writing advice anyone can give:

Read, read a lot, then read some more.

There has never been a great writer (or even a good one) that wasn't first a reader. To write a story yourself, you have to immerse yourself in stories. My mother read to us as children. She took us to the library and always made sure we had books to read. My older sister told me fairy tales. Then I went to college and became an English major. (I don't make a lot of money now, but I read a lot of stories). Read widely in the genre you want to write. If you want to write fantasy, read

  • Jim Butcher
  • Mercedes Lackey
  • Roger Zelazny 
  • George RR Martin
  • Charlaine Harris
  • Chloe Neill
  • Diana Gabaldon
  • Jacqueline Carey
  • Genevieve Jack
  • Etc
  • Etc
And as you read, note what it is about their work that takes you into their world, makes you feel, makes you think.

Read widely in genres you don't want to write. Read mysteries and thrillers. Even romance novels, if you have to. Read
  • Douglas Adams
  • Rhys Bowen
  • Janet Evanovich 
  • Margaret Atwood
  • Tim O'Brien
Read classics
  • Jane Austen
  • Ernest Hemingway
  • Matthew Lewis
  • Joseph Conrad
  • Louisa May Alcott
  • Willa Cather
  • Nathaniel Hawthorne
  • William Shakespeare (definitely Shakespeare, you have to read Shakespeare)
  • Chaucer
And when you've read everyone on the list, go find some more to read. How to books can help, but nothing substitutes from having read a lot yourself. 

So if you want to be a writer, go and pick up a book.

Friday, January 27, 2017

Writing Religion in Fantasy

I was on a panel at Marscon about religion in science fiction and fantasy. First a personal note, although I grew up in a highly religious household, I am not presently religious. I consider myself antagonistic. I don't want to believe that death is the end and that nothing but this life exists, but I can no longer believe the things I was taught.

Since I don't write science fiction, I'll stick to religion in fantasy. If you are writing historical or epic fantasy, part of your world building should definitely be to create its religious order or orders. Every human society has had some type of religion. Religion has effected everything from economics to science to war. It has been the driving force in many civilizations. To create a world without any sort of religion is a bit unrealistic. I never considered a religionless world when I first started on The Goddess's Choice.

For ideas about creating your own religion, study the myriad religions that have been practiced, particularly ancient religions. You'd be surprised at the things people have believed and have done to honor their gods. In The Ghost in Exile, the goddess of love is worshiped by having sex with her priestesses or acolytes.

From The Ghost in Exile:

When The Ghost entered the temple, he was greeted by soft music and delicate perfume. Young women and men—acolytes of Aphrodite—in sheer robes that concealed nothing, danced in celebration of the goddess. Worshipers watched the dance until they found an acolyte to their liking. They gave the priestess the proper donation and disappeared with the acolyte into one of the private rooms that lined one wall of the temple, where they worshiped the goddess in a more intimate manner.

One of the members of my writers' group thought this was an invention of my perverted mind. It was not. Many fertile god/desses have been worshiped in this manner.

Most religions can be borrowed from with impunity. However, drawing on Christianity is tricky because so many Americans still believe it. You can do it. You just have to be more careful so you don't offended half of your potential audience, especially if the religion in your world is corrupt.

In most religions, the good wars with the evil, so having a mixture of good and evil in your religion often works best. Remember, religion and morality don't have to have anything to do with each other, and in our world, they often don't.

Conveying a moral principle or deeply held belief is much more difficult than creating a religion. The last thing you want is to come across as preachy. You are not writing a sermon. You are writing a novel. Your first job is to tell a good story. Without the good story, people won't read your books.

I struggled with this in The Goddess's Choice. One of my most deeply held beliefs is the importance of forgiveness. If we don't forgive, it twists and mangles our lives and makes finding happiness difficult. We become too focused on the wrong done us to reach for joy. Forgiving others isn't for their good. It's for ours. Whether the other deserve forgiveness or not is irrelevant, we deserve to leave the pain behind, and we can't do that unless we forgive. If the other has done something awful to us, this can be difficult, but without forgiveness, we never have peace. I wanted to convey this message in The Goddess's Choice, but to do so without becoming preachy wasn't easy. One of my main characters, Robrek, has been treated terribly by a myriad of people. If anyone deserves revenge, he does. But to claim his full power and for his own peace, he must put his anger behind him. I rewrote and rewrote and rewrote the forgiveness scene. I think I finally managed to convey this message while telling a good story. The scene is below. In the comments, tell me if you think I've nailed it.

