Category: Fantasy-Sci-Fi

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Fantasy-Sci-Fi

Fantastic Fairytales

Browse through your local bookstore and you’ll notice fairytale retellings are quite popular across multiple genres. These tales have remained a staple within the world of storytelling for centuries because of a few key components: they have a solid storyline that’s easy to follow and they always have some sort of moral lesson to be passed along.

So, how can you join in on the fun of creating something new, from something old? Here are a few tips for coming up with your own fairytale retelling that will keep your readers wanting more.

Do your research. Many tales have been passed down by word of mouth, traveling across national borders. Learn how your specific fairytale might differ from one culture to another. Did it originate in another culture having been adopted into our own, with elements within the story changed to fit our own world view? Get to know the tale from every angle, every source. The more you know about it, the more ideas you will have to pull from when you create your own unique spin.

Give it a good twist. Readers want a fresh story. Make it familiar enough that the reader can see the original tale, but different enough to keep them wanting more. A retelling is different from a remake—a remake is simply the same story retold. A retelling allows you, as the author, to push the boundaries and make something completely different from what has been done before.

Think theme. What draws the reader to the original story? What is the deeper theme? Cinderella is more than just a “rags to riches” story of a pretty girl who got her Prince. It’s a moral lesson to teach children to be kind (even when they don’t feel like it) without allowing selfish desires to win. Think about the deeper theme you want to convey, one that speaks above the surface of the original tale.

Ask the “what if”? How can you make the story different? Change the time period; change the setting (here’s your chance to really world build!); or change the genre in which it would normally fall. (A steampunk retelling of Rapunzel could really shake things up!) Just as you would ask the “what if” when creating a fiction story from scratch, allow the same pattern of questions to guide you as you reform the familiar fairytale into something exceptional.

Change the viewpoint. Tell the story from the viewpoint of the villain. What is his motivation and how is it different from the original hero? Make the villain human. Make the reader empathize, so they are actually rooting for the villain in a way they normally wouldn’t. Giving the reader access to the villain’s private thoughts can create tension as the story progresses. They know they should be on the side of the familiar hero or heroine, but are realizing a new hero is emerging within the villain himself.

Another viewpoint to utilize would be a minor character from the original tale. Give the character a backstory, complete with flaws. What would the Beauty and the Beast story be like if narrated entirely from the viewpoint of a selfish Mrs. Potts who would do anything to provide for her son, Chip? How would the characters come across differently? How would the theme(s) change?

Do a Crossover. Allow characters from one fairytale to visit another. How would Ariel react if she found a Beast living in the castle next door? Would Maleficent and Evil Queen get along if they were ever introduced? What would Red Riding Hood do if she stumbled upon Hansel and Gretel as they searched for their way home? Allowing one or more characters to leave their own universe and enter another is one more way to make your story unique and exciting for the reader.

Change the ending of the story. Think you know how the story ends? Maybe not! With a fresh perspective on theme, character motivation, and a new setting, the door is wide open to allow for a varied ending that will not only surprise the reader, but might fit better with the new twist you’ve given to this old tale.

No matter how you choose to retell your fairytale, remember to take it deeper than the original. Readers know the Disney version of these tales. What they want is to be captivated—where they can actually see themselves in the characters and themes that have existed for hundreds of years.

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, Instagram @lauralzimmauthor, Twitter @lauralzimm and at her website Caffeinated Fiction.

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Fantasy-Sci-Fi

The Science Fiction Behind Science Fiction

Since the release of Star Trek and Star Wars, viewers of space-based science fiction have had certain expectations of what a space battle should look like. As a result, most authors have followed suit and written their space opera in the same vein as these examples. But how accurate are these space battles we’ve come to expect? Here are a few surprising differences you would need to make as a writer if you wanted to have a more realistic space battle.

Communication. Currently, our communication can only travel at the speed of light. This means ships communicating to nearby planets or other ships very likely will have a significant time delay between messages. The discussions would not be instantaneous, like they are in the movies. This would probably make the battle long and drawn out, as each side awaits the next order from their Communications Officer.

Ship design. We often see space ships that are built similar to our own aircraft here on earth. However, a ship meant only for travel within deep space would not need wings. Wings are meant only for lift when encountering air, therefore, they would be useless on a space ship since there is no air in space. It’s quite likely the ships would look boxy and plain.

Also, because of the extreme G-force that would be applied within the ship as it moves through deep space, even the smaller ships would have a difficult time utilizing stick-shift style controls. Therefore, control panels would likely be flat touch screens that could be controlled with the touch of a fingertip.

Lack of air in space. As I mentioned before, there is no air in space. With no air, there can be no carrying of sound waves. This would make for silent battles. Gone would be the high-pitched screech of the small fighter ships as they pass by the mother ships. And the massive echoes of explosions would disappear, as well.

Speed. Again, with no air, there is no way for a vehicle to slow down without intention. It would take just as much energy to decelerate, as it would to accelerate. Because of this, there would not be battles in “close quarters.” A ship that got too close to another, unable to slow down in enough time, would cause a collision that would damage both ships, resulting in their demise. Therefore, they’d want to do battle at great distances, to assure there would be no collisions.

The speed of an object in space also affects the type of ammunition used during a space battle. Faster moving ammunition would be best, since the distance between ships would give plenty of time for the targeted ship to move before the strike hits. Therefore, laser weapons would work better than torpedo-type weaponry.

The reality of space battles is that it wouldn’t look like a WWII dogfight—or a battle seen in the movies. The question is, how realistic do you want your sci-fi space opera battle to be? Do you want to write a story that lines up with the majority of other tales, or are you the type of writer who wants to take a chance and write something different, but much more accurate? Take a moment to consider just how real you want to portray your space battle. Your decision just might make your story out of this world.

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.

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Fantasy-Sci-Fi

The Value of a Good Critique

Every writer can use a solid critique of their work, especially when they are preparing their work for professional submission. Even a seasoned writer needs a partner. This is because, as writers, we are too close to our own work to see the subtle changes that need to happen within our stories to make them the best that they can be. It may be something obvious, like clarification of a character’s intent, or it might be less glaring, like tweaking a sentence to change the meaning behind the words of the story just slightly.

However, just as not all writers write exactly the same, not every critique partner will be alike, either. Here are a few suggestions for finding the right critique partner for your fantasy/sci-fi genre stories.

Writer groups. Most authors seek to belong to at least one writer group that meets locally. This is the most personal way to find a critique partner that might be right for you. Take care to choose someone who writes within the fantasy/sci-fi genre and doesn’t have too contrasting of a voice between their work and your own. This will help you both to focus on your stories, without getting distracted with style or genre differences. The benefit of a local critique partner is that you can meet together in person, as often as you like. But don’t get discouraged if you don’t click with anyone in your hometown. There are other ways to connect with fellow writers, as well.

Online groups. With the dawn of social media, many authors have some sort of online presence. Take a look at writer groups that your fellow writer friends are part of or ones that they follow, and then join them, too. Here you can watch the chatter within the group and find someone with a similar writing style that you think might work well with you as a critique partner. Establish an online relationship with them by commenting on their posts or responding to their comments on other posts. Then reach out to them through a personal message explaining why you think you would work well together. Be sure to establish a working relationship with them first, so they can separate you from a stranger whose message they may dismiss.

Conferences. Once again, here you will have the personal edge when searching for a critique partner. A conference is a great place to network and meet fellow writers you otherwise would not have had the opportunity to meet. There’s no need to find a partner who lives in the same town as you, since it’s just as easy to communicate electronically. Find the right person with whom you click the best. Understanding your partner’s writing style and voice is more important than living in the same time zone. Passing along critiques to one another can be as simple as commenting on a Word doc emailed once a week, or it can be more in-depth with a weekly or monthly Skype call where you can talk face-to-face.

