So I feel like this is really relevant to those writers who take their craft seriously. Not all of us have tons of money to pump into vanity editors, much less the backing of big publishers. For the humble artist on a budget, the alternative is reaching out to friends, family, and other writers to find the support you need when it comes to the editing process.
That being said, it's not always a PRETTY process. Let's be honest; it sucks the majority of the time. That whole saying, "Everybody's a critic," doesn't necessarily mean everyone is a GOOD critic. Friends and family aren't always going to be completely honest for fear of hurting your feelings, and other writers might not have the background in editing to be helpful, much less the tact to convey their point without ripping your beating heart out and running it through a paper shredder.
So, in this hit and miss arena, what are your choices in responding to BAD criticism? Basically, you have two:
1. Take it like a champ.
2. Lash out.
Arguably, you could include the third option--break down--but I believe pieces of that rest on either end of the dual spectrum above.
Bad criticism can be detrimental to your process, but let me be clear: if you EVER want to garner a following, it is your job as a professional to respond professionally. If someone took the time to read your manuscript and give you ANY feedback, you are obligated to at least acknowledge that effort with a 'thank you' at the bare minimum. Lashing out does nothing but alienate your potential audience.
Moving on from this, let me also make the point that there is a difference between bad criticism, fair criticism, and someone being a complete asshole.
Examples:
Bad Criticism: I didn't like this character.
The hallmark of bad criticism is making a (possibly) valid point, but not explaining why. I actually had this response from two betas recently. It did make me rethink a lot of things concerning the character in question, but how much easier would things have been if they'd said WHY that character was so unlikable?
Fair Criticism: I didn't care for this character because in scene x they made decision a, when it would seem to be more in character for them to make decision b.
THIS is fair and well thought out criticism. The critique mentions which character, which scene, and what decision specifically seemed to throw them out of the reading. It addresses an issue they had with the reading in a very direct and clear manner, allowing you to take that comment and think about your writing. Is it really an IN character decision but maybe you didn't make that clear enough? Or is this reviewer correct and you've missed something in your plot/character development that can be fixed by applying decision b? A good critique should make you examine your own writing with a critical eye without tearing you down as a person.
Being an Asshole: All of the characters are shit. You're a hack writer and you'll only ever write shit.
Assholes attack the writer rather than explaining what they didn't like about the work. Critiques mean taking the time to actually demonstrate that one has read the manuscript and thoroughly considered all aspects of the writing by explaining the perceived downfalls in a well thought out and concise manner. The above is an example of nothing more than a juvenile that isn't worth your time.
Bear this in mind, taking criticism like a champ does not mean you have to be unctuous, much less that you have to agree with everything said. Even if the criticism isn't necessarily CORRECT, if the reviewer pointed out something that was an issue for them, take a minute to examine it. Sometimes, your intent may not be clear, or maybe the reader missed something entirely. A bit of polite conversation can go a long way, however. Reaching out to ask for clarification isn't rude, and being polite goes a long way in ensuring further relations with a possible beta reader.
In the case that you come across someone that is rude in their delivery and/or a complete asshole, be careful of what you say. If you say anything, still thank them. You might even ask them to expand their thoughts so you have an idea of where to apply edits. Do NOT attack them back. Keyboard warriors are a dime a dozen, and you should not sink to that level. I guarantee you, anything that makes you look bad will circulate quickly.
Maintain your professionalism even as an amateur. Take all criticism in stride. Don't feed the trolls.
Write on, my friends.
Sunday, October 25, 2015
Tuesday, August 25, 2015
Prologues: Maybe
Prologues. Indeed. Those crazy little monsters have found themselves the topic of much debate in recent years. I fail to see the merit of the debate, to be honest.
Prologues are, by definition, "a separate introductory section of a literary or musical work" or "an event or action that leads to another event or situation." It seems simple enough on the surface. So why all the fuss?
I'll tell you why:
Prologues are, by definition, "a separate introductory section of a literary or musical work" or "an event or action that leads to another event or situation." It seems simple enough on the surface. So why all the fuss?
I'll tell you why:
- People are lazy.
- Authors don't use them correctly.
- Over-generalizations are products of ignorance.
So, people are lazy. If they are not entertained from the opening page of your story, they will often not read further. Prologues have a bad reputation for being dry info dumps--true enough--but gods forbid you actually force your readers to think.
Tying into this idea, when authors do not properly use a prologue, readers become bored and either skip them or discard the work altogether. When I say "do not properly use," I am referring to the dry info dumps that would have better served in an appendix...or being worked into the body of the book itself. Sometimes, I understand that books can just become too much of a behemoth for everything to properly find its place in the exposition. That still doesn't warrant a prologue.
FURTHER tying into this laziness, because several authors have either misused prologues or failed to hook their reader, many readers now over-generalize to state that prologues are unnecessary. This is a product of pure ignorance. This is like saying all blonds are stupid, all black men are criminals, or all white girls like Starbucks.
POPPYCOCK, I SAY! Absolute and utter poppycock. Oh, if only you could see my soul-withering stare through the pixelated land of cyberspace. You would shrink in upon yourself and beg for mercy. ...but I'll spare you that painful death. THIS TIME.
At any rate, there you have it. I'm settling myself firmly in the PRO prologue camp, and I have a very good reason for doing so. Prologues are, from a literary standpoint, sometimes necessary.
Now I'm going to outline a handy dandy guide for the proper use of prologues.
We begin.
Q: Does your opening chapter begin with an event not directly tied to the rest of the book, but it is IMPORTANT to the book as a whole?
A: If yes, you might need a prologue.
Q: Does your opening chapter begin a significant amount of time before the rest of the book?
A: If yes, you might need a prologue.
Q: Does your opening chapter feature characters or POVs that will not be featured within the rest of the book (or they might only be featured indirectly thereafter)?
A: If yes, you might need a prologue.
Q: Does your opening chapter merely take an event from later in the book to use as a hook?
A: If yes, you do NOT need a prologue. Write a real hook, you lazy turd!
Q: Does your opening chapter introduce political parties, exorbitant amounts of backstory, lineages, or other bits of info that become dry and hard to understand out of context?
A: If yes, you do NOT need a prologue. For the love of cheese, you're giving all authors a bad name! Work that ish into the body of your story or add an appendix.
Now, I expect you to use your heads and decide what works best for your story. Be judicious with your choice, you masterful wordsmith! Now seriously...get writing.
Tuesday, July 14, 2015
Mind over Mayo Jar: Living in the Digital Age
So let me just preface this by saying I've already bought my ticket for the Shame Train. With that out of the way, we begin...
Some of you know me on a more personal level. More of you don't. For those that don't, let me tell you a bit about myself as a PERSON. That's right: you now get an unadulterated peek inside of the inner workings of my mind--not as a writer, but as a real-life, (sometimes) thinking human.
