Category: Fantasy-Sci-Fi

Categories
Fantasy-Sci-Fi

Writing bigger speculative fiction stories

In his 2017 best seller, You’re Gonna Need a Bigger Story, Houston Howard admonishes writers to create larger stories which he coins Super Stories. Your goal as a writer is not just to create a great story, or a great book (or movie script). Your goal is to create Intellectual Property (IP). Stories so big they launch entire universes, or even multiverses of characters, narratives, and experiences across all kinds of media. As the name implies, it’s a big job. Let’s look at how we can accomplish this.

It’s all starts with your characters

While intricate plots can carry books, to launch an IP you need a cast of characters readers can fall in love with. Super Stories require extraordinary characters. They must have some quality that makes them likable right away, but also have an arc that can span multiple stories. You have to go crank up everything you know about creating characters to a new level. You have to know them better than you know people in your ‘real life’, but still have wonderful things to discover about them.

And you need more than one. Each must be unique in their own way, with their own lessons to learn and obstacles to overcome. Every orbital character possesses the potential to be the principal character of another story or series. Sometimes their arcs may cross each other and even bring your characters into conflict with each other. This can be a good thing as fans will want to see who comes out on top.

No character in your story should be a cardboard cutout from central casting. The simplest guard could wind up rising to a general. One of the great training lessons for creating characters was my time running various tabletop role-playing games. My players took singular pleasure in walking up to any random passerby and grilling them on their life story. It prepared me to make sure each character, no matter how minor, was the hero of their own story.

And your unique story world

In science fiction, the ship often becomes a character in its own right. In a similar way, your story’s world, and universe needs to be a character. You need to flesh out its history and geography. Ninety percent of what you come up with won’t make it into the first book, but you’ll need it for book five, or maybe even book seventeen. It allows you to plant little offhand references reference to places or historical events that can become a hook and a thread to explore in a future story.

You can’t “pants” your way to an IP

This is going to require planning and some level of outlining. I know some of you just ordered shields up and red alert, but hear me out. If writing stories with a “by the seat of your pants” discovery method has been successful for you, keep doing that. What requires planning and outlining is the IP. Have a long-range plan of the general, big picture idea of the kinds of stories you want to add to your IP.  You should have a more detailed short-range plan of the stories themselves.

This allows you to…

Foreshadow across books

Rowling mastered foreshadowing in her Harry Potter series. (Please note there are spoilers for the Harry Potter series to follow, but I think we’ve past the statute of limitations at this point). From book one, Harry’s adopted family, the Dursleys, are moody and mean to Harry. When we discover much later that Harry is the last of Voldermort’s horcruxes, and the effect a horcrux has on the people around it, you see the Dursleys’ treatment of Harry in a whole new way. Another example is the complicated relationship between Harry and Snape. Early on, Snape appears as a villain and an antagonist. His mission is life is to humiliate and thwart Harry.  He even puts a curse on Harry. Later, you learn he was truly an ally, seeking to aid and protect Harry.

You can check out this post for more examples of this. Maybe J.K. got lucky and fell into these, but more likely, she carefully planned each one. You can, and should look do this in your series as well. Fans love to discover these kinds of things.

In addition to foreshadowing, it allows you to…

Cross-pollinate across your stories

Have a character or multiple characters from your earlier novels appear as characters in your other novels. Alternatively, place a character into your novel you intend for a major character or orbital character role in a future novel. While the most famous examples from the world of film is the Marvel Cinematic Universe (MCU), A.C. Williams does this in her novel, Ronnie Akkard and The Brotherhood of Blades. Barb and Jim Taylor, the main characters from her earlier book, Meg Mitchell and The Secret of the Journal, play a minor role in aiding the protagonist.

But each book must standalone

A major advantage of Super Stories is they give future fans multiple points of entry into your world. Discovering any of your books leads inexorably to the others, and with characters they are already familiar with. It lowers the trepidation of exploring your other works.

For this to work, each book must standalone as an outstanding work on its own. While it’s referential to your other stories, write with the assumption that every book is the first book in your world this reader has experienced. The connections and references are Easter eggs to delight your most dedicated fans. They should never be key to understanding the story or any character’s motivation.

This is true to the greatest degree in your debut novel. If that one doesn’t do well, it threatens the entire IP. Like a great first chapter, your debut novel must deliver an outstanding experience on its own, while also launching your readers into your world.

Ted Atchley is a freelance writer and professional computer programmer. Whether it’s words or code, he’s always writing. Ted’s love for speculative fiction started early on with Lewis’ Chronicles of Narnia, and the Star Wars movies. This led to reading Marvel comics and eventually losing himself in Asimov’s Apprentice Adept and the world of Krynn (Dragonlance Chronicles). 

After blogging on his own for several years, Blizzard Watch (blizzardwatch.com) hired Ted to be a regular columnist in 2016. When the site dropped many of its columns two years later, they retained Ted as a staff writer. 

He lives in beautiful Charleston, SC with his wife and children. When not writing, you’ll find him spending time with his family, and cheering on his beloved Carolina Panthers. He’s currently revising his work-in-progress portal fantasy novel before preparing to query. 

  • Twitter: @tedatchley3
  • Twitter: @honorshammer (gaming / Blizzard Watch)

Categories
Fantasy-Sci-Fi

How to Defeat the Dream-Stealers

I hadn’t been careful enough, and the creature had my scent. Fight or flight, but there’s nowhere to run. With my dream exposed, I came face to face with the very real beast known as the dream stealer.

All writers face dream stealers in their lives, but the scent of the speculative fiction writer draws them more powerfully than any other. They might look like your mom, or your dad. They could be your husband, or wife. Maybe they wear a face of a good friend. But if you aren’t ready to fight, they will kill your dream, and you’ll push away from your manuscript, never to return.

Why do they attack,?

Sun Tzu famously said, “If you know the enemy and know yourself, you need not fear the result of a hundred battles.” Dream Stealers, like any good antagonist, are the hero of their own story, gallantly trying to save you from yourself. They have your best interests at heart.

They know, from their own painful experiences, how much it hurts when a dream is left unfulfilled. They will rescue you from heartbreak and ruin before it’s too late. It’s not just you they want to save, but also themselves. It’s hard to watch someone you care about walk through a painful experience. Better to steer them off the path before they get hurt.

They want you to take the path more traveled. The safer path. They are the voice of the future. There will be time to pursue your dream of publication later, they say. Tomorrow and tomorrow and tomorrow. After college. After you get married. After the kids are gone. To the last syllable of recorded time.

How can you fight them? How do you hold on to your dream of being a published author when they tempt you to take the easier path?

Know your odds, know your definition of success, know your season, and know your why.

Know your odds

The Dream Stealer will quote the odds to you. Whether you opt for traditional publishing or go the route of Independent publishing, the odds are stacked against you. Many will enter, few will win. For every publishing contract awarded, or agent signed, they reject hundreds of other writers. Knowing the odds before the Dream Stealer throws them at you neutralizes their power. This isn’t a once and done battle, it’s one you have to fight repeatedly. Look your Dream Stealer in the eyes, channel your best Harrison Ford, and say, “Never tell me odds.”

Know your definition of success

Dream Stealers take a narrow view of success when they talk of the odds. It’s not enough to have finished a manuscript, or even gotten an agent. No, their only criteria is if you become a Best Seller. They never look at the smaller accomplishments. You must celebrate the small wins: the finished draft, the compliment from your critique partner, a contest victory. Those are the oxygen your dream needs to stay alive.

A struggle with a deep, philosophical issue gave birth to my current work-in-progress manuscript. If the story helps even one other person navigate those waters, the book will have been a resounding success.

You are not a failure just because you didn’t achieve someone else’s definition of success.

Know your season

My kids tire of me saying ‘a time and a place’, but it’s true. There’s a time and a place for everything. It’s important to understand your current season of life. Pursuing a career as a professional writer takes a serious commitment of time, passion and resources. Not every season lends itself to making that commitment. Perhaps today you’re in a growing season which will provide a fertile ground of emotions and conflict to fuel your future novels. Don’t let anyone define the timetable for you.

Know your why

Like our characters, we need deep motivations to maintain our quest for publication over the long haul. You need to connect your dream to something bigger than yourself. From my experience, fantasizing about a huge advance check won’t do it. There are easier ways to make money.

Whatever your reason is, write it down and read it every time it’s time to write. That why will motivate you to put the butt in the chair when you’re tired, or aren’t feeling it. Your why will get you to grind out words that won’t come.