Take your writing to the next level and engage with a critique partner. Not only will you glean valuable information from the comments your partner suggests on your own work, but you’ll grow as a writer as you critique their work, as well.

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 on Twitter @lauralzimm, Instagram @lauralzimmauthor, on Facebook and at her website Caffeinated Fiction.

Categories
Fantasy-Sci-Fi

The Myths Behind Your Fantasy Work

Fantasy stories come in all shapes and sizes, from modern-day tales to historical adventure. One way to give your story character is to reuse a classic myth or legend. Myths, legends, fairytales and folklore are often recognizable tales that can help connect a reader to the story from the first page. By using an established story with a new twist, the reader will have discovered a brand new treasure.

The first step to using a myth or legend as the basis for your story is to decide if the tale will be a retelling of the classic story or if elements of it will weave throughout your story to give a certain “feel” to the overall narrative. Regardless which way you choose to tell the story, any tale will need to be embellished, since no myth or legend was created as a full-length novel. Use the tale as a springboard and allow your creative side to fill in the details that are missing to make your story complete.

An example of a retelling of classic fairy tales are the middle-grade novels by Liesl Shurtliff. In her books, Red, Jack, and Rump, the classic stories of favorite children’s fairy tales are retold with a more developed plot, often including characters from other stories, as well, but the basic stories are the actual fairy tales themselves.

Rick Riordan has inspired the young adult fantasy industry beginning with his Percy Jackson series by taking a myth and altering it to create a brand new story. His stories are modern day tales involving twenty-first century kids, with a basis in ancient Greek mythology. While the setting and world are quite different from those ancient myths, the rules and original characters retain their properties.

Some stories originate from a specific culture but have been changed from one society to the next. Take your time to investigate all the twists and turns the original story has taken through the shift between cultures. These differences may help shape your story to be a different retelling than any that have come before.

Know the myth or legend and the characters that make it up, inside and out. The more you know the myth, the more you will understand which elements can be changed and which should remain the same. However, be sure not to take too many liberties with the story. Allow the themes and moral dilemmas to remain the same, as the reader will notice if you make too drastic a change from a favorite tale.

From here, the story is yours. Once you have the myth or legend to base your story upon, you’ve done your research, and you know what changes to make to create a brand new story for the reader, then you’re ready to get writing. Remember, the story doesn’t need to be a mirror image of the previous myth or legend, but it does need to retain the basic themes, motivations and characters to uphold the integrity of the original tale.

Using a previously established tale can open a world of possibilities for new stories. Myths and legends can provide a fantastic canvas to paint your next novel. The only question left to ask yourself is, which myth will you choose to use first?

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 on Twitter @lauralzimm, Instagram @lauralzimmauthor, on Facebook and at her website Caffeinated Fiction.

Categories
Fantasy-Sci-Fi

Realistic World-Building

The trend within the fantasy and sci-fi genres is to push for more detailed world-building within our stories. While this might work for some novels, it isn’t always necessary. When writing a sci-fi story set on earth in the not too distant future, less is actually more. A story can be just as effective—if not more so—when the writer keeps the setting simple. Keep in mind that in reality, the next generation or two probably won’t be living too much differently from the way we do now.

Names.

I personally know teenagers named William, Julia, Benjamin, Robert and Elizabeth. I also knew teenagers with these names when I was a young girl in the eighties. Today, we’ve also got names like Truxton and Abcde, but every generation will have new and different names. Overall, they haven’t changed that much. I would expect there will still be boys named James and girls named Grace in the year 2118. When creating your cast of characters, throw in an unusual name or two, but don’t bog the story down with odd names that are too difficult to pronounce. It’s perfectly futuristic to give your characters normal names.

Technology.

Computers have changed our way of life forever. Technology is moving at a faster pace each and every year. But that doesn’t mean earth will be unrecognizable in another century. With each new technology, it takes years of testing and then more years of production, before a company or government can implement it into society. Pharmaceuticals take decades to pass through the FDA. We may have the first self-driving cars on the road, but will that really mean all vehicles in our country will be self-driving in just a few decades? Most likely, not. Remember to incorporate some of these changes as occurring slowly over time within your story. However, no one will expect our skies to be filled with flying cars by the year 2068.

Geology.

What’s happening on our planet? It’s no secret that polar ice caps are melting and changes in our atmosphere are causing scientists to scratch their heads. But how will this affect our world in the future? Many futuristic stories include the same countries and landmarks that exist today, but use different names or have new alliances, causing the reader the need to learn about our planet as if it were not our own. But how will our world be different geologically? Including small changes in the natural world around us may be the key to your world-building without having to “reinvent the wheel” by creating all new nations just to make our world seem different.

The differences needed for world-building within a sci-fi story on earth don’t need to be complicated. Remember to keep things simple, pull from what is familiar to you, and think about the next logical step for the future of our world. This just might be the key to keep your reader reading, without getting hung up on complex details.

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.

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Fantasy-Sci-Fi

Breaking Down the Worlds of Science Fiction

Which world, or sub-genre, does your novel belong to?

Bookstores have general genre sections in which to categorize their books making it easier for consumers to locate a specific subject. However, within each genre there are always dozens of sub-genres to help narrow down a reader’s search.

Science fiction is no different, encompassing a large number of categories. Novels in this genre often deal either with a natural science or technological science, but the variances can go even deeper.

Here is a brief breakdown of some of the most popular sub-genres within sci-fi.

The sub-genre of Alternate History asks the question, “How would our world be changed if a specific historical event had ended differently?” These books use actual historical settings to explore a fantasy world that does not exist but could have existed. A similar sub-genre is the Parallel Universe. These works consist of one or more worlds that coexist with our own, often reflecting an almost identical reality but with only minor differences that may or may not affect a major change.

Artificial Intelligence and Robot sub-genres are closely related in that they are both computer science based. These sub-genres reflect the idea of intelligent and self-sustaining machines. On the flip side, Virtual Reality stories dive into a world where computer-simulated environments play a role within which the characters are able to interact.

In recent years the idea of an Apocalyptic, Post-apocalyptic or Dystopian society have become quite popular among audiences. These novels deal with end of the world events and how mankind is able to survive in the aftermath of an almost global extinction. They are often a man vs. nature conflict and sometimes include a corrupt government that challenges human survival.

The Steampunk sub-genre of science fiction is by far one of the most popular. This sub-genre is set in the 19th century when steam powered engines were still in use and it often crosses over with the Alternate History category. Mixed with the traditional lifestyle of this era are more modern technologies such as computers, robots and futuristic machinery or weaponry.

Alien Invasion of earth or First Contact between humans and another unknown life form are other popular sci-fi sub-genres. In recent decades the subject of Mutants—humans that change or develop in some way to produce superpowers or defy nature—is another well-liked category. With the rise in popularity of superheroes both in books and on the screen, this sub-genre continues to grow.

Closely related to the previous categories are Space Exploration and Space Opera. The idea of Space Exploration usually stems from modern day reality answering the “What if?” question of a major space discovery and the effects on our planet or the near future. These books usually attempt to stay within the confines of our current knowledge of science and space travel. The category of Space Opera is often set on a distant planet in a universe unlike our own, with a mixture of human and alien characters, and various unknown languages and cultures. This sub-genre allows the story to go against the laws of physics and often makes the impossible, possible, through a source of magic or power.

The Time Travel sub-genre includes stories where one or more of the characters travel to any point within history or into the future. This subject remains a popular category within scifi.

Your work may cross over into multiple sub-genres within the world of science fiction. Make an effort to choose just one or two categories to narrow down your theme so it will be easier to market when the time comes. It’s important to know your book’s sub-genre so you can discover your target audience and in turn, your readers will be able to find your book!

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, Twitter @lauralzimm, Instagram @lauralzimmauthor and at her website, Caffeinated Fiction, www.lauralzimmerman.com.

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Fantasy-Sci-Fi

The Secret of Your Success by Laura L. Zimmerman

Success.