Robrek sat and began eating the tart. Its sticky sweetness increased his anger. Lowering his shields, he glared at Holy Writ[a magical gold horse]. “Am I supposed to forgive him [his father] because he gave me a tart? Do you know how many times he ate the last one on the plate, leaving none for me? Do you know how many times he beat my back raw?” Robrek got up and began pacing. “He could never even call me by my name. It was always, ‘Boy, do this.’ ‘Boy, do that.’ ‘Boy, why are you so damned stupid?’ ‘Boy, how could I have fathered such a weak, worthless runt?’ An apricot tart and a little food are supposed to make that all right?”
:Abusing a child is never alright. It angereth the goddess.:
Without warning, Robrek felt himself hit as if by a powerful wind of darkness. He was knocked to his knees, and suddenly he was no longer himself. He was Angus Camlinstamm, and he’d been cursed with the stupidest child ever to be born.
“How could you be such an idiot? Don’t you know that the priest wants you dead?” he yelled at his son. Green eyes like Donella’s [Robrek’s mother who died in childbirth] looked up at him from underneath curly, black hair. “I’ll teach you a lesson you’ll never forget.”
He grabbed the boy, tore his shirt off, threw him over the dining room table, and yelled at Boyden to hold him still.
“Please, father, I’m sorry. I didn’t mean to,” the boy begged.
Angus hardly heard the boy’s cries. Instead, he saw skin the color of creamy bhat as Donella’s had been. The boy screamed as he brought the strap down. But he needed to learn. So he hit him again and again, bringing the strap down harder and harder. The boy’s hair, so like his mother’s, lay across the table. Oh, Donella, why? How could I have traded you for him? He continued to beat the boy until his arm ached. When he stopped, the boy rolled into a ball on the floor, sobbing and trembling.
Robrek threw himself away from whatever Holy Writ had done to him. “I was five years old, damn him!” Robrek yelled at the horse. “He had no right to beat me like that!”
:He did not. Forgiveness doth not mean the other was right. Forgiveness isn’t about the other, but thine own soul.:
Robrek jumped to his feet and stabbed his finger toward the horse. “He should rot for what he did to me! I will never forgive him! Never!”
:Then thou wilst become like him.:
“I would never do something like that to a child!”
Again the dark wind hit him, knocking him to the ground. He was in the stable paddock. His sword was wet with blood, and there were piles of corpses surrounding him. A man approached, and he stabbed quickly. Behind him he heard a small noise. He turned, cutting Tegan nearly in half. The child that had reminded him so much of himself dropped at his feet, and he turned to kill another. He crushed the child’s hand with his boot.
“Stop it!” he screamed, wrenching his eyes open. “That wasn’t real!”
:It could be.: The body of the slain boy appeared in front of him again. He closed his eyes, but the image still burned in his memory, and again he saw his sword plunging through Milady’s mouth. :How art thou different from thy father?:
He backed away from the horse. “When I killed the child, I didn’t even understand what I was doing.”
:And didst thy father understand what he wast doing to thee?:
The dark wind came again. He heard his beloved Donella screaming from their bedroom. She’d been screaming for nearly two days, and the baby still wouldn’t come. It was all his fault. The herb witch had warned him about having another child. Please, Sulis, please. Let her live. The screaming stopped, and he heard a weak cry. He ran into the bedroom. Donella was lying with her eyes closed, her dark skin nearly as white as a Korthlundian’s. The entire bed was covered in blood. “Do something!” he bellowed at the herb witch, who was wrapping some small hideous thing in a blanket.
He was kneeling by a freshly dug grave as they lowered the body of his beautiful Donella into the cold earth. He’d had to purchase a spot of land just outside the graveyard because the priest wouldn’t allow her to be buried on consecrated ground. Would those gods of hers take her? He sobbed as the shovels of earth began to fall onto her sweet body. She can’t be dead. It’s all my fault. She can’t be dead.
“No!” Robrek shouted. “It wasn’t me that got her pregnant! He had no right to blame me for her death. He deserves my hatred.”
:It is not about what he deserveth, but what thou deservest. Sin provideth its own punishment. He chose to indulge his grief and his rage until he hath choked out all that could have been good in his life. He is an empty man when his life could have been full of the joy of his sons. Dost thou desire such emptiness for thyself?:
“I desire nothing but revenge.” Robrek’s hand itched for a sword so that he could strike off the horse’s head..
As always, the horse seemed to know what he was thinking. :Dost thou believe thou wilst feel any better if thou dost?:
“Yes, I do!” Robrek ran to the stable and grabbed a sword. As he turned around, he found himself faced with illusions of his father, his brother, Duke Argblutal, and Father Gildas. He rushed his father and with a single stroke struck off his head. He turned and did the same to Boyden, Argblutal, and Gildas. As he turned back, he found his father whole and alive. Again and again he killed the four men, and again and again they rose. He slashed and stabbed until he dropped with exhaustion.
“What do you want from me?” he sobbed. “Why won’t you leave me alone? I never asked you to come! I never wanted any of this!” He gestured wildly at the three horses, and Holy Writ nodded. At that very instant, a profound silence descended into the clearing. He looked around frantically, but he soon realized the silence had nothing to do with the lack of sound. The wind was still rustling through the treetops, and the birds were singing every bit as loudly as they had a moment ago. He could still hear the stream rolling over the rocks. Holy Writ had done as he asked. He could still see the horses, but he couldn’t feel them any longer. They’d gone and left this emptiness behind.
Wild Thing edged closer and nudged him with her nose. :Wild Thing scared. What wrong?:
“Nothing’s wrong, girl. It’s just you and me, like it always should have been.” Struggling desperately to ignore the emptiness, Robrek rubbed the Horsetad’s nose and set about cooking himself something to eat. Every few moments he looked over his shoulder to make sure the horses were still there. Despite how much he fought them, if they left, they’d take half his soul with them. But what Holy Writ demanded was impossible. He’d have to live with half a soul.
Darkness fell as he finished eating, and with the darkness, the emptiness became unbearable. I don’t need them. He knew this was a lie, but he wrapped himself up in it and fell asleep.
Dressed in clothes of deepest black, he stood on a dais. Duke Argblutal knelt at his feet; the duke’s supporters, servants, and guards knelt behind him. Argblutal begged for mercy. But mercy was dead inside Robrek. He grabbed the duke by the hair and pulled him to his feet. He used his magic to turn his hands into claws, and with a smile of triumph, he tore deep into the duke’s chest and ripped out his still beating heart. The duke screamed and dropped at his feet. Robrek laughed, but the duke’s death had done nothing to assuage his grief or his rage. So he grabbed the hair of the first of the duke’s men and tore out the man’s heart as well. Still, he felt no relief. One by one he ripped out the hearts of every one of the duke’s men. But it wasn’t enough. He ordered Father Gildas brought before him, and he tied the priest to the stake and set him on fire. He reveled in the priest’s shrieks of agony, but when the priest had been reduced to ashes, he felt no better. He had the bonfire built higher and threw in all of those who had testified against him and all of those who had joined the mob that would have killed him. Their cries of pain were music to his ears. But when they had all been quieted by death, he felt no peace. He struck out with his magic at all that came within his reach. He used his power to cause the utmost suffering and pain, as he had once used it to heal. Both the guilty and the innocent suffered and died at his hands. None could stop him because he was the most powerful sorcerer the land had ever known. But the more he killed, the more his emptiness grew. until it became a chasm so vast that not even the deaths of every living soul in the joined kingdoms would fill it.
He awoke, sick to the depths of his soul. I am a monster. He tried to tell himself that it had been just a dream, but he knew Holy Writ was right about him.
He knew what he had to do. He went to the stable and got the gold sword. He knelt in the paddock and placed the point at his breast and closed his eyes.
:Stop!: Three voices shouted in unison, and the presence of the three horses returned. :This thou canst not do.:
:No hurt.: Wild Thing wailed.
“I have to,” he said. “I won’t be like them.”
:Then forgive them, but do not destroy thyself.:
Robrek laughed savagely. “Why do you care? Because it’s not my ‘destiny’? I never wanted a destiny.” His hand slipped, and he felt a sharp prick in his chest. Bright blood stained his shirt. What am I doing? He dropped the sword and fell to the ground, clutching the small wound.
:Thou dost not have to feel this pain. Release thy hatred. Forgive.:
“I can’t. They deserve to suffer for what they’ve done.”
:They are suffering. But thou needst no longer punish thyself for what they hath done.:
The dark wind hit him. This time he was his brother. He was ten years old and a crowd of five boys near his own age surrounded him. “I say he has demon blood, too,” one of them said.
“I do not,” he protested.
“His mother was a demon witch,” another jeered.
“No, she wasn’t.”
A third laughed. “Just look at your little brother. Father Gildas won’t even let him in the school.”
“I don’t care. My skin is as white as yours.” He shoved his white arm toward them.
“White on the outside, but black underneath,” another said.
“Liar!” he shouted at the boy who voiced his deepest fear. He struck out with all his might. He knocked the boy to the ground, but there were five of them. They ganged up on him and beat him.
When they stopped, he dragged himself home, and a servant fussed over him. Robbie came into the room and peered up at him. It was Robbie’s fault this had happened. If it weren’t for him, nobody would say things like that . . . .
He sat in his room at the inn, counting his coins. What did he care if no one in the village would talk to him? He didn’t need them. He had everything he needed right here. These coins would fulfill his every need.
But Robrek felt the emptiness his brother refused to acknowledge—a chasm within Boyden he attempted to fill with greater cruelty, but doing so only widened the chasm. Not wanting to feel Boyden’s despair, Robrek struggled to separate himself from his brother, but Holy Writ refused to release her hold on him; instead he plunged once more into the dark wind. He was his father again. He stood at the back of the room near the pier. With the other young men, he hooted and made crude gestures at the new whores brought from abroad. “And the next, from the barbarous land of Mahngbhayo,” the auctioneer called, as a small, dark-skinned girl was led into the room. He went silent as her green eyes bored into his soul, stirring something in him he’d never felt before—something far stronger than lust. “She doesn’t speak a word of the language, but what does that matter with assets like this?” The man grabbed her breast. She slapped his hand away and glared at him with defiance and pride. “A spirited one! She may need some taming, but isn’t that half the fun?”
The girl drew herself up as if she were a queen looking down upon her subjects. Angus wasn’t fooled—he saw her lower lip tremble. He found her courage and dignity enchanting.
“Come on, sweety pie! Show us what you got!” the young man beside Angus called out, and Angus threw the other man against the wall. “Show some respect,” he hissed, though Angus had said something similar to the last whore.
He whirled back to the auctioneer and named a price. He glared around the room, daring someone to top it. No one did. He handed the auctioneer every dram he’d intended to use for new stock for his farm. He draped his own coat around the woman to hide her near nakedness from the prying eyes of other men . . . .
He saw his sweet elfin girl lying on their bed with his tiny son sucking at her breast. “He’s a strong one, like his father.” Donella smiled.
His heart bursting with love and joy, he sat beside her. He was a father, and the most perfect woman in all of Sulis’s creation was the mother of his child. “He’s perfect,” he whispered, and gently stroked the soft fuzz on his son’s head. He promised himself he wouldn’t be like his own father. He’d be gentle and kind. He would earn his son’s respect and love.
“What shall we name him?” Donella asked as she raised the infant to her shoulder and gently patted his back.
“What do you think of Boyden?” he asked.
“Boyden?” She wrinkled up her brow in the way that he’d always found alluring. “Boyden is a fine name for a barbarian without an ounce of color in his skin.”
He leaned in closer and kissed her deeply. “Mother of barbarians.”
She laughed, and the baby let out a sigh of contentment. He had never imagined such happiness . . . .
He heard the small, weak cry coming from the other room. It wouldn’t stop. The wet nurse wouldn’t be there for an hour. He stomped into the room to pick up the baby himself. It was incredibly small, much smaller than his brother had been. The tears of its hunger fell from emerald green eyes. He ran from the house, leaving the crying infant behind . . . .
He sat on the bed at the inn and handed over the coin. The woman dropped her dress and joined him. He closed his eyes and took her in his arms. He tried to pretend she was Donella as he made love to her fiercely, desperately. But it didn’t work. When he’d shared Donella’s bed, he’d felt complete. Now, releasing his manhood into the whore’s body, he felt emptier than ever.