Gird yourself for battle

The moment you pursued the dream of being a published writer, you put a target on your back. Your scent wafts in the breeze and every Dream Stealer in your life picks it up. They mean well and they sincerely have your best interest at heart. But they give voice to the fears and doubts every writer harbors in their heart. We have to be careful to choose the voices we listen to. Those will be the ones that influence us.

“Life’s full of lots of dream-stealers always telling you you need to do something more sensible. I think it doesn’t matter what your dream is, just fight the dream-stealers and hold on to it.”

Bear Grylls.

Ted Atchley is a freelance writer and professional computer programmer. Whether it’s words or code, he’s always writing.  
Ted’s love for speculative fiction started early on with Lewis’ Chronicles of Narnia, and the Star Wars movies. This led to reading Marvel comics and eventually losing himself in Asimov’s Apprentice Adept and the world of Krynn (Dragonlance Chronicles). 
After blogging on his own for several years, Blizzard Watch (blizzardwatch.com) hired Ted to be a regular columnist in 2016. When the site dropped many of its columns two years later, they retained Ted as a staff writer. 
He lives in beautiful Charleston, SC with his wife and children. When not writing, you’ll find him spending time with his family, and cheering on his beloved Carolina Panthers.
He’s currently revising his work-in-progress portal fantasy novel before preparing to query. 

  • Twitter: @tedatchley3,
  • Twitter: @honorshammer (gaming / Blizzard Watch)

Categories
Fantasy-Sci-Fi

How Genre Impacts Your Character Development

Sometimes it’s easy to think character development looks similar across genres. And for the reader, it usually does. Even in the best-selling books, character development is often very relatable. As it should be. Readers need to relate to the characters, after all. But when we use genre as an outside force influencing our characters, we take character development to a whole new level.

Let’s take Harry Potter. Harry lived in the cupboard under the stairs until he went to Hogwarts and discovered who he really is. This is a typical young adult character arc. But if we look deeper and notice the influence of genre, we see Harry’s development from a whole new perspective.

What makes Harry such a standout character is his very normal personality thrust into extraordinary circumstances. The normalcy of Harry contrasted with the unexpected and surprising details of Hogwarts and its professors acts as a dichotomy, highlighting just how much Harry needs to overcome. Yes, Rowling could have put Harry into a normal school with no magic and fleshed out his character, but not as deeply.

As you create your world, take note of your protagonist’s weaknesses. Harry repeatedly says “I’m just Harry!” which goes to show 1) how little he knows about himself, 2) how he’s in way over his head, and 3) just how much he will grow.

What is your protagonist’s view of himself or ideology of the world? Create a villain who undermines that in every way. Harry doesn’t think he’s important. But the villain sees his seeming unimportance, his innocence, as something that destroyed his agenda.

How do the rules of your world push against your protagonist’s views of right and wrong? Harry wants to free Dobby the house elf, but the rules of the Harry Potter world are strict about how a house elf can be freed. Harry has to play by the rules to help Dobby.

How do the rules of your world’s culture impact your protagonist’s interpersonal relationships? Harry wants to be friends with Hermione, but Hermione is looked down on for not having a magical family. Harry wouldn’t have had this interpersonal struggle if his character hadn’t been created in a magical world. The genre Harry was thrust into massively impacted his character arc, even at the interpersonal level.

As you create characters and decide what type of world to plunge them into, ask yourself some of the above questions. Based on their personality, fears, dreams, views of right and wrong, etc., would science-fiction or fantasy best reveal their character arc?

Put Harry in a public school somewhere in England and he probably would’ve stayed relatively insignificant. But put him in a wizarding world and he grows so much he defeats the dark lord and becomes not “just Harry” but Harry Potter, the boy who lived. As the author, it’s your job to make your characters shine, and much of that comes down to choosing the stage to put them on.

Sarah Rexford is a Marketing Content Creator and writer. She helps authors build their platform through branding and copywriting. With a BA in Strategic Communications, Sarah equips writers to learn how to communicate their message through personal branding. She writes fiction and nonfiction and offers writers behind-the-scenes tips on the publishing industry through her blog itssarahrexford.com. She is represented by the C.Y.L.E Young Agency.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

Your Protagonist: The Eyes to Your Story

Choosing a perspective character is one of the biggest choices when it comes to writing your novel. There are usually several great options, but as the writer it’s up to you to choose the best option.

And that’s where the difficulty comes in.

Your perspective character is often referred to as your camera. To stay in line with point-of-view rules, your reader can only see, hear, taste, touch, smell, and know whatever your scene’s perspective character sees, hears, tastes, touches, smells, and knows.

For the sake of this post, let’s assume you’re choosing one perspective character for the entire book, rather than several and switching perspectives scene to scene.

Your perspective character sets the tone of your story.

Imagine if the classic Pride and Prejudice was re-written and told from Mr. Wickham’s perspective. The tone would not have the romantic, at times light-hearted feel the classic is known for. What if J. K. Rowling had written Harry Potter from only Hagrid’s point-of-view? It would likely have felt a little more comedic.

Ask: What tone do I want in my story? Then choose the character that will best represent that tone.

Your perspective character reveals your story.

Going back to the Pride and Prejudice example, we don’t find out what’s happened to Mr. Darcy’s little sister until quite a way into the book. Trying to discover who Darcy is and why he’s so mysterious keeps us turning the pages. But if Jane Austen had written it from Mr. Wickham’s perspective the mystery of Darcy’s character wouldn’t have been a mystery.

Decide: What do you want to hide from your reader, and when do you want to reveal it? Then choose the character whose journey of discovery matches the journey you want your reader to have.

Your perspective character learns a lesson.

Good stories have good character arcs. Lizzie’s character arc in Pride and Prejudice is one that goes from judgmental to loving. Again, if Wickham had been the perspective character the reader likely wouldn’t have walked away changed. Not in a meaningful way.

Consider: What lesson do I want to teach, and which character will learn the lesson?

Choosing a perspective character is a big decision. He or she will set the tone of your story, experience a specific journey of discovery, and learn specific lessons other characters won’t learn in the same way.

As you consider which character to tell the story through, take your time. But once you’ve made the decision move forward with boldness. It’s your story to tell, and after all, you’re the writer!

Sarah Rexford is a Marketing Content Creator and writer. She helps authors build their platform through branding and copywriting. With a BA in Strategic Communications, Sarah equips writers to learn how to communicate their message through personal branding. She writes fiction and nonfiction and offers writers behind-the-scenes tips on the publishing industry through her blog itssarahrexford.com. She is represented by the C.Y.L.E Young Agency.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

How to Make Readers Feel At Home From Page 1

Have you ever walked into someone’s house as a first-time dinner guest and felt out of place? Ten other people are there and it’s a laid back, serve yourself kind of dinner.

You grab your food, spilling some ketchup on the counter in the process, and clean it up with a napkin. You don’t know where the garbage is although you know they have to have one. Dessert comes around and you want a clean fork but you don’t know which drawer to open and don’t want to look through every one.

By the time you leave you’re flustered. You KNEW there was a garbage can and a drawer full of forks, but because you didn’t know the layout of the house you couldn’t find them.

If you’re reading this post it’s because you’re writing fantasy or science fiction, which means by default, you have other-worldly elements in your writing.

When readers open to page one you want them to feel at home, not confused as they figure out how the world is set up and what goes where.

A simple, reader-friendly way to do so this by dropping in elements humanity relates to no matter where they’re from.

Just as ever house is designed in a different way but with similar features, every world has certain elements that are similar and will feel grounding for the reader.

You might be writing science fiction but the protagonist still can feel lonely. That’s relatable. You might write fantasy but your characters still eat. In The Lord of the Rings Tolkien makes meal time a very important part of hobbit lifestyle. This is something we can all relate to, even though his books are about dragons, magic, and rings of power.

Here are some questions to ask that will help your reader feel at home when plunging into a world they’ve never been to:

  • Where do my characters sleep?
  • Do they eat food from the ground? How is it grown?
  • How many seasons are there?
  • What does personal hygiene look like for my characters?
  • How are friendships made?

As you answer these questions you may feel like you’re brainstorming, and to an extent, you are. However, including personal, daily occurrences like eating and sleeping will ground your reader and make them feel more comfortable as they dive into your hero’s journey.

Remember, the more your reader can relate to your world, the more believable your fantastical elements will be. The more believable your story, the more memorable.

Happy writing!

Sarah Rexford is a Marketing Content Creator and writer. She helps authors build their platform through branding and copywriting. With a BA in Strategic Communications, Sarah equips writers to learn how to communicate their message through personal branding. She writes fiction and nonfiction and offers writers behind-the-scenes tips on the publishing industry through her blog itssarahrexford.com. She is represented by the C.Y.L.E Young Agency.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

How to Write Tactful Fantasy and Science Fiction During COVID-19

Writing during a global pandemic is probably not something you thought you’d be tackling. Writing is hard enough by itself!