For writers this word can mean different things. One author may feel success has been achieved once their first book is in print. Another may decide it is only once a certain award has been attained.

Because success is subjective, it can reflect different values within each of us. However, the pitfalls of these ideals are that our perceptions of success can change over time to the point that we are never satisfied with our achievements. This can be particularly difficult for fantasy and sci-fi writers because it is becoming more difficult to sell these genres within the Christian market. If we continue to put our value on our work being published or the accolades it receives, we may never feel we’ve reached true success.

As Christian writers, we have the ability to use a different measuring stick. Instead of applying external measures to guide our definition of success, we can focus on how God measures it. Many authors of faith would say they write because they feel that God has given them the words to write. If you choose to change your idea of what success is, then you may be able to avoid those times of frustration.

Celebrate success each time you complete a short story or a magazine article. Reward yourself for every story you complete—whether it’s for a contest or when you finish that full-length novel. Instead of celebrating years down the road when your work is published, choose to celebrate accomplishment in the moment. This gives you the chance to see success every single day or several times per week! God wants to see his children celebrating the words He has given us to write.

There is no need for external measures of success when you write with God.

The book industry can sometimes feel like a roller coaster ride, and it’s changing every year. The idea that it is harder for fantasy and sci-fi authors to get their work published can be a daunting task. But changing your perspective on how you write just might be the answer to the success of your writing, and the encouragement needed to continue to write with God.

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 at www.lauralzimmerman.com

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Fantasy-Sci-Fi

The Bones of Your Fantasy World by Laura Zimmerman

For many, the new year often comes with aspirations of drafting a brand-new novel. Each new idea creates the necessity of laying down the bones of the work—the plot. There are some who are Plotters—those who plan the plot and characters before writing, and some who are Pantsers—those who write as ideas come. Whichever category you may fall into, you will need to sit down and hammer out the specifics of plot at some point in the writing process.

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A New Year for Fantasy and Sci-fi by Laura Zimmerman

It’s a new year. For some writers it is an opportunity to pick up a previous work that had been lost in the daily grind of life and to finally finish your novel. For others it might be stepping into the role of serious writer for the very first time and beginning a brand new story. Wherever you might be in your writing journey, it always helps to have a list of resources to help you tackle that next fantasy or sci-fi story you hope to write! Here are a few websites that might help get your story written.

A great resource for Christian speculative writers is Realm Makers. Although this is an annual conference, they do offer recordings of past conferences for purchase and even offer a consortium for speculative writers to join on Facebook. This is a great place to connect with other Christian writers and to ask questions.

Lorehaven, along with its companion site, Speculative Faith, is a website dedicated to exploring fantasy and sci-fi writing and books with a Christian worldview. Head on over to their sister site, Splickety Publishing, to try your hand at writing flash fiction.

Other sites that are geared toward fantasy and sci-fi but do not specifically have a Christian worldview:

Science Fiction and Fantasy Writers of America (SFWA) is one of the oldest organizations dedicated to helping published authors within the fantasy and sci-fi genres. Membership to this organization takes some work to achieve but having this on your resume will set you apart if you’re looking to get traditionally published.

Science Fiction and Fantasy Chronicles is a community of fantasy and sci-fi writers that includes specifics on writing and publishing. Connect with other writers on the forums and check out the listing of writer blogs so you can take your research further.

Worldbuilding Stack Exchange is a place where writers can voice their questions about science and geography to aid in creating realistic fictional world building. This is a great resource to get quick answers if you want your world to be believable with specifics about science and technology.

Critters Workshop is a family of workshops and critique groups for speculative writers. This is a free website that offers discussion forums and book suggestions on the writing craft.

No matter where you are in your writing journey, utilize these resources to make this the year that you tackle those stories God has given you to tell.

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 at www.lauralzimmerman.com

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Fantasy-Sci-Fi

A Dynamic First Page by Laura Zimmerman

The first page of your book determines whether the reader will continue reading or if they will move on to another book. Sometimes fantasy and science fiction writers forget how important this first glimpse into the story can be for a reader. Far too often I’ve critiqued a fantasy or sci-fi story only to find that the writer has chosen to rely on the book blurb to fill in major gaps within the story. This is a mistake if we want to keep that reader interested. As writers, it’s easy to get excited about the fantasy or sci-fi world we’ve created. We are all eager to get into the meat of the story, but do the reader a favor and pay close attention to that first page.

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The Highs and Lows of Fantasy Sub-Genres

“Oh, you’re a fantasy writer? I love ‘The Lord of the Rings.’”

“I don’t write that kind of fantasy.”

“What other kind of fantasy is there?”

Does this conversation sound familiar? To some fantasy writers, it might. Although High Fantasy—the category in which J.R.R. Tolkien’s “Lord of the Rings” falls under—is one of the most common sub-genres of the fantasy genre, there have been an abundance of sub-genres that have made an appearance over the past number of years. Because of this, it can sometimes be hard for a writer to decide which sub-genre their work actually falls under. Here are a few of the most common that might help make your decision clearer.

High Fantasy—As mentioned above, it is one of the most traditionally used. These works are often lengthy with large-scale quests and many characters. They sometimes include a world map, the classic “hero” character, possess fantastical creatures like dragons or unicorns, and may have magic. Other sub-genre categories that may cross over are Medieval Fantasy or Sword and Sorcery Fantasy. Example: J.R.R. Tolkien’s “The Lord of the Rings.”

Low Fantasy—A story that takes place in the “real world” but has elements of supernatural magic would fall into this category. These can include the “normal kid” who discovers they, or those around them possess some sort of supernatural power. Other sub-genres that cross over are Portal Fantasy, Paranormal Fantasy, and Urban Fantasy. Example: J.K. Rowling’s “Harry Potter” series.

Steampunk Fantasy—This sub-genre is unique in that it marries a historic Gaslight Fantasy world (set during the time that gaslights were in use) but incorporates both fantasy and technology. The technology is often powered by magic, lifting the limits that the Historical sub-genre might place on this category. Example: Shelley Adina’s “Lady of Devices” series.

Dark Fantasy—Sometimes called Gothic Fantasy or Grimdark Fantasy, this sub-genre is meant to be scary. These are the stories that contain ghosts, zombies, and other creatures of the night. Again, this category crosses over into the Speculative realm by remaining close to the Horror genre, but it is still considered Fantasy by many writers. Example: Neil Gaiman’s “Coraline.”

Historical Fantasy—This sub-genre is any fantasy work that takes place in a historical time period. This makes it easy for many other fantasy sub-genres to identify within the Historical Fantasy sub-genre, as well. Example: Diana Gabaldon’s “Outlander” series.

Medieval Fantasy—Inspired by the medieval period, this sub-genre can rely heavily on myths and legends. Depending on the depth and length of the work, this category could include High Fantasy. Another break off from this sub-genre is Arthurian Fantasy, which focuses specifically on the world of King Arthur. Example: George R.R. Martin’s “The Game of Thrones” series.

Paranormal Fantasy—This sub-genre evolved from the combination of the Low Fantasy and the Dark Fantasy categories. Many books in this genre often have a romantic element, as well. Strong themes within these novels are love triangles, vampires, faeries, werewolves and angels. Example: Stephenie Meyer’s “Twilight” series.

Crossover Sub-genres—Many of these mentioned sub-genres can also have a romantic element or may be better defined as Young Adult. In this case, calling your work either Romance Fantasy or Young Adult Fantasy would work, too. There are also Children’s Fantasy, Comic Fantasy, and Science Fantasy, to name a few more. Keep searching and you will find dozens of sub-genres to describe the fantasy writing genre.

In the end, it’s up to you, the writer, to decide in which sub-genre you’d like to categorize your work. There is no doubt that your work will likely cross over into a few of these sub-genre categories, but calling your work a Young Adult Paranormal Urban Romance Fantasy will likely confuse the reader. (And make it difficult to market!) Choose one sub-genre to begin your marketing strategy and you can change or add additional categories down the road, as needed.