I'm gross. There, I said it. I. Am. Gross. I enjoy toilet humor. Farts make me laugh like an obnoxious, braying ass. I'm not afraid to admit I poop. It's a little known fact, but everybody poops, even women. More little known facts about women: we don't glow; we sweat. We also get indigestion, bad breath, and are slightly superhuman in that we bleed like stuck pigs for days on end without dying. These are all common things...and I laugh at them.
That being said, there is an appropriate time and place for my atypical sense of humor. I sometimes forget that. Today, I most certainly did.
So you know that invisible line that separates a writer from an author? Yeah, it's not big. It's a simple matter of leaping from "I write stuff" to "I publish the stuff I write." I haven't crossed that line yet, but I am working on it. I still hold in reverence every writer that has moved to the other side and can proudly point to a link or a hard-copy of their work. But, in all honesty, that reverence has pretty much become a self-imposed illusion now.
In the digital age, the advent of social media has pretty much bulldozed all aspects of privacy and even a lot of common sense. Ten years ago, Facebook hadn't blown up yet, and people weren't Tweeting their every thought or Instagram-ing pics of their every meal. On social media, people willingly spill their darkest secrets and interact with anyone that will reply. That being the case, there isn't much separating the lowly dabblers from the masters of the craft.
I ran into this issue today on Twitter. I follow Lauren DeStefano, author of The Chemical Garden series. I find a lot of her tweets hilarious; today's was no exception. Below is a screenshot of the conversation:
Some of you know me on a more personal level. More of you don't. For those that don't, let me tell you a bit about myself as a PERSON. That's right: you now get an unadulterated peek inside of the inner workings of my mind--not as a writer, but as a real-life, (sometimes) thinking human.
I'm gross. There, I said it. I. Am. Gross. I enjoy toilet humor. Farts make me laugh like an obnoxious, braying ass. I'm not afraid to admit I poop. It's a little known fact, but everybody poops, even women. More little known facts about women: we don't glow; we sweat. We also get indigestion, bad breath, and are slightly superhuman in that we bleed like stuck pigs for days on end without dying. These are all common things...and I laugh at them.
That being said, there is an appropriate time and place for my atypical sense of humor. I sometimes forget that. Today, I most certainly did.
So you know that invisible line that separates a writer from an author? Yeah, it's not big. It's a simple matter of leaping from "I write stuff" to "I publish the stuff I write." I haven't crossed that line yet, but I am working on it. I still hold in reverence every writer that has moved to the other side and can proudly point to a link or a hard-copy of their work. But, in all honesty, that reverence has pretty much become a self-imposed illusion now.
In the digital age, the advent of social media has pretty much bulldozed all aspects of privacy and even a lot of common sense. Ten years ago, Facebook hadn't blown up yet, and people weren't Tweeting their every thought or Instagram-ing pics of their every meal. On social media, people willingly spill their darkest secrets and interact with anyone that will reply. That being the case, there isn't much separating the lowly dabblers from the masters of the craft.
I ran into this issue today on Twitter. I follow Lauren DeStefano, author of The Chemical Garden series. I find a lot of her tweets hilarious; today's was no exception. Below is a screenshot of the conversation:
Do you feel my shame? FEEL IT! Burn inside like I do.
This woman does not know me. At all. And I shared my gross humor on a completely inappropriate platform. The sad thing is...I could have stopped at the first one and just laughed at her response before going about my business. But no, not me. I couldn't quit until I needed to cram BOTH feet into my mouth, sit on my hands, and disappear into a crack. Apparently, my common sense went on vacation for the day and didn't notify the rest of the brain.
That being said, I am dubbing this incident #MindOverMayoJar. I am making it even MORE public so the rest of you can learn from my mistake. I'm sure I'll laugh about this in the future, but for now it's just a solid pit in my stomach that keeps jabbing up into my Regret Factory to make me cringe every five minutes or so.
From now on, when I catch myself or others in some stupid shenanigan of epic proportions, I will make it known. Even in the digital age, we can still have some common decency and respect.
...Above all, I'm still kind of surprised she replied to me. Social media, man. There is no spoon.
Wednesday, July 1, 2015
The Pitfalls of Poorly Choreographed Plot Devices: Rape as a Trope
***TRIGGER WARNING***
This post discusses rape in fiction and contains spoilers for books and movies.
_________________________________________________________________
Now that we have that out of the way...
I'm a writer, so I read a lot. Might be books, might be articles, might just be posts in the myriad writing groups I haunt. As of late, I've seen a deluge of posts and articles dealing with rape in fiction. I blame GoT's recent episode. This is an emotionally charged debate, one that sees a lot of opinions across the spectrum.
Let me preface this a bit: I AM A RAPE SURVIVOR. Stop. Take a minute to let that sink in. No, I don't want your pity. I want you to look at this as objectively as possible--as I will attempt to do--and walk away with some real perspective.
So, what is this great evil I speak of? Without getting too philosophical on this, I am going to define "rape" as any unsolicited or blatantly forced sexual contact. Simple enough. By this definition, a "rape trope" is any depiction of rape utilized as a plot device in fiction, to the point of becoming cliche or overdone. If you go to Google and type in "rape trope," you will see a list of types of rape and harassment seen in popular media. This post will deal with those tropes specifically in writing.
I mentioned I read a lot, right? Yeah, I read a LOT. This year alone, I've read more books than I can count. The spectrum is wide, ranging from nonfiction (accounts of pirates on the American coast to growing and harvesting your own herb garden) to dark fantasy (ASOIAF). There might have been a couple of romances in there, but I confirm nothing. Rather, I point you toward my fiction choices...and the elements of rape within.
Honestly, I don't find rape to be as pervasive as some have suggested, nor will I condemn it as lazy writing as some articles have. The fact of the matter is...rape happens; I'm living proof of that. It is a FACT--ugly and disgusting, albeit--of the world around us, and it has been for centuries (likely since the dawn of sentient creatures). That being the case, it cannot be ignored, glossed, glorified, or otherwise forgotten. I don't find rape in fiction to be lazy in and of itself--I stress the "in and of itself." I find how the rape is handled says a lot about the writer and the story.
There it is. The can of worms is officially opened. I DO NOT OPENLY CONDEMN RAPE SCENES. This topic of discussion has led to dismissive behavior when it comes to my own experience. Why? WHY? I can see the validity of this topic in fiction, and suddenly it matters what I was wearing when I was assaulted? No, just no.
This is where my condescension starts to bleed through, and you'll have to forgive me. Rape in fiction does not demean what happened to me, no more than it strips the validity of what happened to other rape survivors. It empowers us. Writers are willing to be open and discuss this ugly aspect of human nature when a startling amount of victims--myself included--were afraid to speak up. In my mind, rape in fiction is the same as ANY type of violence--war, kicking puppies, serial killings, bar brawls, etc. THEY ARE ALL THE SAME.