But handling history well, whether you’re living it or researching it, is part of being a writer. Recently I saw an article that stressed how one publisher is not particularly focused on dystopian writing because of the current state of the world.

They stressed the importance of finding hope through historical events. Fantasy and Science-fiction can be used to build that hope, if done rightly. Here are a few ways to use the current global crisis for the benefit of your readers:

Enforce your writing with historical moments.

Countless moments have shaped history, and therefore storytelling, as a whole. This is one of them. Going back often helps us move forward.

As you plan, draft, or edit your current work-in-progress, focus on historical moments that looked bleak but ended in a brighter future. Draw inspiration from these moments and allow them to influence your writing. Readers need hope, and you’re one of the best people to give it to them.

Use history to teach.

The Civil War brought tension between family members and friends. The Great Depression was a drastic life change for many. COVID-19 is a different circumstance bringing similar emotional responses. Research those who lived during historical moments, look up their stories, and choose different aspects of these very real people to influence your characters.

For your protagonist, consider drawing different character traits from figures who experienced global moments in different centuries. Combine some of these characteristics into a fictional character, add your own twist, and use your character to bring hope to your story. This will show readers what characteristics still bring hope today.

Look to the future.

History shows us how to interact with the future, what to do, and what not to do. Science-fiction in particular points to the future. As you craft your story, pour yourself into world-building and research that will make readers want to escape into your world. Layer in supporting characters and scenes that will inspire your readers to return to their own world wiser, and with more hope, in how to handle their present circumstances.

Writing is a powerful tool. While writing for entertainment may not be our primary focus right now, it can be used to teach, inspire, and bring hope. Now more than ever it’s important to write powerful stories and strong characters. Let’s be the writers who encourage readers in a dark time. Write on!

Sarah Rexford is a Marketing Content Creator and writer. She helps authors build their platform through branding and copywriting. With a BA in Strategic Communications, Sarah equips writers to learn how to communicate their message through personal branding. She writes fiction and nonfiction and offers writers behind-the-scenes tips on the publishing industry through her blog itssarahrexford.com. She is represented by the C.Y.L.E Young Agency.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

Tropes: How to Make Them Credible, Not Cliché

You could probably name tropes from your favorite books and movies without hardly thinking about it. There’s the Reluctant Hero, the Chosen One, the Mentor, and the list goes on. As you read that list, characters probably came to mind.

But what goes into creating a trope that’s not cliché? Fantasy and Sci-fi are so popular it’s easy to fall into cliché’s without even realizing it. Today we’ll focus on two tropes and how to use backstory to make them compelling, rather than cliché.

The Reluctant Hero:

Frodo Baggins is a standout example of a reluctant hero. He never intends to take the ring to Mordor. But he ends up doing so and saving Middle Earth. Here are some questions when considering his backstory:

  • Why was Frodo reluctant to start on his heroic journey?
  • What about his character, prior to starting his journey, foreshadowed his heroism?
  • Did his reluctance show strength, or fear?

From the start, we know Frodo dreams of leaving the Shire. He spends hours in the woods, dreaming of other places. But when it comes down to it, he realizes what he has and wants to keep it.

However, he’s willing to sacrifice for his family, which is foreshadowed very well in his interaction with Bilbo. His reluctance makes him empathetic.

The Chosen One:

Harry Potter is a quite literal example of this, as the prophecies in the series talk about a “chosen one.” He was marked by He-Who-Must-Not-Be-Named and from infancy, his life is set on a path to heroism. Here are some questions to ask when considering whether his backstory makes his trope credible:

  • Does Harry live as if he is a chosen one?
  • Do his family connections lay a strong foundation to uphold him as a chosen one?
  • How does he mentally accept or reject his trope?

What’s so endearing about Harry is he doesn’t realize how famous he is. He doesn’t know he’s important, and he doesn’t realize his family backstory. A lot of his character arc is him working through his reality and trying to embrace it. This makes it credible.

When it comes to your trope…

Before deciding on your trope, ask yourself if your plot and characters lay a credible foundation. To do so, feel free to use the following questions:

  • Will your protagonist look like your chosen trope because he or she is created as one by you, the author, or as a result of their life situation?
  • Do their natural mannerisms reveal them as your chosen trope (reluctant hero, chosen one, etc.)?
  • Do secondary characters play into the credibility of your trope?

Best wishes, and happy writing!

Sarah Rexford is a Marketing Content Creator and writer. She helps authors build their platform through branding and copywriting. With a BA in Strategic Communications, Sarah equips writers to learn how to communicate their message through personal branding. She writes fiction and nonfiction and offers writers behind-the-scenes tips on the publishing industry through her blog itssarahrexford.com. She is represented by the C.Y.L.E Young Agency.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

World Building: What publishers Want

There’s something immersive about opening a fantasy or sci-fi book and feeling like there were hundreds of pages of history that happened prior to sentence one, page one.

It’s hard to pull off.

It’s also important to pull off.

Let’s do a quick case study on two well-known trilogies: Divergent and The Hunger Games.

Case Study 1: Divergent

The first book of the trilogy starts with the main character in front of a mirror, glimpsing her reflection as her mother cuts her hair in preparation for her aptitude test.

As a reader, some questions quickly arise. Why can’t she look in mirrors on a regular basis? What’s an aptitude test? Why is she so nervous to take it? Why is Beatrice’s world sectioned into factions? What’s the Choosing Ceremony?

Case Study 2: The Hunger Games

Page one starts with the main character wondering where her little sister is. Seems normal. But then we find out her little sister has bad dreams about the reaping that will take place in their district today.

Why is this world separated into districts? What’s a reaping? Why would a little girl have such bad dreams about it she’d leave the comfort of her big sister?

From paragraph one I realize I’m immersed in a dystopian society that’s been around for a long time. Long enough to establish rituals that implant themselves in a little girl’s nightmare.

When you or your agent submit your manuscript to a publisher, it’s important to pay attention to these examples. Note the themes. In both books, the reader is:

  • Plunged into a life-changing event from page one
  • Wondering how the main character will survive in a world that’s against them
  • Deeply entrenched in years of destructive customs  

Note these themes, but create your own. The important thing to remember is that from the first sentence the reader knows they’re entering another world.

Divergent begins, “There is one mirror in my house.” A simple statement that begs the question, why?

The Hunger Games, “When I wake up, the other side of the bed is cold.” It makes you keep reading, and by the end of the paragraph the reaping has already been introduced.

Here’s the point.

As a reader, you feel like you’ve just jumped into the middle of a massive, historical event. You want to discover why there’s a Choosing Ceremony and a reaping. Questions leap off the page with nearly every sentence.

Write this way.

Drop hints that your world has been around for ages. Show your reader that what’s happening now, on page one, is the most important part to jump in on.

Happy writing!

Sarah Rexford is a Marketing Content Creator and writer. She helps authors build their platform through branding and copywriting. With a BA in Strategic Communications, Sarah equips writers to learn how to communicate their message through personal branding. She writes fiction and nonfiction and offers writers behind-the-scenes tips on the publishing industry through her blog itssarahrexford.com. She is represented by the C.Y.L.E Young Agency.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

Three Ways to Use History to Build Your Fantasy

Margaret Atwood is well-known for her novel The Handmaid’s Tale, a dystopian first published in 1985. Her novel covers the story of a handmaid living in what’s known as the Republic of Gilead. The catch?

Most every, if not all, major plot points were written based on reality. I imagine this was a large contributor in making Atwood’s novel a TV show. Why?

It was relatable.

The Republic of Gilead is not a real place, although to readers, it might seem to be. The same is true of your work in progress. Whatever country you create is not real, but it can seem real to readers when you create it using details that aren’t fiction.

When building your fantasy world, pull details from existing countries.

One of my first novels takes place in a country much like Australia — but only in shape and location. I mixed the layout of Australia with the topography of the US. I haven’t lived in Australia, but I have lived in the US. I know the US. And as the old adage goes, write what you know.

Secondly, I incorporated aspects of US history into my story, but pulled different aspects of Australian government into my fantasy government. This way the reader will never say, “Oh, this world is based on the history of the United States but set in Australia.” Pieces are pulled from both countries, but it’s not based on either.

Use details of historic figures to put skin on your characters.

When researching my characters, I looked up many historic people who’d had a big impact on either their country or the world. I pulled details of their personality and made them characteristics of my own characters.

Readers know names like Frederick Douglass, Mary I, Joan of Arc, and Adolf Hitler. It’s likely they also know more about them then they may remember learning in high school history. Pulling different details from each, a hair style, a personality trait, a character flaw, etc., then combining them to create one specific character, adds the ring of truth.