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Fantasy-Sci-Fi

Teaching Your Characters to Fight Write- Laura L. Zimmerman

Do your characters fight right?

Action is often a big part of the fantasy and sci-fi genres. Your story may not have a classic saloon-type brawl—or a brawl of any kind—but chances are, one of your characters will need to throw a punch at some point, even if in self-defense. This may sound like a simple scene to write, however, that may not always be the case.

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The Trouble with Portals-Laura Zimmerman

Do portals that move your character to another time and place work within modern storytelling? This is the question fantasy and sci-fi writers have been struggling with over the past several years.

Imagine this: You’re reading a book with a great hook, the characters have depth and relationship, and the plot moves at just the right pace. Then out of nowhere, the main character is transported to an entirely new world that needs to be saved. The previous one is forgotten and a new plot begins.

Would you continue reading? Many readers of fantasy and sci-fi complain that, although it has worked in the past, the “portal to a new world” genre is overdone. Here are a few reasons why.

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First off, the reader has no investment about what happens in the alternate world. Once you’ve established the main characters and the world around them, it can be jarring to expect the reader to jump into yet another world and begin caring about that one, too. Unless the jump between them is done with care, the reader can feel betrayed for having cared about the original world in the first place.

Also, there’s often not enough at risk. In many portal stories, the fantasy world is in peril, while the one left behind goes on without much thought or threat. The reader might be inclined to wonder why the main character doesn’t just leave the fantasy world to its own devices and go back to the safety of reality.

Another downside is when the reader realizes that without the portal, there would be no story at all. When the main character literally needs to leave reality to find adventure, the story can feel stale and overused. The portal is simply a mechanism to get a character from point A to point B so the “real” story can begin, which can reflect lazy writing.

So, how does a fantasy or sci-fi writer avoid the proverbial “portal trope?”

For starters, take a step back from your story and investigate whether it has a few key ingredients. Is your portal integral to the main plot? Is the portal woven within the threads of the story? How is the real world related or impacted by the alternate world?

Why does the portal appear at that specific spot, at that time, on that day? Who is able to access this portal and for how long? What price is there to be paid for using the portal? (There is always a price to be paid when using magic, otherwise your main character could use magic to fix the problem from page one.) Why must the main character travel to that alternate world, when he/she could just stay in the safety of reality?

Finally, if you take the portal out of the story, how will it affect the plot as a whole?

If you have solid answers to each of these questions—and you can make a strong case for the validity of that portal—then there is no reason a reader should walk away from your story. The reader should be so invested, that they don’t even consider it “another portal story.”

[bctt tweet=”The reader should be so invested, that they don’t even consider it “another portal story.”” username=””]

Do you include a portal within your magical world? Before you move forward with your work, take a few minutes to consider how you can find a balance between the real world and the alternate world. Doing so might keep your manuscript out of that “slush pile” and in the hands of an editor.

Laura L. Zimmerman is a homeschooling mom 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 and at her website, www.lauralzimmerman.com

 

Categories
Fantasy-Sci-Fi Storyworld

Entertainment in your Storyworld

Entertainment

We’ve spoken before about how little details can help color your storyworld. Societal habits, mating customs, dinner choices, and environmental aspects are all key to fleshing out a believable living space. Another aspect to consider is the way in which your characters entertain themselves.

Sometimes entertainment plays a central role in a book. The entire concept in Suzanne Collins’ Hunger Games is a deathsport reality show, partly to show the Capitol’s control over the Districts, but also partly to entertain the masses. Ernest Cline’s Ready Player One shows a world in which reality is miserable and everyone escapes into a massively multiplayer online game. This “game” supports commerce, education, and other activities, but entertainment is a major aspect, especially considering the bleak reality outside of the virtual reality “OASIS.” And Aaron Gansky’s Hand of Adonai series presents a World of Warcraft type game in which the protagonists get trapped, Tron-style, and must figure out how to escape.

Hand of Adonai

In those three examples, the entertainment medium is actually the centerpiece of the novel, but it’s also the major point of tension. Specifically, each of the forms of entertainment is broken or twisted in some way, and the characters must overcome the challenges that arise.

Should entertainment play a major role in any other type of novel though? What if you have a story in the Wild West? Or a post-apocalyptic survivalist tale? A Space opera? I would argue that entertainment should be valued by your characters if you want them to feel like real people. That’s because all humans desire to have comfort and enjoyment at least part of the time (hopefully their lives aren’t always threatened by events like the ones in your novel!).

For example, John Scalzi’s The Ghost Brigades is a book about super soldiers defending humanity from a ghastly assortment of different alien species. And yet, Scalzi helps to make the storyworld feel alive with little windows of enjoyment. In one scene, a pilot is playing poker with some friends, in another, a father pirates a broadcast signal so his daughter can watch TV, and most importantly, an alien race is revealed to have no need for arts and entertainment. And this alien race realizes its lack of culture and strives to create it.

Or take Little House in the Big Woods. The novel chronicles the survival of a young girl and her family in the wilderness. Despite the struggles, there are times where she and her sister enjoy the musical talents of their father, or the two inflate and seal a pig bladder and kick it around like a ball. Personally that’s disgusting to me, but it really does help me picture the world in which little Laura Ingalls lived.


If your story is a non-stop adventure, you might feel like you don’t have time or space in your book to show scenes of enjoyment. That may be true. While not a book, the first season of the TV show 24 really pushed its story along with scant little room to explore its characters’ hobbies. Nevertheless, the first scene with the protagonist shows Jack, his wife, and his daughter finishing a late-night game. This one scene helps establish Jack’s normal life before the world started falling apart. It thus gives us an idea of what he’s fighting to get back through the whole first season.

Even if your story is very dark and the adventure extremely perilous, I would really encourage you to figure out some hobby or interest your character has to make him more personable. This is especially true if the world is very different from our own, because the character’s chosen entertainment could be used to show how foreign or similar that world is to ours. For example, a sorcerer in a fantasy adventure might enjoy magical sculpting – which might be a sort of enchanted pottery making. Or maybe he enjoys reading books of far-off adventure. In the first case, the hero has a hobby similar to one found in our world, but he clearly lives in a different reality. In the latter scenario, the sorcerer has an interest akin to that of your readers, making him relatable despite his extraordinary talents. Both are useful, depending on what you’re trying to accomplish.

That’s all for now, and possibly for a while. My wife and I are expecting our fourth child in a few weeks. Being a stay-at-home dad with four children ages 6 and under (and homeschooling the oldest two) will mean I won’t have much time to make regular updates at A3. So after two years of storyworld contributions, I’ll be taking a sabbatical for a little while. In the meantime, if there are any particular topics you’d like to see covered in the future, please leave a comment below and I can cover that subject when I return! Thanks guya and gals!

 

Ghost Brigades Image from: http://www.alisoneldred.com/imageJohnHarris-Illustration-2-58.html

Pig Bladder Kicking Picture from: https://www.pinterest.com/pin/270638258827560791/

24 Family Picture from: http://www.buddytv.com/articles/24/hottest-tv-dads-jack-bauer-24-17503.aspx

 

Categories
Fantasy-Sci-Fi

Setting Versus Dialogue

“It was a dark and stormy night.” One of the most famous opening lines of literature comes from Edward Bulwer-Lytton and has been parodied or used many times since its first printing.

“Look, I didn’t want to be a half-blood.” Here is another well-known first line taken from the modern-day YA novel “The Lightning Thief” by Rick Riordan.

Which of these two hooks grabs you? Your answer might give a clue to what kind of writer you are.

The first line establishes a basic setting in just a few words. The second hook comes across more as dialogue since the character is speaking directly to the reader. Which spoke to you—the setting or the dialogue?