When he reached home, he found Robbie drawing pictures in the dirt with a stick instead of doing his chores.
“Boy!” he bellowed.
The ten-year-old boy looked at him with terror. “Please, sir, I didn’t mean . . . .”
He refused to listen to whatever fool excuse the boy made this time. He grabbed the strap next to the door and threw the boy over the dining room table. He beat the boy viciously, but he got no more relief from the anguish than he’d gotten from the body of the whore.
He stopped and ordered the boy to his room. He couldn’t stand the sight of the curly black hair or the rich, dark skin . . . .
He watched as his seventeen-year old son mounted his Horsetad and rode away. He’ll be back, he told himself. He can’t survive without me . . . .
He looked at the remnant of the scaffold on which they’d meant to burn his son. Robbie had escaped the flames, but he’d lost both his sons this day: no kin murderer would live under his roof. Where had he gone so wrong? He remembered when he’d watched Boyden suck at Donella’s breast. He remembered the promises he’d made to himself. He’d broken them all. His sons had no more respect or love for him than he’d had for his own father. He went to the inn, intent on giving coin to the whore, knowing that doing so would do nothing to fill the aching void inside him.
“No! I can’t stand it any more!” Robrek cried. “Why wasn’t I the father I promised myself I’d be? Why did I let Donella’s death turn me against my own son?”
More visions followed. Father Gildas’s failures in healing while the power of those he condemned grew, fueling his fears for his reputation and influence over the people. Duke Argblutal’s obsession with kingship, which had twisted his life so that hatred and anger were the only emotions left to him. Unable to tolerate the pain and emptiness, the guilt and despair any longer, Robrek tore himself loose from the visions. He sobbed for the pain those he hated had caused themselves.
:Dost thou see? They have paid the price for their sins. Thou canst hold to thy pain and become like them. Or thou canst release it and be free.:
“I don’t know how,” he moaned. “Tell me what to do. I just . . . want it to be gone.”
:Forgive. Release thy hatred into the hands of the goddess. The Holy Mother can bear all of our griefs.:
“How?” he asked, but then he felt it—the goddess’s open arms ready to enfold all of his pain into herself. Suddenly, he understood. Sin, and the pain it brought, was its own punishment. He could allow others’ sins against him to turn him into a monster, or he could forgive them and save his own soul. It was a choice between emptiness and joy, between sorrow and love, between destruction and fulfillment.
In other words, it was no choice at all.
“Take it please! I don’t want it any more!” He thrust himself into the goddess’s arms, allowing her to heal his wounds and purge the anger from his soul. As soon as the last vestige of his anger and hatred left, his power poured forth within him. Energy filled his body with exquisite pleasure; every ounce of his flesh was flooded with joy. He laughed with sheer delight and was sure he was glowing with light.
Sensations poured in from all sides. Ronan’s simple pleasure while he sunned himself. The hawk’s fierce triumph as it took the pigeon, and the pigeon’s terror and pain. The rabbit’s delight in the new patch of cabbage leaves, and the mother’s despair over her wayward child. The bird’s bliss as it sang to its mate, and the farmer’s joy as his grain pushed its way toward the sun. It was too much, far too much. He collapsed onto the ground and covered his head, but there was no escape. He’d go mad.
Over the whirlwind of sensation, he heard Holy Writ’s command. :Shield!:
He reached through the chaos for the knowledge of how to shield, grasped it, and snapped his shields into place. The entire world went silent in an instant. He rolled over and smiled at the sky. He felt spent and abused, but also clean and pure. His head ached, but he was happier than he’d ever imagined possible. He wanted to dance and sing. He lowered his shields slightly to allow the horses in. He felt their pleasure and pride in his accomplishment.
:Thou hast done well. Thou art worthy of thy destiny.:
:I knew you had it in you, human child. Oh, how you will be able to move now.:
:A good beginning.: Robrek threw back his head and laughed. He hadn’t realized Brazen was capable of humor.
Religions help make your world as full and rich as the real world, so yes, create a religion when you build your world. Moral beliefs can be part of your story. You just have to make sure the story comes first.