Mix customs.

If your book does well, you will likely have readers from around the country and possibly the world. Part of the fun of writing fantasy and science-fiction is the freedom to make things up. When it comes to the customs of the characters in your world, this freedom continues.

However, to really make your world come alive, research customs from centuries ago to present day. After you have ten to thirty customs, assign several to each of your characters. This will round out your characters, provide you with centuries of backstory to draw from, and use reality to strengthen your fantasy.

Don’t forget to add your own creative ideas to the mix. After all, that’s what writing fantasy and sci-fi is all about. Happy writing!

Sarah Rexford is a Marketing Content Creator and writer. She helps authors build their platform through branding and copywriting. With a BA in Strategic Communications, Sarah equips writers to learn how to communicate their message through personal branding. She writes fiction and nonfiction and offers writers behind-the-scenes tips on the publishing industry through her blog itssarahrexford.com. She is represented by the C.Y.L.E Young Agency.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

How Setting Can Be a Worthy Villain

It takes a spell-binding plot and evocative characters to create a memorable story. Some writers meticulously plan each plot point, others put their characters into interesting situations and write to discover what happens.

Regardless of your personal writing style, using setting as a pivotal character, even a villain, can take your story to a whole new level.

As an example, let’s break down two lines of dialogue, both in different settings.

Setting one: A sunny beach in the Bahamas, filled with tourists and vendors. Two characters are laying on towels reading their favorite book (possibly yours?), surrounded with half-eaten snacks. They overworked the past year, and this is vacation time their boss told them to take. Their dialogue goes like this:

Person One, “Before we have to go, you promised to tell me about that time you were working in London but were forced to step down.”

Person Two, “Maybe a different time? This isn’t exactly an ideal situation to revisit that.”

As a reader, what mental images did you conjure? Did you feel a sense of urgency? Probably not. They’re on the beach, after all. Reading. You may be able to understand why Person Two doesn’t want to ruin a perfect vacation day revisiting the past, but you’re probably more irritated they won’t share than empathetic with why they may not want to.

With that in mind, let’s look at the following situation.

Setting Two: A dark, abandoned warehouse. Our two characters are handcuffed to chairs, surrounded by members of the gang they’ve been undercover with for a week and a half. They’re about to be transported to a ship where they will be tossed overboard and left for dead. Their dialogue goes like this:

Person One, “Before we have to go, you promised to tell me about that time you were working in London but were forced to step down.”

Person Two, “Maybe a different time? This isn’t exactly an ideal situation to revisit that.”

As a reader, what dialogue was most captivating? In both settings, the dialogue is the same, word for word. But the setting was much different. The setting added an urgency for the characters by taking on a personality of its own.

By swapping sunlight for darkness, a beach for a warehouse, and tourists for a gang, we upped the stakes in a just a few sentences.

In both situations, we want to discover what happened in London, but as readers, we’re more likely to turn the page based on setting two.

Not only do we want to figure out what happened, but we want to find out if they’ll live long enough to allow us to find out. The setting is a villain in the sense that it’s keeping us from our goal of finding out what happened in London.

Using setting as an added villain for your characters’ will captivate your readers and keep them turning pages until the very last one.

Sarah Rexford is a Marketing Content Writer, working with brands to grow their audience reach. She studied Strategic Communications at Cornerstone University and focused on writing during her time there, completing two full-length manuscripts while a full-time student. Currently she trains under best-selling author Jerry Jenkins in his Your Novel Blueprint course and is actively seeking publication for two books.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

The Stage for Your First Page

There’s a video floating around somewhere online (numerous, probably!) of J.K. Rowling reading her first pages to eager readers. I remember listening and thinking how naturally the words flowed, how it seemed like if she’d written the page any other way it would be wrong.

That’s how our every page needs to be, but especially our first page. So, other than impersonating J.K. Rowing, how do we do so?

Start in the middle of a scene.

For instance, in Harry Potter, readers don’t need to wait more than a few sentences to realize they’ve been thrust into something “strange or mysterious.” Rowling doesn’t start with Harry waking up (a cliché we should all avoid), but tosses us straight into learning about the boy who lived. Another term for this would be starting in media res. Dare to start in the middle of a scene, trust the reader to pick up the details you layer in, and you’ll be surprised how fast you captivate your audience.

Mesh the Unknown with the Known 

A reader is always a little disoriented when starting a new book. That’s the nature of plunging into a new setting with no warning about what’s going on. (Tip: A location tag can help lessen readers’ disorientation.) To combat this and draw a reader in, combine your unique story idea with concrete details readers can connect with.

For instance, if you’re plunging your protagonist into terrible trouble, maybe include their friend offering help in a way that’s relatable to your target audience. This will give readers an anchor point as they dive deeper into your story idea.

Even in the Harry Potter movies, the director included a scene where Harry draws himself a birthday cake and candles in the dust and blows out the candles. Birthday cake is something most readers can connect with, even in a wizarding world.

Give Your Protagonist a Distinct Voice

Readers want to connect with a character in a personal way. The faster you can make readers connect with your protagonist, the more likely they’ll hold on for the whole ride. A good way to do this this by giving your character a distinct voice.

Creating a distinct voice demands knowing your audience and what type of voice they’re most likely to connect with. This takes effort, but it’s effort well spent. One reason Harry Potter did so well is because Harry had a distinct voice. He was just a school kid put in a very unique situation. But school kids around the world connected with his voice because it was their voice.

If you want to write a gripping first page, start in the middle of the action (in media res), mesh the unknown with the known, and give your protagonist a distinct voice.

Do this, and you’re well on your way to success!

Sarah Rexford is a Marketing Content Writer, working with brands to grow their audience reach. She studied Strategic Communications at Cornerstone University and focused on writing during her time there, completing two full-length manuscripts while a full-time student. Currently she trains under best-selling author Jerry Jenkins in his Your Novel Blueprint course and is actively seeking publication for two books.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

The Tightrope We Must Walk

Your main character stands on the edge of a cliff, a five hundred foot drop to jagged rocks below. The villain steadily creeps up, but as a reader, I haven’t connected with your MC yet. I might keep reading because I’m curious to find out what happens, but my heart isn’t involved.

Curiosity doesn’t drive story, heart does.

So, what makes a story compelling? How well we balance tension and character development.

If I don’t care about your MC, the tension won’t matter.

If I care about your MC but there’s no tension, I’ll put the book down.

For fantasy and science fiction, it’s especially important to establish an empathetic main character before bringing in too much tension.

Fantasy and science fiction require good amounts of world building. If I’m a reader trying to both 1) connect to a character from another world and, 2) understand the world the character is in, I’m going to need some help.

As the writer, this is where you shine.

Weave in backstory to reveal the heart of your main character.

Say your first scene starts with a battle. Your reader has no idea who your main character is as a person, what his/her desires are, or what brought them into this battle. Your reader might be curious to see if your MC survives without getting injured, but their heart isn’t in your story yet.

Time to drop in backstory! Have them save a child right before the dragon gets to him (commonly called a pet-the-dog moment), and then have a secondary character say something that reveals a growth in character arc: “I couldn’t have done that if I was her, not after_____.” Please don’t be that obvious, but for the sake of example, bear with me!

Reveal a weakness and why it’s a weakness.

I bet if you’re afraid of something today, it’s because you had a negative experience with it previously. Same goes for your main character (or any, for that matter). Let’s say your MC is a pirate from centuries past who’s turned over a new leaf and now helps ships lost at sea, saving the passengers. He’s brave and daring but terrified of the dark.

Your reader’s likely curious why he’s afraid, but we need to grab your reader’s heart. Instead of leaving it at “he’s afraid of the dark,” drop in some dialogue where your MC and a secondary character chat about how your MC and his family were caught in a huge ocean storm, his daughter was swept overboard, and because it was dark he couldn’t find her.

Now your MC is someone your reader can empathize with. Now your reader has some heart in your story.

Maintaining the right balance between tension and character development is a tightrope all writers have to walk, but done well, it draws readers in not just out of curiosity, but because their heart is invested in your story.

That’s a story worth writing!

Sarah Rexford is a Marketing Content Writer, working with brands to grow their audience reach. She studied Strategic Communications at Cornerstone University and focused on writing during her time there, completing two full-length manuscripts while a full-time student. Currently she trains under best-selling author Jerry Jenkins in his Your Novel Blueprint course and is actively seeking publication for two books.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

How Writing Blind Will Take Your Fantasy to the Next Level

When it comes to writing, some of us like to picture it in our head and write what we see, while others like to plot every scene before ever sitting down to the keyboard. No matter if we’re a “plotter” or a “pantser,” writing well requires something we often overlook but learned way back in kindergarten–the five senses.