Many writers are either naturally talented at establishing setting or have an innate sense of the flow of dialogue, however, some struggle with gaining a balance between the two. It is particularly important for fantasy and sci-fi writers to know which of these is their strength. Since many fantasy and sci-fi worlds take a good amount of description, oftentimes dialogue can take a back seat.

How can you master this balanced tension of setting and dialogue? First, you’ll need to pinpoint which category you reside in. The next time you sit down to write, ask yourself: Do I see the setting in minute detail? Can I see every speck of world that surrounds my characters? Or, do I hear the dialogue first? Do my characters often come into focus while the background goes blurry? Whichever side feels natural is probably the area in which you are strongest. You now have a starting point to hone your craft.

Once you’ve established where your strength lies, you can begin the process of improving your weaker side. Sit down and create a chapter in the same way you usually do. Let it rest for a day. Then come back and read the whole thing out loud. Ask yourself: Can I see the setting? Is the background described with enough detail that I can feel the mood of the scene? Also, is the dialogue natural? Do I rely on only a line or two of dialogue to convey my message, or can I add to it to show the reader the interaction, instead of just telling them? Rewrite your chapter, read it aloud again, then repeat the process.

It may sound tedious, but after a few rounds, you’ll naturally add that needed setting or dialogue during your first draft, which will make less work later on. You may not get it right the first time, but being aware of your weakness will help you become better at your craft.

Setting and dialogue are equally important within any story. Fantasy and sci-fi writers can learn to establish not only a fantastical setting but to round out the story with exceptional dialogue, as well. After all, an eloquently written backdrop needs effective characters—and words between them—to keep the reader invested.

Laura L. Zimmerman is a homeschooling mom 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 and at her website, www.lauralzimmerman.com

Categories
Fantasy-Sci-Fi Storyworld

A Drop of Evil in your Storyworld

Evil in the Water

If you’re writing a novel, you can’t do so without a healthy dose of tension. Whatever the protagonist’s goal is, your job as an author is to set up countless roadblocks between him and his prize. Maybe this means environmental disasters, conversational misunderstandings, simple mistakes, or physical limitations. But one of the most fun ways to torture your characters is with other characters. Specifically evil ones.

[bctt tweet=”But one of the most fun ways to torture your characters is with other characters.” via=”no”]

“Hold up,” you might say. As followers of Christ, our nature is (or at least should be!) to bring about peace, resolve conflict, and ultimately help people. Yes, but as a fiction writer, you need to delay this resolution as long as possible. And you can do this by creating compelling, evil characters. People who’d like to kill your heroes, take their stuff, steal the hearts of their loved ones, and burn everything else. And the nicer villains will do it in that order.

But how do you put these evil characters into your world convincingly? My suggestion would be to avoid any sort of “monolithic” evil. That essentially means evil for evil’s sake, something which no real human engages in. In fact, everyone pursues some form of good thing that God wants them to pursue. Happiness, sexual gratification, security, justice – these are all good things created by our loving creator for a specific purpose. But if an individual pursues them in a way that opposes God’s chosen method, that’s evil. And if the evil pursuit of these things happens to cross the path of your protagonist, well, all the better for your story.

evil doom

Maybe the bad guy in your book has justice issues. The people that killed his wife were never brought before the law, and instead he feels the need to take matters into his own hands. He might attack policemen at random or devise some grander scheme to punish all of society. Or maybe his vengeance is very focused on an individual, but collateral damage affects the protagonist. Whatever the case, your antagonist should be fleshed out, and his evil motivations should be well-established. This is true regardless of your genre.

[bctt tweet=”Whatever the case, your antagonist should be fleshed out, and his evil motivations should be well-established.” via=”no”]

But in a speculative fiction novel, you may need to determine the motivations of an entire species. Why do the lizardmen in your book pillage and raid human villages? Is it to please their angry god? Or is it because they feel threatened by man’s expansion? Do the aliens invading earth intend to harvest humans for food? Or does human lymph tissue possess some life-saving cure for the alien homeworld? Their actions may be utterly depraved from our perspective, but an internally consistent reason for their behavior will do wonders to breathe sophistication into your novel.

Let’s take some examples. I just finished reading Kathy Tyers’ Truce at Bakura. It’s an older Star Wars novel, but it has enough unique storyworld elements that it really is set apart from the standard Star Wars fare. The antagonists in the book are the Ssi-ruuk, a reptilian race of creatures who desire to eradicate humans, and they are completely callous to the dying pleas of these men and women. This may seem heartless, but Tyers does a great job of crafting the aliens’ motivations. The Ssi-ruuk just want to bring peace to the universe by eliminating pests. And they don’t care about human suffering because they truly don’t believe humans have sentience. It is ironically similar to the way humans deal with unwanted insects in their home.

A real-world example of evil ideology would be communism. Yes, its cousin socialism is in vogue right now, but communism is possibly responsible for more deaths in the 20th century than any other movement. Between Russia and China alone, 21 to 70 million civilians were killed by their own countrymen, and that doesn’t even count Cambodia, Vietnam, or North Korea. To my conservative friends, this may sound like unadulterated evil. But remember that the communists weren’t killing their neighbors just because they enjoy killing. They truly believed they were bringing about a proletariat utopia, and were willing to go to great lengths to secure it. Yes, they committed murder, but in their minds they did so for an ostensibly noble purpose. Many still cling to the ideology because of the perceived good a Marxist world could theoretically bring – fairness, equality, and an end to excessive capitalist greed. Pursuing those ends isn’t bad, but communism always requires violent upheaval to get there. And that? That is evil.

It might be frightening to start crafting evil characters and worldviews in your novel. In fact, C.S. Lewis found the process incredibly taxing when writing the Screwtape Letters. But if you hope to create a rich storyworld with believable challenges to your protagonist, you’ll need to get inside the heads of your bad guys. This means trying to see from their perspective, which may be good practice to build empathy toward those with whom you disagree. But as a Christian writer, the important thing is to show that evil, no matter how powerful, clever, or prevalent, ultimately loses to Good.

[bctt tweet=”As a Christian writer, the important thing is to show that evil ultimately loses to Good.” via=”no”]

 

Dr. Doom Image from: http://screenrant.com/marvel-becoming-doctor-doom-hex-mortis/

Ssi-Ruuk image from: https://www.pinterest.com/pin/493636809132666309/

Max McLean as Screwtape, image from: https://fpatheatre.com/production/the-screwtape-letters/

 

Categories
Fantasy-Sci-Fi

Fantasy Flash Fiction 101- Laura Zimmerman

Fantasy Flash Fiction 101

Could you write a story in 500 words? What about 100?

Flash fiction is a genre that has grown in popularity in recent years. Those committed to it enjoy the challenge of creating a complex story in less than 1000 words—some choosing to stick below 500 or even 100 words total. The key to flash fiction is that the story must be complete, encompassing a beginning, middle, and end, as well as a plot twist at the close. This genre can be both fun and challenging. The writer must create as tight a story as possible, while still evoking the same emotion one would experience from a full-length short story.

The positive point to writing this type of work is that the genre itself fits nicely within the fantasy or sci-fi world, particularly because of the twist ending. However, a writer within the fantasy/sci-fi niche will have a few habits they may need to refine if they want to be successful in this genre.

Setting: With a limited set of words and an entire story to tell, there is typically no room for a descriptive setting. This may be difficult for a fantasy writer. Many publishers will allow a higher word count for a novel in the fantasy/sci-fi genre to leave room for world-building. Unfortunately, flash fiction doesn’t give this extra word allowance. The writer needs to choose the perfect word to describe not only the mood of the scene but what might evoke a physical description of the surroundings to the reader. Instead of giving a detailed description of a broken down house that’s been empty for years, the writer might have to limit himself to simply using the word “dilapidated” knowing that the reader will see the shattered windows and chipped paint in their mind’s eye.