Friday, January 13, 2017

5 Ways of Presenting Character: Authorial Interpretation

Today, in the last in my series on ways of presenting character, we will talk about authorial interpretation or simply, as an author, telling your readers what the character is like. The old writing adage is "Show, Don't Tell," and the vast majority of the time, I absolutely agree with this adage. When you tell your readers what a character is like, you prevent the reader from experiencing the character. If I simply tell the readers a character is short, they don't experience that shortness and it doesn't have much effect on them. It is almost always better to say something like, "Susan had to stand on her tiptoes to see over the counter." With this second statement, we understand just how short Susan is and experience some of her frustration with it. Neither of which happens with the statement, "Susan is short."

Her hair's not red, but you get the picture.
However, like all rules, there are times to break the "Show, Don't Tell" rule. Telling allows you to convey a lot of information in a short amount of time. This can be helpful in introducing a character's appearance, such as when Brigitta is introduced in The Ghost in Exile. I tell the reader: "Her red hair confirmed her nationality. She wore a low-cut, red bodice trimmed with black lace and an extremely short red skirt." It isn't complicated. The reader simply learns what she looks like. The reader doesn't care about Brigitta at this point, and I don't need them to. It is The Ghost's emotions the reader needs to feel, not Brigitta's. Later, I do more showing with Brigitta, and the reader comes to care about her, but making the reader care about Brigitta at this point would detract from the scene. The reader's emotions need to be focused on The Ghost, not her.

This type of telling is especially useful for minor characters, who are needed for the plot, but who the reader never really gets to know. Later in the novel, Brigitta defends a tavern server from an overly aggressive customer. I tell the reader: "Halle was a marginal fighter, and he was slightly the worse for drink. He also spent too much energy trying to taunt his opponent." This isn't going to make the reader connect with Halle, but I don't need them to. It isn't even desirable. Halle is only present in the novel for this one short scene and simply plays the role of Brigitta's opponent. 

While simply telling can be useful, you need to be careful about relying on it too often. When you tell the reader something, it doesn't make them feel anything. They don't make a connection to the character, and it doesn't make them care about the character. 

Writing rules are useful, but don't be slaves to them. Understand the rule, and you will understand when it is better to break it than follow it.

Post your favorite example of telling in the comments. 

Friday, December 16, 2016

5 Ways of Presenting Character: Character as Thought

Another way to present your character to the reader is through his/her thoughts. Get inside your character's head and reveal what s/he hides from the world. A character's thoughts can reveal his/her desire. It is through The Ghost's thoughts that the reader learns of his new life plan in the beginning of The Ghost in Exile

The Ghost had long ago earned his place in the seven hells. Now, he must embrace the fact that he had one skill and one purpose—to kill those who needed to die. For a brief time he’d tried to forget that, and because he hesitated to kill a monster, the man had nearly destroyed his homeland and his daughter. Some people’s deaths were a thing to be celebrated rather than mourned, and because he was forever tainted, forever a killer, he should be the one to kill them. 

Just as Samantha's thoughts tell the reader of her far less bloody desire when the reader is introduced to her in The Goddess's Choice:

The Princess Samantha sat at her dressing table and glowered at her reflection as her maids dressed her hair. She detested balls and loathed the hundreds of suitors who flocked around her, spouting empty flattery: “I have never seen a lovelier flower, Your Highness!” or “Your eyes rival the brilliance of the stars, Your Highness!” If I hear that one again, I’ll vomit. It wouldn’t be quite so bad if even one of them meant it. Sometimes she wished . . . . She pushed the thought away. She was the heir to the throne. She couldn’t expect romance.



People often do not tell anyone their deepest desires. Still, less do they reveal their strongest fears. When Samantha discovers that her ability to see auras means she is not the king’s true heir, she keeps those fears to herself:

Hours later, Samantha put down the last volume. She had no doubts. Although the books disagreed on some minor aspects of an aurora’s power, it was “universally agreed upon” that she was a bastard. This was much, much worse than being mad. Her mother was little better than a whore, and she wasn’t the heir. She was a fraud, an imposter, some foundling foisted on the king without his knowledge. She wanted to scream, tear the books to pieces, and dissolve into a flood of tears, but she was too devastated even to move.