But this is where the trope part comes in. The word "trope" carries a heavily negative connotation all by its lonesome. When a commonly seen literary device (rape) garners a reputation for being a trope, it becomes looked down on and dismissed without really looking past the trope itself.
And that's where this year's reading comes in. I read two series where rape tropes are featured--GRRM's A Song of Ice and Fire and Stieg Larsson's The Girl with the Dragon Tattoo series. I will also touch on a manuscript I beta'd/edited because it comes up there, too.
So...let's get the big one out of the way: ASOIAF.
Rape and violence are so common in GRRM's writing that you rarely read a page without running into another instance of it. This isn't a bad thing. The series is written to depict a horribly bloody bit of history in the fictional realm that Martin has created, and let's not forget that it's set in a male-dominated society. It forces the reader to look at things from the objective perspective--seeing instances from more than one character's point of view. The good, the bad, and the ugly are smeared into one gray blur, where no real lines exist anymore.
Let me be blunt. THIS IS REALITY, ladies and gentleman. Think of any argument you've ever witnessed from the third perspective (i.e. not directly involved). You know the saying: There are always three sides to a story--his, hers, and the truth. You can see valid points from both sides of the equation when you're put into that situation, can you not? Don't lie; you know I'm right.
In GRRM's world, you're forced to be that objective third party. YOU are the truth. You see all elements as they take shape, and you know how all the puzzle pieces fit together. Character motivations may not click with your world view, but--damn!--can you ever see what drives these people. What really speaks to me about GRRM's writing style, however, is that none of the violent elements are glorified. It's raw, and ugly, and real.
So let's focus down on what's pertinent here--the rape scenes. One particular instance comes to mind, and this will stand as my reasoning on GRRM's handling of the trope as a whole.
In a twist of events, Ramsay Bolton is tricked into marrying Jeyne Poole, who is masquerading as Arya Stark. The alliance is set to ally King's Landing with the Boltons, who control the north. Through Theon's eyes, we have the description of the violent scenes, including where Reek is forced to--ew, I cringe just writing this--make the bride ready with his mouth. Later, Theon also describes the bruises and bite marks on Jeyne's body. Ramsay assaults her repeatedly throughout their marriage before Jeyne is whisked away by Theon and the Wildling rescue party.
Let's consider this. What purpose do these scenes serve?
1.) It lets the reader know you are not in Kansas anymore. The innocent will be maimed in accordance with the world GRRM has set up.
2.) It keeps with Ramsay's characterization up to this point.
3.) It shows character growth of Theon/Reek, leading to the moment when he finally grows a pair (har har) and defies Ramsay.
Some people have suggested that this scene is minimized simply BECAUSE it serves as a motivator for Theon/Reek. In some ways, I can see the validity of this. Showing how the rape of a female affects/motivates a male has become a trope all on its own. As a survivor, would I want my story written from a man's perspective? HELL NO! HOWEVER--and this is a big however--Martin is writing a fictional book, not reality.
How Jeyne is affected and deals with the rape are ugly and clear--distraught, crying, begging for help, etc. The physical and emotional distress are evident no matter which character's eyes we get the story from. Does seeing it from Theon's perspective make it any less horrifying?
The answer is no. Furthermore, Jeyne's consequences are known to us. She can't just rise up and kill Ramsay, hundreds of guards, and escape through miles of snow without help. She has no arms training, no help, and no options. Seeing these things from her point of view would only slow the story down (yes, this IS a key factor here). That is why we have the scene from Theon's point of view.
As Reek, Theon has been stripped of everything that meant anything to him (down to his man bits and identity). In a sense, the violence visited upon him was just as much a rape as what was done to Jeyne; yes, I went there. Reek has been reduced to a subhuman extension of Ramsay's will. The fact that he joins with the Wildings and rescues Jeyne from her horrible situation is a triumphant moment. The man who is no longer a man, the man who is so shattered he can barely WALK, finds his spine and becomes a hero for ONCE in his life. Readers love to hate Theon, but that moment was so gratifying on so many levels.
I firmly believe Martin considered the angles on this story, and the eventual rescue and escape mean more from Theon's point of view. It was prudent to choose a character whose growth is pertinent. Besides, the story isn't finished yet, guys. We may see more of Jeyne in the future books, and then you really WILL have her perspective on what happened. Call me biased, I'd rather not read it from her perspective. The aftermath of the assault is more telling than the actual assault, which brings me to Stieg Larsson's series.
The Girl with The Dragon Tattoo is a trilogy that deals largely with a character named Lisbeth Salander. She is a ward of the state in Sweden, and has been fed through the system in a national cover-up, which bounced her from loony bin, to foster home, to guardian, and so on.
When her guardian has a stroke and almost dies, Salander is placed under the care of Nils Bjurman, who physically assaults her on two occasions. The first time, he forces her to give him oral sex in exchange for money (her money, mind you; he controls all of her assets). Salander has few options open to her as she is deemed mentally incompetent, and knows Bjurman will only spin the story to his benefit should she go to the police. She places a hidden camera in her bag and intends to get undeniable proof. Bjurman rapes her violently, nearly smothers her with a pillow, and then finally lets her go.
These scenes are written from Salander's point of view, and they made me physically ill. Where I was highly uncomfortable reading about the assault on Jeyne, this piece of writing made me ILL. I had to put the first book aside for a long while before I came back to it. It was worth it. Seeing how Salander got her revenge, how the rape affected and motivated her--these all fed into her character growth.
This is another instance of how rape trope is used in an effective manner, though much differently than ASOIAF. Both writers were able to fully capture the horror of the moment, but they did so to different ends. Lisbeth needed a motivator to get out from under Bjurman's control; Theon needed a motivator to get away from Ramsay. Both rapes serve a purpose as written without glorifying the actual rape.
Aaaand now we come to rape tropes that don't do much to further the story, which is where the title of this article suddenly becomes pertinent. I write a lot, I read a lot, and I also edit for fun. The idea of editing for fun probably sounds like a contradiction in terms, but trust me; I find it relaxing.
Over the years, I've come across a lot of manuscripts and short stories from aspiring writers that are looking for an unbiased opinion on their work. I've edited everything--poetry, short stories, novellas, and novels. A while ago, I was handed a manuscript by someone I didn't know well, but I took a chance on it, figuring I could offer some insights.
I didn't ask for particulars beyond word count and genre since the rise of the almighty trigger warning. Naturally, I assumed the writer would disclose any questionable material beforehand. So I barreled into this manuscript and read it all in one sitting, at which time I came across a group of four chapters in the middle of the book, all of which featured rape. Yes, you read that right. Four chapters, FOUR different rapes.