Physical Appearance: Once again, there just aren’t enough words to effectively describe your characters. Forget hair and eye color, or other mundane information that isn’t necessary to the story. Choose a single characteristic that will make the character stand out but will also tell a bit about that character’s personality. “Amelia shrank beneath his stare and pushed her glasses back in place.” In this example, the reader knows Amelia is low in self-confidence but what about those glasses? I would imagine they are part of what makes her self-conscious in the first place. She certainly doesn’t stand out as part of the popular crowd. I didn’t need to know if she was fat or thin, tall or short—she clearly sees herself as plain, which will lead the reader to see her in the same way.

Dialogue: Effective dialogue is another challenge you will face when creating your flash fiction in a fantasy or sci-fi setting. There may be unusual language or phrases you wish to insert, but there will be no extra words to give such an explanation. Once more, take your time to word your story so the reader can understand the intent without having to be told the precise meaning. Dialogue is also an opportunity for the writer to establish setting or physical appearance and still keep that word count tight.

The main thing to remember when writing fantasy/sci-fi flash fiction is to make every single word count. Find one word that can take the place of many. It may sound easy to write a story in 100 words, but I find that I take longer to write a single flash fiction story than I do an entire 2000 word chapter!

Flash fiction is a challenge every writer should undertake to help sharpen their writing skills. It will hone your talent to tell an effective story in a limited number of words and can be a great boost to your creative side!

Laura L. Zimmerman is a homeschooling mom 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 and at her website, www.lauralzimmerman.com

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Fantasy-Sci-Fi Specs: Speculative Fiction Storyworld

Love and Marriage and Storyworlds

So, I’m going to be talking about sex today. Again. My last article on the subject had more to do with the biological aspects, but today we’re going to examine the societal impacts. Specifically, how do the fantastic characters in your book find mates? Produce children? Care for their young? Is there sexual deviancy or abuse? As humans living on earth we might think aliens live just like us, but that may not be the case. And as I’ll point out, even two different cultures on earth may view marriage completely differently.

 

Finding Somebody to Love

The typical, idealistic romance is as follows: boy and girl meet. One falls in love with the other and has to pursue him/her until the two live happily (sappily?) ever after. Throw in some tension, unexpected drama, maybe a trendy setting, and voila – romance, Western culture style.

But that isn’t how every culture operates. A year out of college I had a roommate from India. And while he’d adapted to many Western norms, his marriage plan was still rooted in tradition. Yes, an arranged marriage, but with a modern twist. Instead of his future matrimony being determined at a young age (Yenta style, for you Fiddler on the Roof fans), an online list was employed. The parents of both singles sorted through the matches and determined eligibility for their respective children. Young men were chosen according to their health, as well as the stability of their careers and maybe a handful of shared interests. Women were picked for their good looks, intelligence, and (of course) culinary ability. Some of you feminists may scoff at that, but I dare you to scoff at good home-cooked Indian food.

In both Western and Indian romance, the interested parties must make a case for their eligibility. They both want marriage and sex, but must prove themselves acceptable in some way. This is because sex is a powerful motivating force, and the most successful cultures know how to harness it to create productive societies. Contrast it with a theoretical civilization where sex is readily available on pocket devices. What might you have? A bunch of unmotivated men living in isolation, and a bunch of lonely women trying to get their attention while continually lowering their standards. Sigh. I think we all wish that was theoretical.

Anyway, if you’re crafting a fantastic story world, you’ll have to consider the manner in which your characters find mates. Is it up to the individual or is there a third party? And the third party doesn’t have to be parental oversight. It could be a dystopian government trying to breed a better society, or a traditional monarchy marrying children off to forge alliances.

 

First Comes Love, Then Comes Marriage …

Once the inhabitants of your world have found their mates, they may have children. And even if they don’t, your characters came from somewhere, so you’ll need to figure out how they were born. Or hatched. Or manufactured. Or whatever. A lot of the fertilization and birthing methods I’ve already covered in my previous article, but the manner in which these influence your world must be considered from a child-rearing perspective.

For example, if you have a species that generally produces a very small number of children, the parents are going to be more involved in raising those little ones. Contrast that with a species that produces dozens of children every few years. There simply can’t be the same level of nurturing. In this latter case, the young of the species will also need to have a lot more autonomy and capability as soon as they’re born.

The value a culture places on one life will also depend on the number of children typically produced. If your one son gets eaten by a local predator, it’s awful. If you have thirty sons though, it’s still awful, but not as devastating.

I can think of no better example of reproduction being an intrinsic part of culture and world-building than in Bioware’s original Mass Effect game. From the tragically (and arguably deserved) sterility of the Krogan, to the egg-laying broods of the Salarians, to the bizarre and oft-misunderstood all-female race of Asari, you’ll find no shortage of fascinating cultures to fuel your imagination. Even if you’re not into playing videogames, you should check out a Mass Effect wiki or some playthrough videos. The second and third entries in the series are mostly forgettable though, so don’t bother with them.

 

Laboratory Orphans


Asexual breeding is sometimes explored in science fiction. In Battletech, the advanced clans are selectively bred in tubes to produce the most efficient warriors. Individuals fight for their right to have their genetic strains added to the pool of genetic superiors. In Scalzi’s Old Man’s War, super soldiers are made from mostly human genetic material, with a few enhancements. In both of these cases, the people have been designed to defend their culture, and they dutifully do so within their specified role.

On the other hand, ExoSquad had its NeoSapiens, a manufactured breed of blue-skinned superhumans, and Space: Above and Beyond had its “In Vetroes,” or test tube soldiers. In these two cases, the created pseudo-humans had a hard time fitting in. Their place in life isn’t abundantly clear because their creators hadn’t been the most honorable. As a result, tension exists between the true humans and their creations.

 

Sex, Marriage, and Christianity

Lastly, for a sentient and moral species like humanity, sex and marriage is more than just reproduction. They pave a pathway to a profound intimacy designed by God and reflect God’s relational and complimentary nature. Numerous Christian books have been written in regards to this aspect of sex and marriage, including but not limited to: The Act of Marriage, Eden Derailed, Sex and the Soul of a Woman, Sex and the Supremacy of Christ, Every Man’s Battle, etc.. If your aliens or fantasy creatures are anything like humans, sex and marriage are likely parts of their purpose in creation. Also worth considering – sex is broken in our culture. Alien societies, if they have fallen from grace like us, might also have skewed views on sexuality including abuse, infidelity, and perversion.

Whatever you decide for your fantastic world, remember this: Sex is a powerful. For both men and women it is a motivating force created by God. It is therefore good, but like all good things the Lord has given us (e.g. nature, chocolate, etc.) it must be used responsibly. It’s just like Spiderman says.

 

 

 

Space: Above and Beyond Picture from

http://boltax.blogspot.com/2011/03/bishs-review-space-above-and-beyond_25.html

 

Krogan Image from:

http://masseffect.wikia.com/wiki/File:Wrex2.png

 

Fiddler on the Roof copyright MGM, 1971

 

Categories
Fantasy-Sci-Fi

The Secret to a Good Sidekick

 

The beloved “sidekick.” Han had Chewy. Frodo had Samwise. Harry had Ron and Hermione. Captain Kirk had Spock. The Doctor had…well, all of his companions. In the world of fantasy and sci-fi, the main character usually has a loyal helper by his/her side.

But creating a sidekick just for the purpose of being a sidekick can be a trap for even the most seasoned writers. (See: Jar-Jar Binks from Star Wars: Episode I.) Before a helper is created to serve as comic relief, or as the sounding-board for the main character (MC), the writer needs to consider the sidekick’s true role. What is his/her real purpose?

Every MC needs a flaw (or two). This is not only necessary for the direction of plot or to give the journey purpose, it is also needed for balance against other characters—particularly the sidekick. Where the MC is weak, the sidekick is usually strong. The personality flaws the reader may hate within the MC are often the reason the reader loves the sidekick. Sometimes, there is no possible way for a MC to “win at the end” without the aid of the sidekick.

