Writing

Not Reading is Not an Option

Shannon A. Thompson writes:

As an author and full-time editor, I’m coming across more and more writers who don’t read their own genre, or — even worse — don’t read at all. There are generally two types of these writers.

1. Writers who claim to read but obviously don’t (and I’ll get to how it is obvious later).

2. Writers who haven’t read anything since they left high school twenty years ago.

Spoiler Alert: Neither of these options is okay.

Writers, please, oh please, you must read—and you must read often, especially in your own genre. As the infamous Stephen King once said, “If you don’t have time to read, you don’t have the time (or the tools) to write.” I adamantly agree with him.

Read the rest here.

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No Ordinary People

“There are no ordinary people. You have never talked to a mere mortal,” wrote C.S. Lewis. Consider that as you consider these:

What if the veil between this world and the next began to break?

What if terrors long thought to be nothing more than myth and legend were not the fiction we thought they were?

What if the worst you saw on the nightly news was not the worst by any measure?

There are those who serve the Darkness, conspiring in the shadows, and those who serve the Light.

None are mere mortals. They are us.

Among the Shadows, Watchers of the Light Book 1, the first in a new fantasy series, coming soon.

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3 Whys

Why Does Every Story Have a Villain?

In Waking the Dead, John Eldredge writes:

Little Red Riding Hood is attacked by a wolf. Dorothy must face and bring down the Wicked Witch of the east…Frodo is hunted by the Black Riders…Beowulf kills the monster Grendel…Saint George kills the Dragon. The children who stumbled into Narnia are called upon by Aslan to battle the White Witch and her armies…

So why does every story have a villain?

“…Because yours does.”

What are the villains in your life, your Story? Addictions, vices, work, bad habits, crazy people… As Eldredge writes, we are “born into a world at war.” He is coming from the perspective of Evil that was long ago unleashed in the world and seeks to undermine all that is good.

Our stories have villains because our stories are inspired by life. Fiction is only fact in different clothes.

Why Fantasy Fiction?

Fantasy author R.A. Salvatore answers this in The Guide to Writing Fantasy and Science Fiction:

Perhaps more than any other genre, fantasy is about the hero’s journey. In a world of seven billion people, with wars I can’t stop and legislation I can’t even read, the idea of one person being able to make a difference, the idea of one man or woman grabbing a sword and defeating the dragon and saving the village is quite appealing.

And perhaps it will inspire a hero or two in our own world to rise up.

Why Stories?

Why do people love fictional stories and adventures so much? Because they mirror what is inside us. A desire to do to great things and go beyond the horizon. Do what we were meant to be. There is destiny written on our souls for us to choose or ignore. Jason Clark writes in his book Surrendered and Untamed on this discovery:

I no longer desire to be on the fringe, yet neither will I try to fit the mold. I’ve come to see there’s swimming against the stream just to swim against the stream. And then there’s swimming against the stream like the salmon do — to give others life so others might live — and to get back home. You face predators along the way and the trip is exhausting and you die a thousand deaths, but you do it for the glory and the story.

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“No Desire to Give Up”

There has been consderable discussion on how the Internet and ebooks helped turned self-publishing from a bad word to an industry-changing movement. Authors have started there and moved to traditional publishing; others have done the opposite. Some have gone both routes even as fellow writers have stood firm in one camp or another. It is certain that self-publishing – now often referred to as indie publishing – is not going anywhere. Nor is traditional publishing. Nonetheless, here is author and editor Jaimie Engle‘s self-publishing success story, brought on when everything fell apart:

I self-published my children’s novel, Clifton Chase and the Arrow of Light, in September 2013, after the small press I had been working with breached our contract. Three weeks before my slated release, my publisher bailed and left me stranded. I had no publicist, no idea what to do, and no desire to give up.

Read the rest of her story here.

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A Story Cliché or the Story we all Want to Tell?

I was reading a discussion concerning a certain fantasy author and someone asked if the author was a cliché writer. This appeared to have been asked as a bit of a put-down. What was meant by cliché writer? Since the writer has authored almost exclusively fantasy, I suspect the critics meant the story line so popular to the genre: Reluctant hero convinced to undertake some sort of quest; Hero joins with others who support the quest; Quest includes finding some object or another and defeating a terrible evil.

Is it fair to call this a cliché? I don’t think so.

In the simplest definition of the word, something becomes a cliché through overuse, not necessarily through any fundamental flaw with item in question. This supposed fantasy trope is a common framework, but it is the details in execution that differ with each story that make it succeed. If the critics were being fair, they would recognize that this cliché isn’t unique to fantasy, but — in one form another — prevalent across much of storytelling.

The reluctant-hero-team-up-battle-evil-save-the-world plot is at the heart of nearly every superhero film or show so popular now. However, it isn’t unique to the fantastic. How many other thrillers, adventures, mysteries or whatever you can think of include one or more of what is supposedly unique to fantasy? Better yet, why is this story line the bedrock of so much human storytelling? John Eldridge explains in his book Epic

Notice that all the great stories pretty much follow the same story line. Things were once good, then something awful happened, and now a great battle must be fought or a journey taken…

It’s true of every fairy tale, every myth, every Western, every epic…Have you ever wondered why?

Every story, great and small, shares the same essential structure because every story we tell borrows its power from a Larger Story, a Story woven in the fabric of our being…

All of these stories borrow from the Story. From Reality. We hear echoes of it through our lives. Some secret written on our hearts. A great battle to fight, and someone to fight for us. An adventure, something that requires everything we have, something to be shared with those we love and need.

There is a Story that we just can’t seem to escape. There is a Story written on the human heart.