For a while, I just kind of sat there, stunned. I had to take a moment to collect my thoughts before I could really articulate anything beyond complete disgust. I put the manuscript aside for an hour, chain smoked three cigarettes, and then made myself finish the book.
After reading it, I saw how each violation tied into the overall plot, even if some of them were a stretch. The first rape serves as a catalyst to set the whole series of rapes in motion, as well as raising a pertinent dialogue about this fictional world's power struggles with slavery. The second rape serves as a plot device that motivates another character's mental break. The third rape--which is aborted halfway through--serves to open one character's eyes on his mistreatment of a slave. And the final rape--a gang rape of man on man violence--serves to show the same character how it feels to not have power.
Each of these serves a purpose, and I understand why the writer set up the chain of events this way. But the handling of the material was done very poorly. This free-for-all made each event lose its impact and relevance. So much in one sitting is overkill, and I told the author as much in no uncertain terms. If there is no better way to motivate the characters, this story has a huge pitfall, and becomes nothing more than the worst aspects of a trope.
It seemed to glorify rape culture, and the events were NEVER again addressed by the victims, much less touched on by those closest to them. In a story that is written in a loosely omniscient style, why was the aftermath of the violation not shown in more than a briefly PHYSICAL aspect? None of the victims seemed bothered at ALL after the moment was past. This horrified me.
It took me years to overcome what happened to me. It stained every moment of my life--relationships, being alone with men, trying to have fun in an environment where people were drinking, and TRUST. Most of all, trust. As a survivor, I never trusted another man with my well-being again, not even those that were supposed to be closest to me. But none of these aspects were addressed in the manuscript.
That was when it occurred to me...this person has never been raped, much less spoken to a rape survivor. There is no disconnect between the event and just moving forward with your life as if nothing happened. Even Lisbeth Salander had mental repercussions despite her cold attitude about the assault. Jeyne Poole is also mentally and physically altered by the attacks, though we see that change via Theon's eyes. But I saw none of this in the manuscript. Instead, it was as if the event happened, and then the characters forgot about it.
Let me be clear: This is not an effectively written rape scene, and this is why rape tropes have a bad name. If you are going to use it, make DAMN sure you know what you're getting yourself into. The flippant manner in which the topic was handled made me angrier than the overuse of the trope.
Rape scenes in literature--and rape culture in general--have a time and a place. There is a right way and a wrong way to handle them. Some rape tropes are a general act of laziness on the part of the writer. Sometimes they are genuinely unintentional. When used correctly, they can strengthen a story and the motivations of the characters, as well as speak to the societal issues of the fictional world. However, if you don't have the talent or ability to write them effectively, just step back and throw your hat in the ring. Better to find a different plot device that isn't nearly so hard to write.
TL;DR: Rape is not something to be easily dismissed. It is pervasive in our culture and denotes an aspect of physical dominance and control. Victims of rape are affected for years after the fact, and intimacy--not just physical, but emotional--is hard to accept. When you can't trust your partner, suddenly it makes it very hard to even be in a relationship. Rape. Stains. EVERYTHING. If you cannot write it effectively, DON'T.
This post discusses rape in fiction and contains spoilers for books and movies.
_________________________________________________________________
Now that we have that out of the way...
I'm a writer, so I read a lot. Might be books, might be articles, might just be posts in the myriad writing groups I haunt. As of late, I've seen a deluge of posts and articles dealing with rape in fiction. I blame GoT's recent episode. This is an emotionally charged debate, one that sees a lot of opinions across the spectrum.
Let me preface this a bit: I AM A RAPE SURVIVOR. Stop. Take a minute to let that sink in. No, I don't want your pity. I want you to look at this as objectively as possible--as I will attempt to do--and walk away with some real perspective.
So, what is this great evil I speak of? Without getting too philosophical on this, I am going to define "rape" as any unsolicited or blatantly forced sexual contact. Simple enough. By this definition, a "rape trope" is any depiction of rape utilized as a plot device in fiction, to the point of becoming cliche or overdone. If you go to Google and type in "rape trope," you will see a list of types of rape and harassment seen in popular media. This post will deal with those tropes specifically in writing.
I mentioned I read a lot, right? Yeah, I read a LOT. This year alone, I've read more books than I can count. The spectrum is wide, ranging from nonfiction (accounts of pirates on the American coast to growing and harvesting your own herb garden) to dark fantasy (ASOIAF). There might have been a couple of romances in there, but I confirm nothing. Rather, I point you toward my fiction choices...and the elements of rape within.
Honestly, I don't find rape to be as pervasive as some have suggested, nor will I condemn it as lazy writing as some articles have. The fact of the matter is...rape happens; I'm living proof of that. It is a FACT--ugly and disgusting, albeit--of the world around us, and it has been for centuries (likely since the dawn of sentient creatures). That being the case, it cannot be ignored, glossed, glorified, or otherwise forgotten. I don't find rape in fiction to be lazy in and of itself--I stress the "in and of itself." I find how the rape is handled says a lot about the writer and the story.
There it is. The can of worms is officially opened. I DO NOT OPENLY CONDEMN RAPE SCENES. This topic of discussion has led to dismissive behavior when it comes to my own experience. Why? WHY? I can see the validity of this topic in fiction, and suddenly it matters what I was wearing when I was assaulted? No, just no.
This is where my condescension starts to bleed through, and you'll have to forgive me. Rape in fiction does not demean what happened to me, no more than it strips the validity of what happened to other rape survivors. It empowers us. Writers are willing to be open and discuss this ugly aspect of human nature when a startling amount of victims--myself included--were afraid to speak up. In my mind, rape in fiction is the same as ANY type of violence--war, kicking puppies, serial killings, bar brawls, etc. THEY ARE ALL THE SAME.
But this is where the trope part comes in. The word "trope" carries a heavily negative connotation all by its lonesome. When a commonly seen literary device (rape) garners a reputation for being a trope, it becomes looked down on and dismissed without really looking past the trope itself.
And that's where this year's reading comes in. I read two series where rape tropes are featured--GRRM's A Song of Ice and Fire and Stieg Larsson's The Girl with the Dragon Tattoo series. I will also touch on a manuscript I beta'd/edited because it comes up there, too.
So...let's get the big one out of the way: ASOIAF.
Rape and violence are so common in GRRM's writing that you rarely read a page without running into another instance of it. This isn't a bad thing. The series is written to depict a horribly bloody bit of history in the fictional realm that Martin has created, and let's not forget that it's set in a male-dominated society. It forces the reader to look at things from the objective perspective--seeing instances from more than one character's point of view. The good, the bad, and the ugly are smeared into one gray blur, where no real lines exist anymore.