My poor father! This will kill him! She didn’t know how many times Solar had told her of his long wait for an heir. He’d insisted if he had died without one, competing claimants would tear Korthlundia apart. My father worked his entire life to prevent this, and I have failed him. Who knows how many thousands will die because of me?

While thoughts give the reader a peek into the character’s mind, for those thoughts to become reveal, they must eventually be translated into action. After stewing about her bastardry for some time, Samantha takes action:

She certainly needed men loyal to her. She picked up a quill and dipped it in ink. On a sheet of paper, she wrote the names of the four men whose auras she’d seen—Phelan, Brice, Bearach, and Conroy. She called Darhour and handed him the paper. “Add these to my guard.”

These men, like Kailen and Darhour, would loyally serve a bastard; she wished she knew if she were damning herself by allowing them to do so.







While thoughts can tell us much about a character, it is what they do that ultimately reveals who they are.

Friday, December 2, 2016

5 ways of Presenting Character: Character as Action

Today I return to my series about character development. Sorry, I've been away from this for so long, but with the holidays and the end of the semester, I have been extremely busy. Today, I want to talk about developing character by focusing on the character's actions or what the character does.

It is far better to let the reader know the character's thoughts, emotions, and personality by what s/he does than by simply telling the reader. In other words, the old adage, "show, don't tell." If you tell the reader that your character is ghoulish, it has little emotional impact. It also isn't very precise. What exactly do you mean by ghoulish? Much better to show the character acting ghoulishly. Read the following passages from The Ghost in Exile:

Warily, The Ghost followed Zotico down the corridor to the high priest’s office. It was large, the walls covered with instruments of war—swords, shields, battle axes, and plaques ornamented with what looked suspiciously like human ears. The ears were new. Zotico caught The Ghost looking at them and swept his hand over a plaque that contained five ears nailed side by side. “Do you like the new decor? Sacrifices, all of them. I had them moved from our private sanctuary so I could better remember the devotion demanded by the god I serve.”

Zotico sweeping his hands over the severed ears of people he has killed in ritual sacrifice as if they were a trophy conveys to the reader Zotico’s ghoulishness far more effectively than simply using the word.

While portraying character through action is important at throughout your work, it is especially important to do so in moments when a character changes. When a character grows or changes, the reader needs to see it through what the character does. Brigitta begins The Ghost in Exile as a victim. In the following passage we see her beginning to change through her actions with the dagger.

She had to be insane to trust her life to a hired killer. Frigg protect me! No, not Frigg. I’ve prayed to her time and time again, and the goddess has never helped me. But if I can’t rely on her, what can I do? She looked at the dagger she was still holding, then glanced at the sword Sigurd wore. The goddess had allowed her to be used by savages for two years, but Brigitta herself had used Sigurd’s sword to kill her master. Since the goddess couldn’t, or wouldn’t protect her, she needed to learn to protect herself. She tightened her grip on the dagger and held it up. “Will you teach me how to use this?”
Her examining the dagger, tightening her grip on it, holding it up, and asking for instruction in its use shows her becoming empowered to act for herself rather than being acted on by others. Simply saying she decided to protect herself doesn't convey this change as effectively as her actions with the dagger do.
While using the image and the character's voice tell us much about a character, we really get to know a character by seeing what s/he does. It bring in another old cliche, which is nonetheless true, "actions speak louder than words." When a person's actions are at odds with his/her words, we believe the actions, not the words. The same is true in character creation.

Friday, November 11, 2016

Five Tips for Writing Dialogue

I'm breaking from my series about character development to talk about writing dialogue because something I was reading yesterday slammed me in the face with how clumsily beginning writers are with dialogue.

 Tip #1: Know how to punctuate


Proper punctuation is so important because it is essentially invisible to the reader. They don't notice it. Mistakes, however, will people the reader out of the story. Since little that is written for school contains dialogue, very people seem to know how to punctuate it correctly. I'm not going to go around dialogue punctuation rules here because on the site linked below, someone else has already spelled it out clearly. If you are unsure of your punctuation, please review the site. Anything the pulls your reader out of the story weakens your work and makes it that much more like they will throw it aside and pick up something new.