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Garage Band or Superstar?

What to bands and writers have in common? Quite a bit. Author and editor Jaimie Engle wrote on the similar path musicians and authors take. It is up to you where to stop on that road, so check out her post and decide which band you want your writing to sound like.

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Martin: “done when it’s done”

Should George R.R. Martin, author of the books that inspired the Game of Thrones HBO series be apologizing for missing the deadline for his latest book?

I don’t think so.

It’s not just because, as an author, he has reached a level success many do not. This is about his work — writings that has made his career and defined him as an author.

Writing, like anything else, doesn’t always go according to plan. Sometimes it goes fast, sometimes it does not. Martin wrote, “Sometimes the writing goes well and sometimes it doesn’t…as spring turned to summer, I was having more bad days than good ones.” A writer who cares about his or her work, doesn’t want to get it done just to get it done.

There are times where the process does go fast and certain books get out quickly. Other times, not so much. The expectation to have a constant flow of books from authors is partly influenced by the apparent relentless parade of television and films. However, even those in the film business can be pressured to rush their work. Peter Jackson said he wasn’t happy with not having as much prep time with The Hobbit as he did with the LOTR. Extending the series to three from two films ultimately gave more time to create another epic trilogy. I get that publishing and filmmaking are businesses, but when you have something that has succeeded, why risk messing with what made it a success?

Like Martin wrote, “It will be done when it’s done. And it will be as good as I can possibly make it.”

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Edit Without Mercy

Miss Benison gives some great advice for the editing stage of writing your book. Editing can be a long, drawn out process.  It’s where you learn to shape and reshape words, sentences, plots, and characters. As Benison writes, this is where you need to:

Be ruthless and objective. Don’t think of the book as your own. Think that it belongs to a complete strangers. Don’t be afraid of the words “Cut” and “Delete”, in editing, they could be your best friends.

The idea of deleting may be unthinkable to some writers.  We all know what things aren’t working.  They probably never did. If they can’t be fixed or moved, deleting words, sentences, or whole paragraphs will often make a writer think, “Wow, that’s so much better.” Force yourself to evaluate your writing as someone else would. Don’t let yourself rationalize away parts of your story you know aren’t right.

Benison also writes about focusing on different aspects during each edit. Focus on grammar one time, details (too much or too little) during another.

At some point you may consider finding beta readers, because no matter how many times your review your manuscript, you’ll miss something. Then you’ll decide on whether or not you want an editor (other than you) to edit your work.  Separating yourself from your work can be hard.  Sometimes someone else can do it better.

Editing isn’t easy and it’s time-consuming. One of the best pieces of advice I read somewhere went something like, “Find part of your story that just pops: You know, every word is perfect and clicks with each other. It’s the example of what you want your voice to be. This is the standard the rest of the story should rise to meet.”

That’s a high standard, and no book is perfect to the author or all readers. If you set your standard as high as possible, however, you’ll end up with one amazing story.

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“Heavy Handed Message Fic” Doomed?

Virtually every book ever written has some sort of message or messages. Even the escapist pulp variety once so popular — and now making a comeback — has some insights for us. What about books that go to the other extreme — authors who wish to overwhelm us with their commentary (and authors who think that’s what books should be)? Are these losing favor? Author Mike Duran seems to be leaning in that direction:

The more I grow as an author and a reader, the less I am interested in “heavy-handed message fic.” Of course, stories have messages. And writing stories for the “betterment of the world” seems like quite a noble endeavor. Nevertheless, when such an intention becomes the over-arching agenda and leads to “heavy handed message fic,” I’m checking out. I read to be entertained, inspired, disturbed, and moved. Nit-picking over an author’s race or gender, the number of ethnicities represented in their books, or the sociological or environmental issues they manage to tackle, seems like a wrong-headed approach to story-telling. Give me good, old-fashioned pulp over pretentious preaching any day.

Entertaining books. What a concept!

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How the Father of Fantasy Told His Story

The influence of 19th Century novelist George MacDonald can still be seen in the fantasy genre today. C.S. Lewis referred to MacDonald as his “master.” Tolkien called his fairy tales “stories of power and beauty.” MacDonald encouraged his friend C. L. Dodgson to publish his children stories — later known to the world as Alice in Wonderland under the pen name Lewis Carroll. MacDonald unintentionally became the father of modern fantasy.

Biographer Michael R. Phillips writes he was “deeply challenged with the magnitude and complexity” of telling MacDonald’s life:

…[MacDonald had a] tremendous variety of…literary genres — he was [also] a theologian, a spiritual mystic, a poet, a novelist, a preacher, a scientist, an essayist, a highly successful lecturer, a teacher, an actor, an editor and a fantasy writer — his ideas defy categorization and pigeon-hole analysis.

That MacDonald was a writer can be seen in his comments on potential biographies on himself. He maintained “that no biography should be written, stating that his books contained all he had to say to the world…” Phillips continues:

But it is my hope to convey George MacDonald’s thoughts and emotions…[which are] most strongly reflected through his literary works…his fictional characters were a means of communicating his own ideas and view of the world…The words he wrote…illuminate what he thought about, how he approached his quandaries, what kinds of questions he asked, and what answers he found…His books are the fullest means we have to get under the surface of his thought-skin to discover what really made him tick.

Therein lies a truth for all writers. Their fiction is art, entertainment and conveyor of ideas and messages. Ultimately, though, no matter how they try not to (if they try not to), parts of their story is also in the tales they tell.

I have written often here that everyone has a story to tell. That doesn’t just mean in the sense of sci-fi, fantasy, thriller or romance. It means the stories that reveal who you are, regardless of what background you tell it against.

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