Let me be blunt. THIS IS REALITY, ladies and gentleman. Think of any argument you've ever witnessed from the third perspective (i.e. not directly involved). You know the saying: There are always three sides to a story--his, hers, and the truth. You can see valid points from both sides of the equation when you're put into that situation, can you not? Don't lie; you know I'm right.
In GRRM's world, you're forced to be that objective third party. YOU are the truth. You see all elements as they take shape, and you know how all the puzzle pieces fit together. Character motivations may not click with your world view, but--damn!--can you ever see what drives these people. What really speaks to me about GRRM's writing style, however, is that none of the violent elements are glorified. It's raw, and ugly, and real.
So let's focus down on what's pertinent here--the rape scenes. One particular instance comes to mind, and this will stand as my reasoning on GRRM's handling of the trope as a whole.
In a twist of events, Ramsay Bolton is tricked into marrying Jeyne Poole, who is masquerading as Arya Stark. The alliance is set to ally King's Landing with the Boltons, who control the north. Through Theon's eyes, we have the description of the violent scenes, including where Reek is forced to--ew, I cringe just writing this--make the bride ready with his mouth. Later, Theon also describes the bruises and bite marks on Jeyne's body. Ramsay assaults her repeatedly throughout their marriage before Jeyne is whisked away by Theon and the Wildling rescue party.
Let's consider this. What purpose do these scenes serve?
1.) It lets the reader know you are not in Kansas anymore. The innocent will be maimed in accordance with the world GRRM has set up.
2.) It keeps with Ramsay's characterization up to this point.
3.) It shows character growth of Theon/Reek, leading to the moment when he finally grows a pair (har har) and defies Ramsay.
Some people have suggested that this scene is minimized simply BECAUSE it serves as a motivator for Theon/Reek. In some ways, I can see the validity of this. Showing how the rape of a female affects/motivates a male has become a trope all on its own. As a survivor, would I want my story written from a man's perspective? HELL NO! HOWEVER--and this is a big however--Martin is writing a fictional book, not reality.
How Jeyne is affected and deals with the rape are ugly and clear--distraught, crying, begging for help, etc. The physical and emotional distress are evident no matter which character's eyes we get the story from. Does seeing it from Theon's perspective make it any less horrifying?
The answer is no. Furthermore, Jeyne's consequences are known to us. She can't just rise up and kill Ramsay, hundreds of guards, and escape through miles of snow without help. She has no arms training, no help, and no options. Seeing these things from her point of view would only slow the story down (yes, this IS a key factor here). That is why we have the scene from Theon's point of view.
As Reek, Theon has been stripped of everything that meant anything to him (down to his man bits and identity). In a sense, the violence visited upon him was just as much a rape as what was done to Jeyne; yes, I went there. Reek has been reduced to a subhuman extension of Ramsay's will. The fact that he joins with the Wildings and rescues Jeyne from her horrible situation is a triumphant moment. The man who is no longer a man, the man who is so shattered he can barely WALK, finds his spine and becomes a hero for ONCE in his life. Readers love to hate Theon, but that moment was so gratifying on so many levels.
I firmly believe Martin considered the angles on this story, and the eventual rescue and escape mean more from Theon's point of view. It was prudent to choose a character whose growth is pertinent. Besides, the story isn't finished yet, guys. We may see more of Jeyne in the future books, and then you really WILL have her perspective on what happened. Call me biased, I'd rather not read it from her perspective. The aftermath of the assault is more telling than the actual assault, which brings me to Stieg Larsson's series.
The Girl with The Dragon Tattoo is a trilogy that deals largely with a character named Lisbeth Salander. She is a ward of the state in Sweden, and has been fed through the system in a national cover-up, which bounced her from loony bin, to foster home, to guardian, and so on.
When her guardian has a stroke and almost dies, Salander is placed under the care of Nils Bjurman, who physically assaults her on two occasions. The first time, he forces her to give him oral sex in exchange for money (her money, mind you; he controls all of her assets). Salander has few options open to her as she is deemed mentally incompetent, and knows Bjurman will only spin the story to his benefit should she go to the police. She places a hidden camera in her bag and intends to get undeniable proof. Bjurman rapes her violently, nearly smothers her with a pillow, and then finally lets her go.
These scenes are written from Salander's point of view, and they made me physically ill. Where I was highly uncomfortable reading about the assault on Jeyne, this piece of writing made me ILL. I had to put the first book aside for a long while before I came back to it. It was worth it. Seeing how Salander got her revenge, how the rape affected and motivated her--these all fed into her character growth.
This is another instance of how rape trope is used in an effective manner, though much differently than ASOIAF. Both writers were able to fully capture the horror of the moment, but they did so to different ends. Lisbeth needed a motivator to get out from under Bjurman's control; Theon needed a motivator to get away from Ramsay. Both rapes serve a purpose as written without glorifying the actual rape.
Aaaand now we come to rape tropes that don't do much to further the story, which is where the title of this article suddenly becomes pertinent. I write a lot, I read a lot, and I also edit for fun. The idea of editing for fun probably sounds like a contradiction in terms, but trust me; I find it relaxing.
Over the years, I've come across a lot of manuscripts and short stories from aspiring writers that are looking for an unbiased opinion on their work. I've edited everything--poetry, short stories, novellas, and novels. A while ago, I was handed a manuscript by someone I didn't know well, but I took a chance on it, figuring I could offer some insights.
I didn't ask for particulars beyond word count and genre since the rise of the almighty trigger warning. Naturally, I assumed the writer would disclose any questionable material beforehand. So I barreled into this manuscript and read it all in one sitting, at which time I came across a group of four chapters in the middle of the book, all of which featured rape. Yes, you read that right. Four chapters, FOUR different rapes.
For a while, I just kind of sat there, stunned. I had to take a moment to collect my thoughts before I could really articulate anything beyond complete disgust. I put the manuscript aside for an hour, chain smoked three cigarettes, and then made myself finish the book.
After reading it, I saw how each violation tied into the overall plot, even if some of them were a stretch. The first rape serves as a catalyst to set the whole series of rapes in motion, as well as raising a pertinent dialogue about this fictional world's power struggles with slavery. The second rape serves as a plot device that motivates another character's mental break. The third rape--which is aborted halfway through--serves to open one character's eyes on his mistreatment of a slave. And the final rape--a gang rape of man on man violence--serves to show the same character how it feels to not have power.
Each of these serves a purpose, and I understand why the writer set up the chain of events this way. But the handling of the material was done very poorly. This free-for-all made each event lose its impact and relevance. So much in one sitting is overkill, and I told the author as much in no uncertain terms. If there is no better way to motivate the characters, this story has a huge pitfall, and becomes nothing more than the worst aspects of a trope.