Recently I asked some beta readers for feedback on the first page of my WIP. Many of the comments were positive. They loved the action and felt drawn in from the first sentence. But while many felt intrigued in the story, several also said they didn’t feel like they understood the world.

They couldn’t see where the action was taking place.

As a writer, that’s on me. I could see it all in my head, but I hadn’t communicated the location well enough to my readers. What had I missed? Some of the five senses.

Readers want to see where the story is taking place. They want to hear the wind in the trees and feel the snow crystalizing on their skin. They want to taste the last drops of water your MC shared with his fellow traveler.

A good way to do this is write with your eyes closed.

If you’ve ever tried to take a nap in a crowded room, you can relate to just how much your sense of hearing works overtime. The same is true with sight. When one sense is dulled, others heighten. New writers are often great at describing what things look like, but not what they smell, taste, or feel like.

Smelling the remains of a carcass on the dragon’s breath is much more evocative than telling a reader the dragon has scales.  

It’s easy to forget one sense when focusing on the others. In my example, I’d focused so much on smell and touch I’d mostly forgotten about sight, one of the most important senses when it comes to orienting a reader in the first paragraphs (especially in fantasy and sci-fi!).

Feel free to steal these tips when writing sensory details:

One: Write the first draft focusing on sight only.

Two: Write the second draft focusing on hearing.

Third: In the third draft work in touch.

Fourth: Don’t forget the all-important sense of smell!

Fifth: Finish it off describing the taste of fear, the salty tinge of saltwater on the tongue, etc.

The more you incorporate this exercise into your writing, the more likely it’ll become second nature to you and you’ll find yourself combining steps one and two, or three and five, etc.

Everyone experiences different struggles when it comes to incorporating the senses, but keep at it. After all, all writing is rewriting!

Sarah Rexford is a Marketing Content Writer, working with brands to grow their audience reach. She studied Strategic Communications at Cornerstone University and focused on writing during her time there, completing two full-length manuscripts while a full-time student. Currently she trains under best-selling author Jerry Jenkins in his Your Novel Blueprint course and is actively seeking publication for two books.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi Uncategorized

Unlocking Science Fiction, the Secret You Need to Know

There’s something about a good sci-fi story that pulls me in and doesn’t let me go. In those moments, I’m completely satisfied as a passive observer, forgetting all the rules of how we should write active characters, strong plots, and keep the story moving.

I just want to be drawn in (passive), forget the rules (what?!) and let the story take me where it will.

What is it about truly great stories that draw me in this way? There’s a key answer to this question. As writers, if we realize what details in a story bring us to the point where we’re willing to become passive readers—simply for the sake of engaging in the story—it will make us better, active writers.

Here’s the key—find the science in the fiction.

Stories that focus on believability (however unbelievable the plot may be in real life) allow readers the safety net of realism. When realism is built into a story, the fiction aspects can stand on their own.

For instance, take the book Maze Runner.

The situation is something that would (hopefully) never happen in real life: put a bunch of kids in a walled garden, or glade as they call it, and watch them fend for themselves as they try to survive alongside creepy monsters.

There’s nothing relatable about that fiction. The fiction can’t stand on its own because we, as readers, have this thought in the back of our minds: It’s so far-fetched, that would never happen.

But throw some science into the story. Watch them figure out the details of the day and how to survive alongside other teenagers they would never be friends with in whatever used to be their day-to-day lives. The author draws on the psychology of humanity, of teens, and then uses that to drive the plot.

At its core, Maze Runner is a survival story.

What goes into survival? Science. Grab your psychology textbook from freshman year and in it you’ll find Maslow’s Hierarchy of Needs. It’s a simple pyramid structure showing what we need as individuals, from a basic need for food and water, all the way up to self-actualization.

Maze Runner focuses on the second level—safety needs.

Adding relatable, scientifically proven aspects to a science-fiction book goes a long way in helping readers engage with the story.

We’ve all felt the desire to be safe.

So, when we turn the page and monsters come out of the maze, attacking our favorite characters, we don’t mentally stop to think, would they really want to be safe from monsters though?

No way! The author already established the credibility of his work, basing it in actual science. When the fictional aspects come along, we’re already drawn into the story.

The fiction stands on its own, because it’s rooted in science.

That’s what makes great science-fiction.

That’s believable.

And believable sells.

Sarah Rexford is a Marketing Content Writer, working with brands to grow their audience reach. She studied Strategic Communications at Cornerstone University and focused on writing during her time there, completing two full-length manuscripts while a full-time student. Currently she trains under best-selling author Jerry Jenkins in his Your Novel Blueprint course and is actively seeking publication for two books.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

The Slow Build of Believability

Most of us have probably been told to “plunge your main character into terrible trouble as quickly as possible.” This is a good motto to write by, and will help as we pitch to agents, our agents pitch to publishers, and ultimately, our readers decide whether to keep reading.

But there is also a whiplash-like phenomenon when we try to dump all the terrible trouble on our MC at one time, reveal the character arc in that great, epic scene we spent three days on, and tie it all up with our final, thought-out sentence.

To be clear, terrible trouble is a necessity, character arc is needed, and that epic scene provides the great payoff to the readers that we set up at the beginning.

However, especially when it comes to fantasy and science fiction, where we’re world-building like crazy and using uncommon character names, there needs to be a level of believability.

Just like building character in the real world takes time, building characters in fiction requires time as well. This demands specificity in our writing. It demands setups we may not even realize we’re writing into our story.

Pet-the-dog Moments

Including moments when our MC shows unnecessary compassion on a person or even an animal goes a long way in building credibility. Scenes where they tip generously when no one’s looking, stop to pick up the bottle in the dirt, or listen to the homeless person when they’re in a rush, these types of scenes build character credibility. Credibility brings believability.

Appropriate On-the-Nose Moments

No one wants to read about the character answering the phone by walking through their kitchen to the bedroom, unplugging it from the charger, swiping to open, and saying hello. (Or taking the parchment from the carrier pigeon, depending on your time period!) The important thing is to show routine in an engaging way. Once readers connect with the MC at a base level, they’ll connect with their humanness. Connection brings believability.

Destroying the Status Quo

Once we’ve set up that our MC is credible, believable, and someone readers can connect with, it’s imperative we destroy the status quo again, and again, and again. After all, we need to plunge our main character into terrible trouble as quickly as possible. Not just in the first pages, but that trouble needs to follow them like a shadow until they bring their heroism into the light of the final pages.

Slowly building credibility will leave readers deeply connected with the MC. That type of connection is what makes MC’s not only credible and believable, but memorable. Memorable characters stick with readers. And when characters stick, publishers will want to publish!

Sarah Rexford is a Marketing Content Writer, working with brands to grow their audience reach. She studied Strategic Communications at Cornerstone University and focused on writing during her time there, completing two full-length manuscripts while a full-time student. Currently she trains under best-selling author Jerry Jenkins in his Your Novel Blueprint course and is actively seeking publication for two books.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

The Beginner’s Guide to Props – Using Them to Show Character

You know the phrase, all an actor needs is an empty room and a script? I’ve heard that idea dispelled by an acting coach. Why? Because actors need something to react to, something to work with. A good actor uses the space around him to define his character, personality, and intentions.

In the same way, a good writer puts characters in environments that show their personality, without telling their intentions.

When it comes to fantasy and science fiction, this is especially important. In past centuries writers could get away with long pages of exposition, but in today’s Netflix era, where the next episode is just seconds away, we need readers to want to turn pages faster than Netflix changes episodes.

How to do so? Easter eggs. Easter eggs are a simple way to reference – or show – something deeper within a scene, without ever mentioning it.

Let’s say your character is sitting in the woods. They’re not just any woods, but woods you’ve taken hours to create and build into your fantasy. Your character sits down on a clean, expensive blanket. He or she opens a leather bag and takes a glass bottle full of your world’s equivalent to a specialty drink. They open a fiction novel with a title correlating to something they’d be interested in. In your select sentences of narrative, you mention that it’s morning and there’s a warm breeze.

Based on the above, what do you we know about your character?

  • He’s rich, or at least has high quality taste (expensive blanket, specialty drink in a glass bottle).
  • He’s interested in _____ type of pleasure reading (based on the title you choose for the book).
  • He’s an early riser and appreciates the small pleasures of a morning sunrise on a warm day.

What if we changed the props? How could something as simple as props show the depth of your character? Let’s give it a try.

Your character sits on the ground, ignoring the muddy leaves. He pulls a tattered blanket around his shoulders and a plastic, battered water bottle from a used backpack. Finally, he grabs a book with the title of a difficult school subject, and opens to the first, underlined page.