A sidekick is also more than an extra character to help move plot forward; more than a narrator to provide valuable information; and more than the unlucky soul who cleans up whatever mess might be left behind by the MC. A sidekick is often the one person with whom the reader can deeply connect; the person the reader identifies with the most.

Take your time when creating this vital element of your story. Possibly, base specific personality traits from people you already know. Sit down and create a Myers-Briggs personality test for your sidekick character. What makes him/her tick? Get to know this person just as much as you (likely) already know your MC. Plot out the purpose of the sidekick within the story and the reason that person has for sticking around with the MC despite all his/her flaws. Dig deep. Know your sidekick before you begin adding that comic relief factor.

So much of a writer’s time is spent focused on plot, theme, setting, characterization, and other technical points. But don’t miss out on an opportunity to take your story to the next level by creating an extraordinary sidekick. It’s one thing to create a Jar-Jar Binks, but wouldn’t you rather have a Samwise?

Bio: Laura L. Zimmerman is a homeschooling mom 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 and at her website, www.lauralzimmerman.com

Categories
Fantasy-Sci-Fi

Four Ways to Give your Fantasy or Sci-fi Character A Name

“A rose by any other name would smell as sweet.”

This famous line, taken from Shakespeare’s “Romeo and Juliet,” has long been used as a reference to suggest that the name of a person doesn’t really affect who they are. But is this true for our characters in our own stories? Or rather, would Atticus Finch have had the same impact on the audience of “To Kill a Mockingbird” if his name had simply been Bob Jones?

Many would argue that it would not. Different cultures throughout history have put great emphasis on a name and the meaning it can hold. In the same way, as writers, we can direct the way a reader interprets our work by choosing the right name for our characters. A character’s name should not only fit their personality, but should reflect on their world.

Here are a few ideas to help find that “perfect name.”

  1. FIND THE ROOT. Research the root or historical meaning behind the name to match the theme or character flaw within the story. An example of this is Frodo Baggins from “The Lord of the Rings” trilogy. Frodo comes from a Latin word that translates “wise by experience.” This name is a fantastic summary of the wisdom and growth Frodo experiences during his journey.
  2. CHANGE THE SPELLING. It’s difficult for a sci-fi writer to know what names might be popular in the future. Often times, names that had been trendy fifty or a hundred years ago will find popularity once again. One way to make the character’s name believable is to use a common name, but with a varied spelling. The name “Alice” might become “Alyce,” or perhaps “William” will become the unusual “Willyum.” A note of caution: Be careful the spelling won’t become a stumbling block for the reader. “Allieiss” would look cool on paper but will frustrate the reader if it takes too long for them to realize the name is simply “Alice.”
  3. COMBINE NAMES. Creating unique but interesting names from thin air can be a challenge. Yet, that’s exactly the sort of thing sci-fi and fantasy writers hope to do, since their stories are literally “out of this world.” An easy way to come up with a brand new name would be to combine two existing names. The names “Scarlett” and “Elyse” could create “Scarlyse.” Once again, proceed with caution: There are fandoms that have shown great disappointment because of a poorly chosen name that distracted from the story. Be sure to run your newly minted names by critique groups, online chat rooms, and other writers—not just your family and friends!
  4. FAMILY NAMES. Dig into your past. There are plenty of names that hold history and meaning that went out of style long ago. In my own ancestry, I am related to a set of distant twin sisters named Birda Mae and Louie Mae. As soon as I heard these unique names, I knew I couldn’t pass the chance to insert them into one of my stories. These are the types of names that have a tale to tell and will grab the attention of the reader from the start.

In the end, the important thing to remember is that the name should fit the character, should intrigue the reader (not distract or frustrate them), and should fit the setting of the story itself. Get creative and make a name that your readers can learn to love, just as much as you do.

Bio: Laura L. Zimmerman is a homeschooling mom 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 and at her website, www.lauralzimmerman.com

 

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Fantasy-Sci-Fi

The Fantastical Character of Setting

 

“Murder committed on a dark and stormy night.”

“A grouchy widow lives alone in a broken down cottage.”

“The crazy inventor resides inside a windmill that works of its own free-will.”

Three greatly varied scenes, all enhanced in mood by the setting.

Many writers use setting to influence the reader’s emotion for a particular scene or to foreshadow what is later to come. But what about setting as a character itself?

Many writers strive to go beyond the simple cookie-cutter description of setting at the beginning of the story and sprinkle the emotional elements of that setting throughout the work, creating a deeper connection between the reader and characters. Using setting in this way can take the story to another level and can set that story apart from others like it. However, as fantasy writers, we have the opportunity to get even more creative with setting. Because our stories have the ability to go beyond the laws of physics, we can change or twist the setting into its very own unique character.

In Disney’s newest theatrical release, “Moana,” the fantastical world of demi-gods and magic does just that. While it may appear that the majority of the movie takes place on a small boat with a young girl and a demi-god (named Maui), there are actually three characters in each of those scenes. (If you don’t count the chicken!) Time and again the Ocean comes to the forefront, directing and affecting the final outcome of what takes place between Maui and Moana. In fact, it is the character of Ocean that sets Moana on her quest in the first place, when she gives the young girl the “heart of Tafiti” so she can go in search of Maui.

Once on the boat, Maui repeatedly attempts to leave the quest himself—or to force Moana to leave—but is waylaid when Ocean plops each of the main characters right back in their positions on the boat. How’s that for character? Without Ocean, the story would’ve ended before it even began!

As we write our fantasy stories, we have the opportunity to “think outside the box” with our imagination and take setting beyond what may be allowed in a non-fantasy world. In what way can you use your setting to make your story better? Is there an element missing from your work that could be filled with another non-human character? Take time to explore your setting—and the use of it as character. It may be just what your story needs.

Laura L. Zimmerman is a homeschooling mom 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 and at her website, www.lauralzimmerman.com

Categories
Fantasy-Sci-Fi

The Many Worlds of Sci-fi and Fantasy

 

In what world does your story live?

Sounds like a strange question, doesn’t it? After all, most bookstores are stocked with tales where the action takes place somewhere on Earth, either in present day, or in a historical setting. Most fiction is based on real-life, so it makes sense that we have no other world in which to experience life, right?

Not for sci-fi and fantasy authors! We are the blessed lot that can choose in which world we want our story to come alive. Chances are, this is one of the main reasons we were drawn to the genre in the first place.

What “worlds” are available to such authors? The most obvious would be the one in which we live. However, just because it’s Earth, doesn’t mean it needs to remain ordinary. Futuristic sci-fi takes place right here on Earth, but much further in the future. Yes, the author is confined to the laws of science regarding our planet, but the world would be greatly different than what we know today. The tale may also take place in the past or present. This kind of story can be found in the “Harry Potter” series, written by J.K. Rowling.

Other “worlds” available to fantasy authors are the ones on planets similar to Earth. The physical characteristics of the land, and many of the setting descriptions may sound analogous to that of a country with which we are familiar, but the location is definitely not Earth itself. An example of this would be “The Lord of the Rings” series that encompasses Middle Earth, written by J.R.R. Tolkien. This kind of fiction would also include stories that may begin in our true “real-world” experience, but where the character travels through a passageway leading them to an imagined world of impossible things. Lucy Pevensie experienced this when she walked through the door of her wardrobe in C.S. Lewis’ “The Chronicles of Narnia” series and ended up in the land of Narnia.

Finally, there are the places that are very much unlike our planet Earth—those that are inter-galactic or clearly defy all matters of nature to which we are accustomed. This would cover a good portion of the sci-fi genre and space opera. In these worlds, “the sky is the limit” when it comes to imagination. Not only can the magic or force behind these worlds be varied, but the creatures and abilities of humans can take a far greater leap than the average story. These would include novels such as the “Star Wars” Expanded Universe books, written by various authors.