Tip #2: Avoid substitutes for "said."


Like proper punctuation, "said" is practically invisible to the reader. Other words to indicate dialogue draw more attention to themselves. If you are going to use a tag other than "said," make sure you have a good reason for doing so and the word you choose comments on how the dialogue was said, such as "whispered" or "shouted." Never use tags other than "said" simply for variety. Words like "added," "announced," "stated," "claimed," etc. draw attention to themselves, and you want to the reader to play attention to your story, not your tags.

Tip #3: Tags can sometimes be left out


While you never want it to be unclear who is speaking, when you have a dialogue between two people, you can tag at the beginning and then simply starting a new paragraph to change speakers will let your reader know who is talking. However, if the dialogue goes on for awhile, you will want occasional tags so that your reader doesn't get lost. Read the following bit of dialogue from The Ghost in Exile:

The Ghost grunted, “Do you have a job for me?”
Zotico’s eyes gleamed. “Do I ever! I’d nearly despaired of finding a capable assassin, but your fortunate arrival proves that Ares will never fail those who serve his name.”
“Who do you want dead?”
“I think it would be best explained by the one in need of Ares’s assistance, but I assure you it is your sort of kill. May I tell the client you’ll meet?”
The Ghost nodded.
Because the speakers were established in the first two lines of dialogue, I don't need tags in the second two lines to make the speaker clear. Pages and pages of this type of dialogue becomes tedious, but sometimes leaving out a tag is good thing.

Tip #4: Indicate speaker with actions rather than tags


Rather than using tags all of the time to indicate speaker, you can include the dialogue in a paragraph where the characters does something. Examine the following dialogue, also from The Ghost in Exile:

Passing an alley, he heard a commotion. He turned to see a young woman pleading with two men. “Don’t make me go with him,” she begged. “He hurts me.” The Ghost recoiled when he heard her Massossinan accent. He hated Massossinans.
The first man slapped her across the face, and The Ghost saw the iron slave collar around the woman’s neck. Her red hair confirmed her nationality. She wore a low-cut, red bodice trimmed with black lace and an extremely short red skirt. She had to be freezing in this weather. “You’ll do as you’re told and like it, or . . .” He drew a knife and ran it across her right breast, drawing a thin line of blood.
The second man grabbed the woman. “You know you like it rough.” He too drew a knife. “Maybe I’ll slice you open when I’m through with you.”
“That will cost you extra,” the first man warned.
The second man shrugged. “I’m good for it."
He imagined his daughter being similarly assaulted. He stepped into the alley. “Let her go.”
The man pulled the woman closer to him. “You can have a turn when I’m done with her.” He grabbed the woman’s breast, and she tried to squirm away. She looked older than he’d thought at first, nearly thirty—old for a whore. Most didn’t live that long.
The Ghost drew his sword and stepped forward. “I said let her go.”
The woman’s master stepped between The Ghost and the other man. “Mister, you have no right to interfere with lawful commerce. She’s mine, and I’ll do with her as I see fit.”
“Not tonight you won't. Move aside.”
It must have been too dark for the man to see the menace in The Ghost’s eyes. Few men dared stand up to him after they’d gotten a good look at the coldness he held there. The slave owner, however, crossed his arms. “Go away.”

You will notice that some of the lines of dialogue are tagged, but many of them simply tell what the character did, such as "grabbed the woman" or "drew his sword." Using action rather than tags creates a more dynamic scene. People generally don't talk in a vacuum. They do something while they are talking.

Tip #5: Use variety (to a point)


Using different ways to indicate the speaker can keep a scene more lively, but getting too creative about tagging calls attention to it. Make sure you have good reasons for what you do in tagging, and don't simply try to be clever. The reader will notice if you do and won't thank you for it.


Keep the above in mind, but remember the only absolute rule in writing is "Does it work?" If it works, a piece of writing can break every rule in the book. Of course, whether or not something works is subjective, so it is better to learn the rules of good writing and only break them when you have a good reason for doing so.