It seemed to glorify rape culture, and the events were NEVER again addressed by the victims, much less touched on by those closest to them. In a story that is written in a loosely omniscient style, why was the aftermath of the violation not shown in more than a briefly PHYSICAL aspect? None of the victims seemed bothered at ALL after the moment was past. This horrified me.
It took me years to overcome what happened to me. It stained every moment of my life--relationships, being alone with men, trying to have fun in an environment where people were drinking, and TRUST. Most of all, trust. As a survivor, I never trusted another man with my well-being again, not even those that were supposed to be closest to me. But none of these aspects were addressed in the manuscript.
That was when it occurred to me...this person has never been raped, much less spoken to a rape survivor. There is no disconnect between the event and just moving forward with your life as if nothing happened. Even Lisbeth Salander had mental repercussions despite her cold attitude about the assault. Jeyne Poole is also mentally and physically altered by the attacks, though we see that change via Theon's eyes. But I saw none of this in the manuscript. Instead, it was as if the event happened, and then the characters forgot about it.
Let me be clear: This is not an effectively written rape scene, and this is why rape tropes have a bad name. If you are going to use it, make DAMN sure you know what you're getting yourself into. The flippant manner in which the topic was handled made me angrier than the overuse of the trope.
Rape scenes in literature--and rape culture in general--have a time and a place. There is a right way and a wrong way to handle them. Some rape tropes are a general act of laziness on the part of the writer. Sometimes they are genuinely unintentional. When used correctly, they can strengthen a story and the motivations of the characters, as well as speak to the societal issues of the fictional world. However, if you don't have the talent or ability to write them effectively, just step back and throw your hat in the ring. Better to find a different plot device that isn't nearly so hard to write.
TL;DR: Rape is not something to be easily dismissed. It is pervasive in our culture and denotes an aspect of physical dominance and control. Victims of rape are affected for years after the fact, and intimacy--not just physical, but emotional--is hard to accept. When you can't trust your partner, suddenly it makes it very hard to even be in a relationship. Rape. Stains. EVERYTHING. If you cannot write it effectively, DON'T.
Wednesday, March 4, 2015
Life in a Crap Factory: Writing with Babies
Let me preface this by saying kids are awesome. They fill a space in our hearts that nothing else can or will every occupy. Good parents often live and breathe for their children, sometimes at the expense of their own needs and desires. There it is--the somber note you were waiting for.
Yes, children are a constant source of joy, but they are also time-consuming, perpetually needy, and often--VERY OFTEN--unintentionally destructive. Hey, we're parents. We can admit these things without fault. It comes with the territory. Admitting you're stressed beyond belief and need a 15 minute time out doesn't automatically revoke your super-parent cape. Rather it makes you human and keeps you sane. It also brings up other issues, though. You have kids, a life, a job, and other commitments. So where does writing come into the picture?
I'm going to be blunt. At first, it doesn't. Being a parent--especially to your first child--is nerve-wracking. You are now responsible for a tiny human that needs to eat every two hours, rarely sleeps more than a few hours at a time, and produces some of the most horrendous bowel movements you've ever seen or smelled. Your entire schedule and life will be dumped in the deep end without floaties. It sucks, but you eventually work out that doggy paddle and keep your head above the water.
Now, as to what works...? Well, no two kids are the same, so no two methods are the same. I'm going to attempt to outline the broad strokes here. This is how I brought writing back into my life:
Step One: Decide how important your writing is.
This may sound like the most ignorant thing ever, but bear with me. Do you have bills and baby formula banking on your next book, or are you a dabbler with no clear goals and deadlines? These are opposite ends of the spectrum, of course. Most of us find ourselves somewhere in the middle. I fell under the "goal-driven, unpublished but working toward it with a deadline in mind" category. To come to that conclusion, I had to decide how important my writing was and move forward accordingly.
Step Two: Implement a Plan
It's all well and good to have a goal. If you have no idea how to achieve it, however, you're not going to get much done. Look at how long it takes you to write a chapter. That average multiplied by the estimated number of chapters is roughly how long it's going to take to write your book--if you apply yourself diligently, of course. Is your goal feasible with a baby? If not, adjust accordingly. The push is great, but you can't be unrealistic. Setting yourself up for failure is not a good way to get back into the swing of things.
Step Three: Make Time to Write
I know. But how? If you're feeding your baby formula, make your bottles ahead of time. Use every nap and quiet moment to your advantage. Take a notebook into the floor during tummy time. Once they hit crawling and toddling stages, you're screwed. All I can say is this: Never waste nap time (you can sleep when you're dead); baby-proof your house before they can crawl (it will save you countless hours of frustration with the up and down "no-don't-touch-that" sessions); and, above all, use your time wisely. If you want to write, don't waste all of your free time on Facebook or other social media. Block out a small portion of your day where you allow yourself to cruise the mindlessness of your news feed. The rest of your time should be dedicated to writing between bottles, dirty diapers, and tantrums.
---
So, hopefully these steps help you. If not, as I said, all kids are different. Work toward what you want as much as your child allows.
What are some tips and tricks that have worked for you?
Yes, children are a constant source of joy, but they are also time-consuming, perpetually needy, and often--VERY OFTEN--unintentionally destructive. Hey, we're parents. We can admit these things without fault. It comes with the territory. Admitting you're stressed beyond belief and need a 15 minute time out doesn't automatically revoke your super-parent cape. Rather it makes you human and keeps you sane. It also brings up other issues, though. You have kids, a life, a job, and other commitments. So where does writing come into the picture?
I'm going to be blunt. At first, it doesn't. Being a parent--especially to your first child--is nerve-wracking. You are now responsible for a tiny human that needs to eat every two hours, rarely sleeps more than a few hours at a time, and produces some of the most horrendous bowel movements you've ever seen or smelled. Your entire schedule and life will be dumped in the deep end without floaties. It sucks, but you eventually work out that doggy paddle and keep your head above the water.
Now, as to what works...? Well, no two kids are the same, so no two methods are the same. I'm going to attempt to outline the broad strokes here. This is how I brought writing back into my life:
Step One: Decide how important your writing is.
This may sound like the most ignorant thing ever, but bear with me. Do you have bills and baby formula banking on your next book, or are you a dabbler with no clear goals and deadlines? These are opposite ends of the spectrum, of course. Most of us find ourselves somewhere in the middle. I fell under the "goal-driven, unpublished but working toward it with a deadline in mind" category. To come to that conclusion, I had to decide how important my writing was and move forward accordingly.
Step Two: Implement a Plan
It's all well and good to have a goal. If you have no idea how to achieve it, however, you're not going to get much done. Look at how long it takes you to write a chapter. That average multiplied by the estimated number of chapters is roughly how long it's going to take to write your book--if you apply yourself diligently, of course. Is your goal feasible with a baby? If not, adjust accordingly. The push is great, but you can't be unrealistic. Setting yourself up for failure is not a good way to get back into the swing of things.