What worlds have your characters visited recently? Whether you like to keep them close to home, or send them to galaxies “far far away”, within the genre of sci-fi and fantasy, the possibilities of where you can take them, are endless.

Laura L. Zimmerman is a homeschooling mom 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 and at her website, www.lauralzimmerman.com

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Fantasy-Sci-Fi

Recycle, Reuse, Rewrite

“A group of underdogs are united through unusual circumstances and are forced to work together using their individual strengths to beat a dominating force.”

Sounds like a familiar storyline, doesn’t it? In fact one could argue that there are no new stories left to be written. Shakespeare took care of covering all the basics a long time ago. So why are stories still interesting to the world if there’s nothing truly ‘new under the sun’? Ultimately, what sets your story apart from others is what you’ve done to make it different.

The basic foundation of your story may be familiar but the setting could be a mix between futuristic Sci-Fi and old-school Fantasy. Or maybe it’s your main character that adds interest—the antagonist is a vampire while the heroine is a Civil War Southern Belle. The possibilities of how to make your story different are endless.

A great example of this is Joss Whedon’s cult-favorite TV show, Firefly. Although it only lasted a single season on-air, the fan-base made it possible for a movie to be made a few years later, and the call for a resurrection of the series has continued since its original airing fifteen years ago.

The year is 2517. The story follows the adventures of a crew of nine on the spaceship Serenity. They run a covert smuggling operation with great success—as long as the ‘evil’ Alliance doesn’t catch up with them. It may sound like every other Space Opera storyline you’ve run across, however, there is one major difference: It’s also a Western Drama.

Whedon was able to meld the two worlds of futuristic space and old-time West, flawlessly. Everything about the world-building is set in the future—an entire star system of planets colonized, boasting futuristic weapons and every form of space travel imaginable. However, much of the culture is stuck in the ‘wild-west’ of the past. Characters dress and speak like you’d expect in a traditional Western and much of the interactions on the planets are western-based—from saloons with bar-fights, to debutante balls with hoop-style skirts.

This difference is what draws the reader into a story that has otherwise already been told. There are plenty of books about Science Fiction available, many of them specifically in the Space Opera genre. And there are even more stories that tell about a rat-tag group of outsiders that come together and use their skills to evade the bad guy. However, the Firefly series was successful not only because it had a great cast and well developed characters, but because Whedon set it apart from anything that had ever been done before.

What sets your story apart? How can you recycle a story that has already been done before and make it better? Sometimes reusing what you already know can make for an unforgettable tale.

Bio: Laura L. Zimmerman is a homeschooling mom 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 and at her website, www.lauralzimmerman.com

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Fantasy-Sci-Fi

Taking Critique Like a Jedi

Taking Critique Like a Jedi

May 25, 1977, Star Wars: A New Hope—a small indie film with an unknown cast and modest working budget—became an overnight sensation and took the world by surprise. Characters like Han Solo, Princess Leia and Darth Vader would become immortalized in the eyes of fans. The cast and crew began a multiple decade journey of fame and fortune.

The franchise also entered a world of criticism.

It is inevitable that any work of art will face criticism once released to the public. Over the decades since the original Star Wars film was released, the fan-base has grown with the advent of social media. As fans around the world connect, they have opportunities to discuss the good and the bad. It didn’t take long for one of the most famous plot hole discussions about the original movie to take hold: How could a conglomerate like the Empire overlook such an obvious flaw which could lead to the destruction of the Death Star?

However, with the recent release of the spin-off film, Rogue One, producers were able to address the discrepancy. Not only have die-hard fans been giddy over the beach battle and space fight that rivaled The Empire Strikes Back installment, but also reception of the movie has been overwhelmingly better than the last few movies in the series. And the producers did not miss their chance to correct a three-decade long ‘oversight’ to satisfy even the most critical of fans with an explanation of how that crippling weakness could’ve secretly been added to the design of the Death Star.

As writers, we face a world of criticism for our work. Which is one reason why critique partners are a good idea to help bring to light inconsistencies within the script. Hearing negative feedback about our own work can sting, sometimes so much so that the critique itself can cripple a writer into wanting to give up. But ultimately, a good critique should inspire—not discourage—a writer toward better writing and a desire to make his/her manuscript the best that it can be.

We’ve all had our fair share of feedback that made our stomachs drop and our palms go clammy. The thought of re-writes and hours of revision can dishearten the best of us. But how many of us can afford to present a story with such a large plot hole, and still create a multi-billion dollar franchise to keep it afloat? And how many of us will get the opportunity three decades later to set the record straight?

Attending critique groups and hearing corrections from fellow writers might be uncomfortable—scary even—but it should be a necessary part of who we are as writers. Don’t allow negative feedback on your work cause you to walk away from your craft. Rather allow it to inspire you to take an objective look at your work and consider all points of view.

We all have setbacks in our manuscripts. It took George Lucas four separate scripts before he found the perfect formula that became the original Star Wars movie. It can feel as if we face a real-life Darth Vader, at times. But it is up to us, as artists, to dig deep within our creativity, to find the strength to become Luke Skywalker, to rise above the difficulties we face, and see our journey through to the end. You never know how your work might resonant with someone. It just might be powerful enough to blow up a Death Star.

Bio: Laura L. Zimmerman is a homeschooling mom 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 and at her website, www.lauralzimmerman.com

Categories
Fantasy-Sci-Fi

The Character of an Inanimate Object

 

Multiple points-of-view.

This topic can spark quite a discussion among authors. Some prefer showing their story through the eyes of more than one character, while others wish to stick with just one point-of-view (POV).

The multiple POV preference has become more common in recent years. Some novels boast three or four POV’s that tell the fictional tale. I recently conversed with an author who stated she was having a hard time keeping it under five POVs. Either way, multiple POVs can be especially effective in making sure the characters within the story learn their information organically. It can also allow the reader to know things the characters might not know yet.

But what about those authors who choose to use only one POV or have already reached their limit on the number of POV’s they wish to have in a particular work? How can a writer effectively give the reader information the characters don’t have, or have that character obtain information they shouldn’t know?

There are a number of devices that can be used, but one in particular is the use of an inanimate object that inhabits human qualities. This is especially useful for the Fantasy and Sci-Fi realms, since the bigger the imagination, the better! The possibilities can be endless!

A good example of this is ‘Ella Enchanted’ by Gail Carson Levine, a middle grade twist on the classic Cinderella tale. In this story, Ella is given a magical gift (or curse, as she sees it) of obedience. At various points in the story she is literally stuck at home, unable to leave or to even send a message abroad. But obtaining certain information is important for the story to move forward. The solution to this problem is her magical diary. Whenever she wants to learn about another person, she simply picks up the diary and says their name. Instantly she can see letters they’ve written and can learn all sorts of plot details she otherwise would not have known.

This was a simple way to fix a large problem. Ella needed to know details about her father and Prince Char as they traveled to far off countries, but there was no way she could achieve that while stuck under the thumb of her evil step-mother. The information she was able to glean also helped her learn the truth about the magic that held her in bondage and how to break free from it, in the end.

In the Author’s Note of the book, Ms. Levine explains that she used this device because Ella would not have come to know this information in any other believable way. Using a diary would be natural for a pre-teen girl, and since this is a world of magic, the fact that it possesses unusual abilities fit right in with the story. The use of this inanimate object as a character was the perfect solution for the author, since she didn’t wish to add an additional POV.

Have you chosen to use an object as a character in one of your stories? Or is there another way you moved your storyline forward without adding another POV that you can suggest? Feel free to leave any thoughts or comments below!

Laura L Zimmerman

Bio: Laura L. Zimmerman is a homeschooling mom 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 and at her website, www.lauralzimmerman.com

 

Featured image by Upslash/NASA