This time we could deduce:

  • He’s not bothered by dirt, or is too concerned with other things to focus on where he sits.
  • He doesn’t have much money.
  • He’s willing to spend what he does have to further his own study, and either doesn’t worry about the book being new, has used it extensively, or simply can’t afford something nice.

Depending on your specific fantasy setup, you can further play around with these props. Make the drink relate to some aspect of your world, show the bag was made from nearly extinct dragon skin, etc. A few, purposeful props can give countless insights into your character.

What types of props show your character’s motives? Let me know in the comments!

Sarah Rexford is a Marketing Content Writer, working with brands to grow their audience reach. She studied Strategic Communications at Cornerstone University and focused on writing during her time there, completing two full-length manuscripts while a full-time student. Currently she trains under best-selling author Jerry Jenkins in his Your Novel Blueprint course and is actively seeking publication for two books.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

The One Story That Always Keeps Readers Turning Pages

It’s not every author that has a movie made in their honor. But when the author makes global impact, the movie industry takes notice.

A few months ago, the movie Tolkien hit theaters.

J.R.R. Tolkien is the writer behind the famous The Lord of the Rings trilogy. His books were so well-read that a multi-hour movie was filmed based on his books. Countless have found inspiration on the pages of his story, and countless will yet find inspiration.

They are classics.

Writing a classic is probably a dream many of us have. So how did Tolkien do it? How did he become such a well-written author that multiple movies were made on his books, and a movie was made on his life as well?

He told the one story every reader wants to hear. Let’s break it down.

Write The Protagonist You Want To Write

If you’re unfamiliar with the story, Frodo is the protagonist, supported by his friend Sam. All three books follow Frodo’s journey as an unlikely hero. His strengths and weaknesses are a central focus to plot points, twists in the story, and an ending that almost doesn’t happen due to his own character flaws.

Frodo’s story not only holds The Lord of the Rings together, but creates an element of relatability in an otherwise fantastical story.

Write The Supporting Characters Your Story Needs

However, despite Frodo’s obvious page time, Tolkien wrote a full cast of supporting characters, each with their own histories, families, hopes, and dreams. The brilliance of Tolkien’s writing is that he wrote characters every reader could relate to.

Most books demand a protagonist that’s relatable to the target audience. This is a necessary and smart rule to play by. But take a look at Tolkien’s classic.

The protagonist is a short, insignificant hobbit.

One of the main supporting characters is a runaway man’s man who’s supposed to be a king.

There are two blundering, yet endearing cousins who cause some of the biggest plot twists due to their eagerness to help.

There’s the princess who refuses her destiny and claims mortality so she can also claim love.

There’s the small, seemingly inconsequential trinket, a single golden ring, that ties the story together from first page to last.

Every supporting character adds to the story, while at the same time making it relatable to nearly every reader who picks it up…

So, you’re writing a fantasy and your last name isn’t Tolkien. That’s ok! Learn from his writing and incorporate his methods into your own story.

Write the protagonist you’re passionate about, and don’t focus so much on whether he/she is relatable to every reader. Your story will also demand supporting characters.

When you write a story of intricate, round characters, your readers will keep turning pages until the very end.

That’s the story every reader wants.

That’s the story every reader will love.

Sarah Rexford is a Marketing Content Writer, working with brands to grow their audience reach. She studied Strategic Communications at Cornerstone University and focused on writing during her time there, completing two full-length manuscripts while a full-time student. Currently she trains under best-selling author Jerry Jenkins in his Your Novel Blueprint course and is actively seeking publication for two books.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

The Desires Behind Your Character’s Desires

When he reaches for the cookie his eyes aren’t on the cookie but on his mom in the other room. Why? Because it’s not so much the cookie that he wants, but to get it despite the fact just two minutes ago his mom told him not to.

His desire isn’t simply to eat a cookie.

His desire is to get away with something he knows he’s not supposed to.

While this circumstance may seem cliché by now, the truth behind it may be new to us as writers.

Writing good, memorable characters can difficult. Writing personable characters is even more difficult, and writing science-fiction characters that resonate and draw in readers can seem impossible.

That’s when we have to remember: we all have desires behind our desires.

We choose the salad over the white bread sandwich not because we want the salad but because we have certain dietary or physical goals.

We walk with an umbrella not so much because we care about our hair getting wet, but because we want to look a certain way when we walk into the meeting.

There are endless examples.

This may seem like normal life to us. Something we don’t even realize. Maybe even take for granted.

But it’s important we make the hidden desire behind the obvious desire clear when writing fantasy characters, or any characters, for that matter!

Let’s say our main character walks into an office building café and sits down at an empty table. She pulls out her phone and checks her email.

At first glance, as a reader we might assume she’s waiting on an important email. But we all know we don’t check our email out of desire to check our email. We fear looking like we have nothing to do. We fear looking not busy. Insignificant.

If your main character’s weakness is feeling insecure, write this into the scene. Make it clear.

But maybe your character is very secure. She’s strong and has worked her way up from poverty level to CEO.

The one thing her company doesn’t know is she’s an introvert and terrified of any type of interpersonal communication. Walking into the café, waiting on her order, she doesn’t want to risk conversing with anyone else. Just the thought of it sends adrenaline racing through her body.

Now we’re onto something!

We’ve shown the personal desire behind what a random onlooker would see as a physical desire. It’s not that she needs to check her email, it’s that she desires to avoid conversation one-on-one, at any cost.

Why?

That’s for your readers to figure out as you slowly reveal, line by line, paragraph by paragraph, the true desires behind your character’s actions.

Writing isn’t so much about showing what happens, but showing why it happens, and revealing the story through the hidden desires of your characters.

Happy writing!

Sarah Rexford is a Marketing Content Writer, working with brands to grow their audience reach. She studied Strategic Communications at Cornerstone University and focused on writing during her time there, completing two full-length manuscripts while a full-time student. Currently she trains under best-selling author Jerry Jenkins in his Your Novel Blueprint course and is actively seeking publication for two books.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

Genre Mashing Or Genre Reinvention?

In the last few years, there have been lots of Science Fiction and Fantasy publications that also fit into subgenres, or subcategories, created by the blending of established genres. For example, we now have historical fantasy, scientific fantasy, steampunk, space opera, urban fantasy, and the emerging suburban fantasy (which places magic and mythology in rural areas among middle class humans). There don’t seem to be many “straightforward” speculative fiction releases lately.

Some readers find these crossovers and combinations a little daunting; honestly, so do some writers. How do we know for sure what we’re writing or reading? Is it enough anymore to say, “My fantasy novel” when describing our work?

And are all these “mashups”, well…necessary?

Expanding the content and topics we explore in our preferred genre sounds great to most writers, and to many readers. Does every additional element really require its own subcategory?

My views on this topic are kind of cut and dry: I don’t actually see a purpose in calling a novel “the latest steampunk-space-opera-dystopian-fairytale-retelling-cyborg-romance”. It takes up too much room on the cover. And it can make things a bit too complicated for our audience. How about we stick to “a sci-fi twist on the classic fairytale”? Behind that simple sentence can be a wonderfully deep and intricate plot awaiting discovery.

I look at it not so much as “genre mashup” as “genre reinvention.”

One of the best things about writing speculative fiction is getting to bend the rules – our characters can travel to far-flung corners of the galaxy in the 23rd century, or back in time to a land where dragons and unicorns exist and chivalry is not dead. Taking a leap into the realm of exploring an actual mortal colony on Neptune, or what would happen if dragons turned up in Seattle tomorrow, feels to me a pretty natural extension of what sci-fi and fantasy authors already do.

No reason to qualify or quantify it further.

The only major complaint I’ve had with being a SFF reader and writer for most of my life is the somewhat restrictive natures of the genres. Sci-fi tended to be limited to the future, outer space, and aliens. Fantasy was either King Arthur and Lord of the Rings, or ghosts, gouls, vampires and werewolves. The thing I like about authors consciously, deliberately expanding the genres – or, reinventing them – is that now we have so much more to choose from, to enjoy, to mull over during and after reading. As an author, I’ve been very inspired by fellow word-crafters who aren’t satisfied with sticking to the “same old, same old.”

Broadening our horizons – while still keeping to a few words of description on book covers – can make a big difference in how our products are marketed, too. When we’re in a mixed group and admit to writing speculative fiction, there’s usually at least one dismissive, eye-rolling response. Unfortunately, too many readers still associate the genres of sci-fi and fantasy with writers who have their heads in the clouds and refuse to accept reality. In 2019, it seems that we can increase our audience by trumpeting the other aspects of our work first. For my own fantasy series, I also stress to potential readers that my plots contain strong, healthy family dynamics, loyalty to friends or a shared cause, forging new connections, and forgiving well-intentioned but bad decisions made by loved ones. Oh, yeah, there are fairies and shapeshifters, too.