Step Three: Make Time to Write
I know. But how? If you're feeding your baby formula, make your bottles ahead of time. Use every nap and quiet moment to your advantage. Take a notebook into the floor during tummy time. Once they hit crawling and toddling stages, you're screwed. All I can say is this: Never waste nap time (you can sleep when you're dead); baby-proof your house before they can crawl (it will save you countless hours of frustration with the up and down "no-don't-touch-that" sessions); and, above all, use your time wisely. If you want to write, don't waste all of your free time on Facebook or other social media. Block out a small portion of your day where you allow yourself to cruise the mindlessness of your news feed. The rest of your time should be dedicated to writing between bottles, dirty diapers, and tantrums.
---
So, hopefully these steps help you. If not, as I said, all kids are different. Work toward what you want as much as your child allows.
What are some tips and tricks that have worked for you?
Monday, February 16, 2015
The Aftermath: Editing Woes
We're writers. We write. This is the nature of our particular creative endeavor. You get an idea, and you run with it. You write like a fiend for months on end. Now you have a complete manuscript staring at you. There's no denying the high that is a finished novel. It's something I'm experiencing right now. The feeling is heady, almost frightening in its intensity. The result of years of hard work--a 50,000+ word monument to your greatness. All of those sleepless nights, days fueled by coffee overdoses, the fanatic four-hour marathon research sessions (that may or may not end in the black hole of YouTube), and months of hard work have paid off...or have they?
If you've managed to finish a novel, that's amazing. I applaud you. But that's a single battle won, and the war is only just begun. You have so much work still ahead of you. It begins with editing.
I can hear you groaning across the void of cyber space. Let me bust your bubble, though. You are no Mozart, my friend. Editing is a must, and your readers will thank you for it. One of the worst mistakes a burgeoning writer can make is to skip this process. At best, you will be laughed at. At worst, you'll get some of the cruelest critiques of your life, not to mention most readers will probably put the book down without finishing it. Remember, your audience makes or breaks you, especially in the age of technology. All of those bad reviews impact your reputation as a writer. Do it correctly the first time, set the bar high for your work, and build a following. Infinitely more preferable than trying to live down the first bout of inflammatory hate messages, right? Right.
So, you've completed a manuscript. Yes, that is an accomplishment. No, your book is not ready for public consumption. And, sure, editing can be overwhelming when you first sit down to look at the colossus that is your novel...but don't let that feeling consume you. Take baby steps. Your manuscript is a caterpillar right now. The goal is to transform it into a butterfly. Nobody's process is the same, of course. But you have to start somewhere to find what works best for you.
This is what works for me:
If you've managed to finish a novel, that's amazing. I applaud you. But that's a single battle won, and the war is only just begun. You have so much work still ahead of you. It begins with editing.
I can hear you groaning across the void of cyber space. Let me bust your bubble, though. You are no Mozart, my friend. Editing is a must, and your readers will thank you for it. One of the worst mistakes a burgeoning writer can make is to skip this process. At best, you will be laughed at. At worst, you'll get some of the cruelest critiques of your life, not to mention most readers will probably put the book down without finishing it. Remember, your audience makes or breaks you, especially in the age of technology. All of those bad reviews impact your reputation as a writer. Do it correctly the first time, set the bar high for your work, and build a following. Infinitely more preferable than trying to live down the first bout of inflammatory hate messages, right? Right.
So, you've completed a manuscript. Yes, that is an accomplishment. No, your book is not ready for public consumption. And, sure, editing can be overwhelming when you first sit down to look at the colossus that is your novel...but don't let that feeling consume you. Take baby steps. Your manuscript is a caterpillar right now. The goal is to transform it into a butterfly. Nobody's process is the same, of course. But you have to start somewhere to find what works best for you.
This is what works for me:
PERCOLATE
I began my writing process somewhere in the deep wilds of New Zealand during a six-month study abroad program. The year 2008 began my quest for a fantasy series of epic proportions. I began writing in 2012, and somehow stumbled on a finished novel in 2015. It was a surprise, and it left me flailing for the space of about two days. The big question was: Where do I go from here?
Let it sit.
Let me be clear. You want a fresh perspective when you come back to this hulk, so don't just close it for a day and come back. Leave it alone for a week, a month, whatever. Do something else for a while. Read a book. Read several books. Write something else. Join a yoga group. Center your chi. Take up therapeutic crocheting. My point is, you need to find something other than your novel to occupy your time for a while. Then, when you feel fresh, crack it open again.
Let it sit.
Let me be clear. You want a fresh perspective when you come back to this hulk, so don't just close it for a day and come back. Leave it alone for a week, a month, whatever. Do something else for a while. Read a book. Read several books. Write something else. Join a yoga group. Center your chi. Take up therapeutic crocheting. My point is, you need to find something other than your novel to occupy your time for a while. Then, when you feel fresh, crack it open again.
CURSORY INSPECTION
This is probably the least fun piece of the work ahead of you. You're forging ahead into rediscovered territory, and you have to do so with a very active mind. This means you can't zone out and skim. Treat your book like the ugly red-headed step-child that it is. Look for flaws, and beat your novel into submission one correction at a time. Awful metaphor, but you know what I mean.
Spelling and grammar are always my first step--eliminate the superfluous adverbs, nail down a spelling for that character's title, watch out for misused homonyms, and keep an eye out for the rogue misspelling or run-on.
Next, I look at continuity and do fact checking. The character that started with green eyes in chapter one should end the book with the same color eyes (short of an eye transplant or a fantasy/science theme where they are supposed to change, of course). The group that walks from Point A on the northwestern edge of the map to point Z on a southeastern edge and then grabs a boat to an island several hundreds of miles away can't just show up at their destination in two days (or even a week; do your homework). You get the idea.
Next, I look at continuity and do fact checking. The character that started with green eyes in chapter one should end the book with the same color eyes (short of an eye transplant or a fantasy/science theme where they are supposed to change, of course). The group that walks from Point A on the northwestern edge of the map to point Z on a southeastern edge and then grabs a boat to an island several hundreds of miles away can't just show up at their destination in two days (or even a week; do your homework). You get the idea.
Finally, I check for info dumps. Yeah, you want the reader to have your character's critical back story, which makes this plot point epic, but you have to weave it into the narrative in a way that doesn't detract from the story. So...nix the six paragraph explanation of how the character got that totally bitchin' scar on his rippling man boobs. Instead, drop hints here and there, maybe give a one paragraph explanation that doesn't reveal every detail, and then at the most opportune moment--BAM! You drop the significance of the scar and how it relates to the moment at hand.