It’s a personal preference, but I don’t want to be seen as “just a fantasy author.” I want to be recognized as an author who writes poignant, humorous, entertaining stories…that happen to fall into the wider genre of fantasy.

If I happen to re-invent the broader classifications while I’m at it…well, that does make me happy.

Self-published author and blogger Daley Downing is also a stay at home parent, autistic adult, ballet teacher, and cat lover. She spends her days writing the YA fantasy series “The Order of the Twelve Tribes,” and wrangling special needs children.

Categories
Fantasy-Sci-Fi

Fantasy Heroes? This Is How You Make Them Relatable.

One of my friends recently gifted me a book. She’d loved it so much she literally went out and bought a second copy for me to read.

It’s a fantasy, and some of the characters are so heroic they seem fantastic, at least as far as Google defines fantastic: “imaginative or fanciful; remote from reality.”

It’s hard to connect to someone who’s so removed from my own abilities they seem distant. I’d like to believe I’m capable of the things this hero in this book is, but I’m not. The theme of the book is great, just like my friend said, but so far it’s been hard to truly relate to at a personal level.

How can we steer clear of this issue and write fantasy heroes who are very human, physical, and flawed, yet still capable of greatness?

Write Human Characteristics

If you’re writing a fantasy there’s no question you have some very inhuman, creative characteristics in your characters. Maybe some of your supporting characters are not even human at all. Maybe your main character (MC) isn’t! Regardless, in order to be relatable to your human readers, your MC needs to have human characteristics.

Maybe they’re very uncomfortable around a specific supporting character and this shows through their body language. Maybe their natural response to fear is to fight (ever heard of fight or flight, the very human response to negative feedback in the environment?).

Whatever it is for your MC, make it human.

Remember The Physical

Just because they may not be human, your MC is still physical. He/she can still feel the full range of emotion, and demonstrate this emotion through their body.

We all have certain physical limitations. For instance, I dislike running but I run anyway in order to stay healthy. On the other hand, I love getting with friends and experiencing the outdoors with them.

Maybe your main character loves running but experienced an injury that keeps him from running at the time your story takes place. This physical detriment makes him uncomfortable around others. He unconsciously portrays himself through the emotion of insecurity via low power poses.

We all have physical insecurities. Give your MC one too, and he’ll be far more relatable to the average reader!

We’re All Flawed

Whether we admit it or not, we all have flaws in our personal characters. Maybe our reasons for doing something good are skewed, or we see the world through a false lens.

Readers relate to flaws, and flaws enable a full character-arc for your MC.

Wherever your MC starts in the story, make sure he overcomes a personal flaw by the last page. If you can write a fictional character who overcomes, you’ll inspire your readers to overcome.

This won’t only build trust with your readership, but keep them wanting more. Your influence will expand, your writing will grow, and you will experience the pleasure of using your gifts for others.

Happy writing!

Sarah Rexford is a Marketing Content Writer, working with brands to grow their audience reach. She studied Strategic Communications at Cornerstone University and focused on writing during her time there, completing two full-length manuscripts while a full-time student. Currently she trains under best-selling author Jerry Jenkins in his Your Novel Blueprint course and is actively seeking publication for two books.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

Why Disabled Characters Should Be Included in Your Spec Fic Novel

What does “disabled” mean? Generally, it covers everything from physical limitations, such as blindness or deafness or not possessing specific body parts; to mental illnesses that impact a person’s opportunity to live without ongoing treatment and care; to conditions such as Down’s Syndrome and autism, which are classified as intellectual disabilities.

In many sci-fi and fantasy tales, characters like this can be hard to come by. Heck, sometimes they’re difficult to find in contemporary or even historical fiction (and historically, we know that it was quite common for people to become disabled through disease, war, or accident). So why are they somewhat of a mythical creature in spec fic genres?

Well, it seems to be a combination of lots of science fiction including the possibility that all sickness and impairments can be wiped out; and the notion in epic fantasy that magic could serve as a healing source. Not that I’m bashing any of this. Would our present lives be better without cancer? Yes, of course.

But what about the value of portraying characters who don’t see their disability as a problem? (Just like so many patients, veterans, and folks managing genetic conditions every day in the real world.)

Personally, I’m all for a blind wizard who’s still the best mentor to the boy who would be king; a deaf space shuttle engineer who saves the day; a former warrior with a replacement something who trains the next generation to kick some serious evil rear.

And intellectual disabilities are even more overlooked – not on purpose, just simply due to awareness of what these conditions entail purely not existing on a grand scale in our society. As an adult on the autistic spectrum, the parent of a son with high-functioning autism, and of a little one receiving physical, speech, and occupational therapy nearly since his birth – and as an avid SFF reader – I can concur, there aren’t a lot of fictional people like us out there.

Right there is another, very good reason to expand what sorts of characters you write: Some of your readers will be thrilled to see themselves represented in a medium where they typically aren’t.

So how do you create realistic disabled characters for fantastical or invented settings?

Do your research. It’s one of the most common phrases writers hear, but for infinitely good reason. It’s crucial to the authenticity of a story to find out as many details as you can about the topic at hand, whether it’s deep sea diving, quilting, alternative fuel sources, or disabilities.

Don’t rely solely on medical journals or textbook explanations of conditions. Find real life individuals to interview. Even if you don’t know someone personally, maybe relatives or friends have family members or acquaintances who would be willing to share their life experiences. (And a lot of folks are willing.)

Keep an open mind. Some conditions or illnesses that are legally and medically classified as “disabilities” are in fact not seen that way by the people who have them. And let’s face it, it can be really hard and even frustrating to feel that writing a “disabled” character must mean writing a downtrodden and pessimistic personality. Many abled people do assume that the non-able approach life like this. The truth is, so many of us do not – and wouldn’t it be refreshing to read about a character with MS or one hand or chronic depression who saw the best and brightest things in life?

What’s your ultimate goal? Are you portraying a disabled character to help others gain insight? Are you writing someone of a victim mentality, or an optimist? Or maybe you’re starting out with the former, and showing their journey to the latter. There are already a lot of stereotypes in art and literature surrounding this topic, so let’s do our best to break the mold!

Self-published author and blogger Daley Downing is also a stay at home parent, autistic adult, ballet teacher, and cat lover. She spends her days writing the YA fantasy series “The Order of the Twelve Tribes,” and wrangling special needs children.

Categories
Fantasy-Sci-Fi

Why Your Villain Demands Empathy

Hitler didn’t wake up one day and decide to become one of the most infamous murderers in history. He didn’t get dressed deciding to slaughter Jews. He didn’t eat breakfast one day as a soldier without education or career prospects and the next day become a dictator.

Like any historical enemy, Adolf Hitler experienced a journey in becoming the Hitler history remembers.

Recently a friend and I went to the theater. At the beginning of the movie I was subconsciously rooting for the hero. He’d been presented as the hero after all. We learned his backstory. We empathized.

But then the villain came onscreen. For two hours we watched a grown man devote his entire career to earning his mother’s love. Character-building, engaging stories of the hero interspersed these scenes and drove the plot.

By the time the hero and villain met at the climax my friend and I didn’t know who to root for. Both had strong, heart-wrenching backstories. Both were fighting for their families.

When We Write an Empathetic Villain, We Understand the Hero

Heroes are the crux of a story. They hold the plot together and tie the beginning to the end. The better the hero is written the more engaged the reader will be. As writers, it’s our goal to keep the reader turning pages. The better they understand the villain the hero is fighting, the better they will understand the hero and root for him.

If we want readers to engage at a heart level, we must write villains with hearts the reader can at least understand. With understanding comes further curiosity, and when readers are curious, they turn pages.

Empathetic Villains Put A Spotlight on The Hero

We’ve probably all heard of round versus flat characters. Round characters have a history. A future. A present we care about. When our hero is round, but our villain is flat it makes our hero look weak.

No one cares about a hero who’s fighting a shadow of a person. Readers want a hero who must use every fiber in them to come out victorious. Empathetic villains demand we write heroes worth the title.

Empathetic Villains Help Us Remember the Hero’s Sacrifice

The heroes I remember most are the ones who sacrificed most. The ones who risked everything because of the slim hope they could defeat their villain. When we understand the villain, we understand the cost it took for the hero to defeat him.

That’s a hero worth remembering. That’s a book worth reading again.

I walked away from the theater realizing that for a villain to lead the tension in a story he demands empathy on multiple levels. If readers are to truly engage with the hero, they must empathize with the villain he fights.

As a writer it’s my job to create lasting heroes.

If we can write empathetic villains, we can write truly heroic heroes.

Happy writing!

Sarah Rexford is a Marketing Content Writer, working with brands to grow their audience reach. She studied Strategic Communications at Cornerstone University and focused on writing during her time there, completing two full-length manuscripts while a full-time student. Currently she trains under best-selling author Jerry Jenkins in his Your Novel Blueprint course and is actively seeking publication for two books.

Instagram: @sarahjrexford
Twitter: @sarahjrexford
Web: itssarahrexford.com

Categories
Fantasy-Sci-Fi

How to Write Fantasy and Science Fiction

So, you’re a writer. And you’d like to write fantasy and science fiction. You have a great idea for a story set in a world of dragons, sea monsters, and wizards. Or on a space ship orbiting a distant planet. This all feels so exciting, and you can’t wait to get started. Except.

Except you know very well that dragons, sea monsters, and wizards aren’t real. And that man-made space shuttles haven’t yet found a way to orbit planets at the other end of the galaxy. Also, you’re quite aware that many authors have already established fictional worlds of their own in these settings, and you don’t want to rely too heavily on what’s come before – you want to create your own take and leave your mark on these genres.

How do you go about all of this?

Here are some tips, from a self-published fantasy author who has faced all of this herself.

Do your research. Huh? For stuff that doesn’t exist yet, or may never have existed at all? Yup, that’s right. As we’ve already noted, there are numerous published titles in the fantasy and sci-fi markets, which have created a sort of baseline for the genres. So, find out just what has come before your work – but don’t feel obligated to adhere to any of it. Genre novels run the risk of becoming clichéd, and readers can get tired of hackneyed plot devices and cardboard character archetypes. This brings me straight to my next point…

Be original. Once you’ve figured out what all the tropes (or common elements) of recent sci-fi and fantasy are, attempt to break them. For example, we’ve all read several tales of nasty aliens trying to wipe out humanity by nefarious means. Why not write a novel about kind aliens who want to help us reverse pollution to the environment and cure disease?

Before I started writing my fantasy series, The Order of the Twelve Tribes, I dug and dug through literature on mythology, fairytales, Tolkien and CS Lewis and JK Rowling, hoping to find a “hook” that would make future readers sit up and take notice. In the end, I went with a snippet of Celtic Christian folklore I stumbled across, connecting the origin of fairies to Fallen Angels after the War in Heaven. And one of the main praises from my subsequent reviews has been the originality of the premise.

Where necessary, find out how things really work. Yes, you are building a fictional world, but it still needs to make sense. If you have a magic system, determine early on how it operates. Can your characters acquire it, or do they have to be born with the ability? Does it come from an outside power source or influence (such as the One Ring in Middle Earth)?

Are your characters in a galaxy far, far away, but still human? Then what requirements would their planet/space ship need in order for the survival of their carbon-based life forms? If a race of dragons – or aliens – has remained undiscovered for x number of centuries by your protagonists, how did that happen? Was there a lack of funds for space travel in your home setting? Were the dragons suspected of being extinct, and they used this to their advantage, hiding deep in remote wilderness?

Readers will appreciate that you fleshed out the details.

Self-published author and blogger Daley Downing is also a stay at home parent, autistic adult, ballet teacher, and cat lover. She spends her days writing the YA fantasy series “The Order of the Twelve Tribes,” and wrangling special needs children.

Categories
Fantasy-Sci-Fi

The Perfect Blend of History and Fantasy

Historical fantasy is a genre growing in popularity. Many famous historical figures have earned themselves a retelling of their story, with a fantastical twist to set the story apart from other historical fiction.

My Lady Jane is a fun retelling of the life of Lady Jane Grey, the Nine Days’ Queen who replaced King Edward VI in 1553. Although a tragic tale in reality, authors Ashton, Hand, and Meadows were able to create an interesting, magical tale to please a young adult audience. Readers otherwise unfamiliar with Jane Grey’s story have been captivated by the mystery of her very short reign as Queen of England, along with a the unique idea that the entire plot was influenced by shape-shifters.

Earlier this year, Nadine Brandes released her novel, Fawkes, which tells the true story of Guy Fawkes and his involvement in the Gun Powder Plot of 1605. In place of the tension between the Catholic and Protestant faiths, the main struggle within this narrative revolves around White magic and Color magic. Despite the fantastical change, the story is quite historically accurate.

Bookstores have seen an increase in sales of historical novels that have that fantasy spin. So, what is the best way for an author to go about writing a historical fantasy?

First decide which historical figure or event is right for your story. Not all historical events will lend themselves to a fantasy retelling. Evaluate the person you’ve chosen and pinpoint what event(s) in his/her life will make for the book’s climax, then work backwards to decide at what point in their life you will begin telling the story. Too much backstory can slow the story down, so be sure to drop the reader into the tale just as tension develops, sending the main character on the road towards the climax.

The next step is research. Regardless which time period you choose or which historical figure you pick to highlight, knowing the true story of the event is crucial. Understand not only the culture the person lived in, but also the build-up of social and political tensions, as well as any other influences that might make the story unique. Once you know the true history of the event or person, you can begin to piece together which elements can be stretched or changed for the fantasy addition.

Ask yourself what fantasy element fits nicely within their history? The fantasy element you choose should draw the reader in and keep them interested in the history of the story, as well. Keep as much of the history as accurate as possible, while being true to the new fantasy twist. This will impress the reader and keep them reading as they seek to learn the new fictional tale of this very real historical figure or event.

Don’t forget to have fun with your story! Regardless what historical figure you choose to write about, or which part of history they hail from, enjoy the fantasy world you create around the history of your story. A reader that chooses to pick up a fantasy retelling is likely looking for a new, unique twist to enjoy. So, focus on the character and the story they want to tell, and let the fantasy elements take your novel to a whole new level.

Laura L. Zimmerman is a homeschooling mama to three daughters and a doting wife to one husband. Besides writing, she is passionate about loving Jesus, singing, drinking coffee and anything Star Wars. You can connect with her through Facebook and Twitter @lauralzimm and at her website Caffeinated Fiction.

Categories
Fantasy-Sci-Fi

Inspiration From the Renaissance

Most authors will hit a dry spell at some point in their career. Whether they consider it “writers block” or just a season of life, inspiration runs short. Finding ways to get those creative juices flowing once more is a must for any writer.

Inspiration can come from anywhere around us. A recent trip to my local Renaissance Faire reminded me that we, as writers, sometimes need to look beyond the norm to find that extra boost of creativity. Here are a few ideas gleaned from my trip to the past.

Writing inspiration from a Renaissance Faire

Eat a turkey leg. For some, a faire of this magnitude is a great opportunity to dress up in costumes, fake an accent, eat unfamiliar foods, and embark in the make-believe. This same concept can be applied when searching for that extra spark needed to get into a character’s head or discover the perfect setting for your book. Having trouble finding what motivates your character that loves archery? Then sign up for archery lessons! Not sure exactly how to describe that ethnic food your character eats in chapter ten? Visit a restaurant to get the full experience. It’s easy to read what an activity or place is like from another person’s point of view on their personal blog, but you might find a different experience when you try it out for yourself.

Get immersed in a Shakespeare production. Ever notice you have lots of sci-fi ideas right after watching a movie or reading a book within that genre? Have you ever read multiple books in a row, with very similar premises, only to suddenly have the desire to write a companion novel within that same world? We often get inspired by the things with which we surround ourselves. If you’re writing a fantasy western novel, then watch as many movies and read as many books within that genre as you can. Your inspiration will get a boost and you’ll be ready to get writing in no time!

Buy a souvenir. Sometimes, using an item that reflects the atmosphere within my story, helps direct my thoughts where they should be. If writing a historical fantasy, try using a calligraphy pen to capture your thoughts. If it’s a futuristic space opera that holds your interest, invest in glow-in-the-dark decals of the stars, or photographs of space to decorate your writing desk. Anything physical you can use to bring back a spark of inspiration to your story can help.

God created us to be creative beings. There may be times when our inspiration seems lacking or even non-existent, but that doesn’t mean we’ve lost our creativity. Find ways to jump-start the flow of those creative juices and get back to the heart of your story. Sometimes finding the right catalyst for your imagination means thinking outside the box.

Laura L. Zimmerman is a homeschooling mama to three daughters and a doting wife to one husband. Besides writing, she is passionate about loving Jesus, singing, drinking coffee and anything Star Wars. You can connect with her through Facebook and Twitter @lauralzimm and at her website Caffeinated Fiction.