BETA READERS
Yes, the time has come for you to show your novel to other people. But wait! I've barely done any work on it. Are you sure it's time for THIS? What if they hate it? GOOD. The more they can tell you about what they did and didn't like the better. Having a different perspective, fresh eyes, and someone that's not you will do wonders in helping you edit. You can go solo and edit your project until your fingers bleed. You will still miss things.
As writers, we get so caught up in world building, character bios, and poignant scenes that sometimes we forget the necessary details. A good beta reader will give you honest advice, and will also tell you if something doesn't make sense to them. From here, you start to get a good idea on what needs to go, what needs to stay, what needs to be added, and what needs to be rewritten.
So...find a good beta reader or ten. Ask them pointed questions when you hand over your precious mind-child (i.e. what chapters you especially want looked at, which character relationships you're worried about, which plot points gave you issues, etc). Allow them to rip it to shreds, and graciously thank them afterwards.
HARD EDIT
Now the real fun begins. You have your beta readers' comments in hand. There are a ton of issues they have pointed out, and one of those assholes even went as far as to say your main character is a weak caricature of [insert preexisting canon character of your genre here]. You're over the initial crying, the follow-up disbelief, and the ensuing apoplectic fit. The time has come, at last, to do the hard edit. You will hack and slash and rewrite until you barely recognize your book anymore. And when you're finished, you'll find more betas, and repeat this process again.
LINE EDIT
If you don't have a strong background in grammar, this is something you'll definitely want to invest in. A good line edit will tighten your prose to a virginal status. It can be costly, but worth your time and money. There are varying levels of skill, but just remember you will get what you pay for.
Check out this helpful blog at Curiouser Editing for a more detailed rundown of the dos and don'ts of finding an editor.
Check out this helpful blog at Curiouser Editing for a more detailed rundown of the dos and don'ts of finding an editor.
FINAL EDIT
You've gone through your beta readers as many times as necessary, found a line editor if needed, and edited the absolute crap out of your book. You now have the final mark-up in hand. You do one last run through. There may be one or two pesky little errors to clean up, but it's beautiful and polished. Your caterpillar is officially a butterfly and ready to present to the world at large. It's time to look for a publisher, you masterful word-smith! But that's a blog for another time.
Write on, friends.
Saturday, February 14, 2015
Magic Systems: More Than the What
Okay, so you're writing fantasy. It has magic. You keep seeing these posts on magic systems. What's a magic system? Here's the quick and easy breakdown:
You can go about this in several ways, of course. Some obvious techniques that are tried and true rest in the basics.
Now, put your how and what together, and you have a magic system. This can be time consuming, frustrating, and equally as exciting when it all comes together. These basics should help you get started, but if you'd like to know more, hop over to this very informative blog on Fantasy Faction.
Happy writing.
A magic system outlines the limits of your characters' abilities.In other words, your characters can't just use their magic without consequences, right? Otherwise, they would have earth-shattering abilities that could destroy the entire universe you've created with one swipe of their hand, one muttered word, etc. This isn't fun. What are the limits and consequences of their magic?
You can go about this in several ways, of course. Some obvious techniques that are tried and true rest in the basics.
- Limit the number of spells your character has learned, or is able to use.
Lucy learned the spells fireball, shielding, and sleep. She can't use an offensive attack (fireball or sleep) when she's using a defensive spell (shielding).
- Limit the inherent magic abilities your character has (i.e. weak versus strong; how much magic they can use before being depleted).
Lucy is a weak mage. While she has learned three of the most basic spells, other mages in her class have learned at least seven. Lucy can't use an offensive attack when she's using a defensive spell, but many of her classmates can.
- Base your magic on the use of an enchanted item.
Lucy learned the spells fireball, shielding, and sleep...but she can't use these spells without the use of her wand.
- Create steep consequences for the use of magic.
Lucy learned the spells fireball, shielding, and sleep...but every time she uses a spell she gets a new wart.
There are so many more, and it all rests in your very capable hands. Use your imagination to make this interesting for readers. Find something that hasn't been used, or put twists on the basics to create something just different enough to be interesting.
Now, you've established the rules. Your magic-using character has their limits. That's it, right? Wrong. The real challenge lies with the how of your magic system. Your readers want to know more than what it is. They want to know how it works.
Again, you have so many options open to you. Some of the better known methods are listed below:
- Magic given by someone else (see: gods, more powerful mages, etc)
Lucy was a normal girl that prayed to be different. The goddess Athena blessed her with magic abilities.
- Innate magic
Lucy was born with the ability to magically conjure fireballs.
- Learned magic
Lucy had to study for years to learn the spells fireball, shielding, and sleep.
- Magic given from enchanted object
When Lucy found the silver ring in the attic, she soon discovered it allowed her to create fireballs.
- Magic via certain words or phrases
Lucy has to say "inferno" to cast her fireball spell.
Now, put your how and what together, and you have a magic system. This can be time consuming, frustrating, and equally as exciting when it all comes together. These basics should help you get started, but if you'd like to know more, hop over to this very informative blog on Fantasy Faction.
Happy writing.
Welcome to the Fold: Quick Thoughts for Writers
So you identify as a writer. What qualifies you? Do you put pen to paper--or fingers to keys, as it were? Do you dream of new worlds and characters that transcend your reality? Do you blog? The defining quality of a writer is, simply, to write.
On that note, I feel the need to point out that we all have slumps. You will have days, weeks, months, and sometimes years where you don't feel like writing a thing. Does that suddenly strip you of the right to label yourself a writer? Of course not! The important thing is to push past that funk and get back to what you love.
You'll find blogs and articles all over the web on what makes a writer successful. You'll find hard and fast rules for any writer to adhere to. You'll read a dozen different views on what makes a writer, well, a writer.
Screw that. Make your own rules, set your own bar, and try every day to meet and exceed your expectations. What works for you won't necessarily work for everyone else. The goal here, again, is to write. Find what works best for you. And never--I repeat, NEVER--let anyone make you feel those goals and accomplishments aren't worthy.
Keep writing, my friends.
On that note, I feel the need to point out that we all have slumps. You will have days, weeks, months, and sometimes years where you don't feel like writing a thing. Does that suddenly strip you of the right to label yourself a writer? Of course not! The important thing is to push past that funk and get back to what you love.
You'll find blogs and articles all over the web on what makes a writer successful. You'll find hard and fast rules for any writer to adhere to. You'll read a dozen different views on what makes a writer, well, a writer.
Oh, you can't claim to be a writer until you've published something.
No, e-books don't count.
Traditional publishing is the only route to claiming that badge.
Screw that. Make your own rules, set your own bar, and try every day to meet and exceed your expectations. What works for you won't necessarily work for everyone else. The goal here, again, is to write. Find what works best for you. And never--I repeat, NEVER--let anyone make you feel those goals and accomplishments aren't worthy.
Keep writing, my friends.
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